allenai/Olmo-3-1125-32B
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Tag Benjamin Benschneider
06-12-2021
Washington State University Everett designed by SRG Partnership
Multidisciplinary studio SRG Partnership designed the first building on the new WSU Everett campus. The institution significantly expands access to post-secondary education in North Puget Sound, with a building awarded LEED-Gold environmental certification.
30-11-2021
Graham Baba Architects for the Lino Tagliapietra Glass Studio
The American Graham Bab architecture studio has transformed a historic pre-existing building in Seattle, an old auction house, into the showroom for the well-known glass artist Lino Tagliapietra. A recovery intervention that emphasises the materiality of architecture, in a balanced dialogue with the glass art.
10-04-2020
Marion Weiss and Michael Manfredi are the 2020 recipients of the Thomas Jefferson Foundation Medal in Architecture
On April 13, 2020, architects Marion Weiss and Michael Manfredi, founders of the WEISS/MANFREDI Architecture/Landscape/Urbanism architecture firm, considered as one of the "emerging players" in North America’s landscape of architectural firms, will be awarded the Thomas Jefferson Foundation Medal in Architecture. The prestigious award was established in 1966 and over the years, important masters of architecture and internationally renowned architects have been awarded the Medals, including: Mies van der Rohe, Alvar Aalto, Marcel Breuer, Kenzo Tange, Robert Venturi, Leon Krier, Fumihiko Maki, Aldo Rossi and more recently Lord Richard Rogers, Glen Murcutt, Peter Zumthor, Zaha Hadid, Yvonne Farrell/Shelley McNamara and more.
17-10-2018
Olson Kundig: Jim Olson’s personal refuge in Longbranch
Jim Olson is an architect who grew up near Seattle, where his studio Olson Kundig is now based, who has a particular interest in the history of his family. The family’s cabin in Longbranch has been transformed over the years to offer a comfortable retreat far removed from the noise and bustle of the city
08-05-2018
Applied recycling with Scavenger Studio by Olson Kundig
Scavenger Studio is a small, 64-square-metre house in woodlands not far from Seattle, in the Puget Sound region, and it was built from material that the architect Les Eerkes for Olson Kundig scavenged from nearby homes slated for demolition.
29-06-2017
Redesigning existing building: Manson Barn by SkB Architects
Seattle-based SkB Architects have turned what started as a simple barn on agricultural land in Washington state into a conversion and innovation project with a contemporary, multifunctional take.
19-10-2016
Olson Kundig, Studhorse rural retreat, Methow Valley (USA)
Studhorse holiday home designed by Seattle studio Olson Kundig is located in Methow Valley, in Washington state. Olson Kundig’s Studhorse is a hymn to landscape, considered not just as a view but as a part of the rituals of everyday living.
31-08-2015
Port Ludlow Residence by Finne Architects
Port Ludlow Residence is a modern compact house of 230 square metres built on the wooded waterfront of the Puget Sound, near Seattle in the state of Washington, USA. The design, directed by architect Nils Finne, has a large glass and aluminium veranda which looks onto the water.
31-07-2015
The winners of the AIA National Healthcare Design Awards program
The American Institute of Architects (AIA) Academy of Architecture for Health (AAH) showcases the importance of healthcare building design.
2. 1
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Fietje F@ctory
Step into the world of Fietje F@ctory
Welcome to Fietje Factory
Step into a world where creativity knows no boundaries and discover unique and captivating pieces that will ignite your imagination.
About Me
Creating 3D Collages & Assemblage
I love vintage and old photos, with my crush for good quotes & poetry I blend everything together in my artworks to create something new. It started for me in January 2023 when I created a personal birthday gift for an artistic friend of mine. She encouraged me to go further on this path and combine my love of old photos, vintage, poetry,history and quotes into something new with a female touch.
With my passion for assemblages and 3D- collages inspired by Joseph Cornell, I try to infuses each piece with a touch of humor and thought-provoking elements.
My art lessons more than 30 years ago in Germany came handy.
Explore the captivating world of
Fietje F@ctory and get ready to be amazed.
Latest Releases from Fietje F@ctory
"The new collection"
Who needs Tinder when you can go shopping for your new boyfriend?
Funny 3D-shadowbox with depth and ready to impress.
"Look into my eyes"
I bet you looked somewhere else first :-)
3D-shadowbox, framed and ready to hang.
The text can be adapted to DE/FR/NL/EN if wished.
This assemblage is inspired by my passion for vintage & travelling. On the bottom you will find mini-collages in encaustic technique.
stay up to date and follow me on my instagram account
Be amazed !!!
5 x anders (Group)
Koetshuis Baron Casiers - Waregem (BE)
1st - 31st of January 2024
Vernissage 13.01.2024 19-22.00
More info
Cultuurhuis De Keizer - Lichtervelde (BE)
De wonderlijke wereld (Solo)
23.02 - 05.03.2024
Follow your dream
What's going on
Exciting media coverage of my artistic journey.
Created the artwork for the "affiche" of the theaterplay "Tailleur pour dames" for the group "De Snuifdoos" (BE)
Created the artworks for the cover and CD-booklet for Wendrson, a German/Swabian rock band
Follow this link for more exiting news about the album cover
Get in Touch
Reach out to me to connect or with any queries!
or send me an email if you have a special request ;-)
Follow me
Connect with me on social media for updates!
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ALCOHOL INK ART by Lucie Anderson
Lucie Anderson is a full-time artist based in Napier, NZ, who specialises in working with alcohol-based inks. Her creative process involves exploring the flow and uniqueness of these inks, resulting in a one-of-a-kind and stunning artwork.
My Original Paintings are framed and ready to hang!
Sort by topic ....
Mix and Match
Purchase any 3 or more artworks in one order and receive a 5% discount off the total price. T & C applies
Commissions are Welcomed
If you see something that captures your imagination and you would like me to tailor a piece to your personal taste or colour theme, let's have a chat and hopefully I can bring your wishes to reality.
Contact Lucie
My Ink Art - My Joy
Lucie Anderson - maker and creator of Limitless Abstracts
Hello! I'm Lucie Anderson, a Taradale (Napier) based artist. I've been surrounded by art and craft my whole life. My family had a stationery/ art shop at home so I was always in the midst of creativity, I loved playing with all the different colour paints and crayons. After finishing Art School in Belgium, there has barely been a time in my life that I’d not had an art or craft project on the go. I lived for 20 years in the beautiful Dunedin surroundings and moved to sunny Napier (Hawke’s Bay) in 2015.
More recently, I decided to explore my own process and techniques with alcohol ink art. As a result of that exploration, I've been able to create beautiful pieces of artwork with vibrant colours mixed with gold/ silver metallics that have become popular among my peers and customers alike. With my current artwork, I'm continuing to expand upon this process and techniques as well as exploring new ones when curiosity strikes me!
Alcohol ink art refers to both the painting medium and the fluid painting technique. I control the flow of the liquid ink on a non-porous surface with airbrush and air wave techniques to create for you a unique painting. It is recommended to display the painting out of direct sunlight to preserve the colours. I have applied a UV protector but note that my art is not sealed and hence should be kept behind glass.
Intro to Alcohol Ink Art Workshop - 10 Ways
Unleash your creativity with our intro workshop to alcohol ink art! Learn 10 different ways to use alcohol ink and create beautiful art, with this hands-on, small group (1-2 people) workshop. Our fun and informative class will teach you the basics you need to make stunning pieces of art. Sign up today for an unforgettable learning experience!
All materials provided and a piece of your own art to take home.
Workshop: 1 hour teaching the different ways while you practice with me followed by 1-1.5 hours creating your own piece of art while I will act as your personal guide.
Cost: $250 per person
Enquire Now
NEW! Beginner's Kit!
Order Now via Enquiry Form
Let's keep in touch!
Subscribe to my art newsletter for the latest updates.
Contact Us
Limitless Abstracts
Taradale, Napier, New Zealand
Social Media
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Call 2020 | IONNYK – photographic art, digital, black & white (INT) - logo
Call 2020 | IONNYK – photographic art, digital, black & white (INT)
In partnership with the European Pepinieres of Creation, IONNYK is launching its first call for participation aimed at contemporary visual artists around photographic art, digital black & white.
IONNYK is the world’s first connected and wireless digital art frame developed on electronic paper technology (patented). It is a new medium of art, culture and design, at the service of artists and their works. IONNYK is associated with a whole new ecosystem bringing together a community of artists to offer their works through a subscription or in limited edition Black & White digital format to our Art and Design enthusiast clients.
IONNYK responds to a hitherto unmet market need, namely an innovative connected and digital art framework emphasizing Art and Design and not technology as such.
This call is for contemporary photographic and digital artists. As the IONNYK catalog is varied, participants have the opportunity to offer any form of Black & White Art, static or Smart Art, a new way for artists to express themselves.
> € 1500 to be divided between three laureats
> The opportunity, without limit of winners, to join the IONNYK artists catalog allowing artists to generate income.
Any contemporary artist without restriction.
Copyrights & Usage Rights:
During the call for projects, it is very possible that commercial contracts and assignments of rights will be discussed with artists who are already considered eligible to join the IONNYK catalogs without meaning that these contacted artists will be the laureats of the rewards
Black and White
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Fablab Amsterdam is open to the public every Thursday afternoon (12:00-17:00).
Please note that due to corona crisis Fablab has stopped doing open days since the beginning of March 2020. As the Fablab is currently in use by Fab Academy we will not have open days until further notice. Please keep an eye on us as we'll announce when the Fablab is re-opening to the public again.
During the open Thursdays we explain how the machines work, what you can make with them and what the philosophy is behind the maker movement and digital fabrication. At Fablab Amsterdam we are always looking for critical makers with interesting projects. We are happy to answer any questions or help you find your way in the Amsterdam maker scene, as there is a growing number of so-called 'Maakplaatsen' at the public libraries (OBA) in the city where you can make things with digital fabrication.
Entrance to the Fablab on Thursday is free (reservations are not necessary). The open day is held very week, except national holidays and the annual holiday periods (July/August and Christmas). Please bear in mind that the size of our Fablab does not make it suitable for group visits.
Fablab Amsterdam is situated on the first floor of the Waag monument in Amsterdam.
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Horiyoshi - Tattoowise
Japanese Horiyoshi Tattoo Japanese Horiyoshi Tattoo
horiyoshi japanese tattoo image
Japanese Horiyoshi Tattoo
Japanese Horiyoshi Tattoo Japanese Horiyoshi Tattoo
horiyoshi i
Japanese Horiyoshi Tattoo
giancarlo india 1997 yashica
horiyoshi iii design
india 1997 yashica t5
rug1 back and shoulder
back and shoulder pieces
500c/m | 80mm
horiyoshi designs tattoos
500c/m | 80mm f2.8 CZ Planar T* | VC400
links Dragon on my
horiyoshi dragon
Dragon on my back, done by Horiyoshi the 3rd
Mark's Calf Another night in
horiyoshi iii
Another night in the shop.
Horiyoshi III and my crazy ass Brother Horitaka made
horiyoshi iii gallery
Brother Horitaka made this day happen. Up in Sensei Horioshi III's OG private studio...thanks Taki, you are a hero.
Bob Osborn, myself and my Knuckle Bob was known
horiyoshi iii tattoo gallery
Bob was known as "OZ" for many years. He published BMX Action, Freestylin', and Homeboy magazines among others. He is the father of RL Osborn, and the great Windy Osborn as well. To have him photograph my bike and I was a really big honor. He drove all the way out from Montana to spend two days of intense work to make it happen. Watch DicE magazine for the upcoming spread we did. This was inside the pro studio we used for part of the shoot. It was raining SHEETS outside, and the ride was SOOO sketchy on I-80 with jockey shift and cowboy boots...hahahahaaa!!!
500c/m | 80mm
tatuagens horiyoshi
500c/m | 80mm f2.8 CZ Planar T* | T-Max 400 + 2 selecting the design for one's back could well be the second most important decision the client makes, surpassed only by the selection of the tattoo master.. www.facebook.com/horikuni
rechts right dragon, also
horiyoshi dragon tattoo
right dragon, also by Horiyoshi
Road Cult This was the
horiyoshi iii tattoo photo
This was the set-up for a shoot for an upcoming TV show
Mark's calf Mark is a
samurai horiyoshi
Mark is a good buddy, and we started this piece about three or so years back. We are both so busy, that it took this long to finally get the las session in last night. Just a nice, traditional Japanese samurai piece. Just freestyled the background behind some Horiyoshi III based figures.
Shading of kimono 6th session, 28
tattoo horiyoshi
6th session, 28 Nov 08
Good Luck This is the
horiyoshi iii photo
This is the center of Mark's calf piece...asymetrically placed, but the center! : ) It's of course a great symbol of protection and good luck in Japanese folk tradition to this day.
Three random tattoo ideas
shark attack ambigram
This is the finished version of the Shark Attack Ambigram after scanning in, cleaning up, vector-tracing, and an effects treatment. Information about custom Ambigrams can be found on my website.
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The Foolproof Way to Craft an Iconic Logo Design
A creative logo design tends to imprint itself within the consciousness at the very first glance. We are talking about the kind of bewitching logo design that makes the competitors hanker after, and the designers wish they had designed one just like it! This is the type of design that, although, looks simple but underlies days of work, efforts, and creativity, which pushes it towards a raw edge of ingenuity and artistry that compares to none. At this point, brand strategies come to play!
It is a Brand Strategy that provides a map thatgives birth to iconic logo designs that can stamp themselves to the mind of the viewer. Generally, a strategy provides the blueprints which revolve around collaborations between clients and designers, the execution of the plan, and the contingencies involved. These strategies are a crucial part of logo designing as they work as a compass that points towards the goal and help you reach your destination. Without a solid brief and planned idea, you are bound to fall back.
There are no shortcuts to a unique logo design!
Quality requires hard work and round-the-clock efforts. You have to put in maximum efforts in each step of the process to get the best results. A design brief helps the logo designers understand the components that are critical to your design needs like the type of the organization, their positioning, their competition, mission, and values, who they are, and, most importantly, what they stand for.
If you figure out what makes the business different from its competition, half your work is done! The competitive edge that a company has helps you uniquely position the brand in the marketplace. You owe it to your clients and to your design portfolio, to follow a thorough logo design process so that when you can complete the project, you create the logo design of their dreams.Let’s talk about the nitty-gritty of the process now.
Iconic Logo Design
Before starting working on your logo design, you need to know all the specifics; what does the company do? Who are their customers? Who is the competition? What are their values, and where do they stand? When you get the answers to such questions, you can design a logo that not only fits perfectly but encompasses the entirety of the brand image. Do your research and find out everything you possibly can about the company to ensure that you hit around the bullseye and achieve your target successfully.
While insight relies on how much information you gather, intuition is something that you develop with time as you create more and more logo designs. A good logo always has a meaning behind it, a message that it conveys to its audience. If you take a closer and goodlook at some of the world’s most successful brands, you will find that they all express their brand idea and show their personality using their logo designs.
But how do you achieve this meaning?
The best possible way to achieve meaning is to start with systematic, creative thinking. Extracting concepts and ideas from different logo designs, mapping out the various details like symbols, icons, and establishing a visual language will enable you to create a theme for your logo design.
Don’t merely draw – CONCEPTUALIZE AND DESIGN.
Human brains are hardwired in a way that processes shapes before words and color. This works as an advantage for the logo designers as using and creating the right symbol will boost the business and may take it to a point where the logo itself will be enough to recognize the brand.
You need a fundamental knowledge of human behavior to create something that is impactful and has a powerful influence on the target audience. The importance of the shape, the colors,and the fonts used in a logo design all symbolize the brand image and are of crucial importance.
Iconic Logo Design
After you are done researching the company, the fun part of the job begins! This step involves building your concepts and generating ideas for top logo design. You have to let your mind run free and jot down the ideas on a piece of paper as you allow the inspiration to flow. This is the time to develop theright blend of graphics that shape up your plans perfectly.
By creating multiple concepts, you allow yourself to have a bunch of options as you try to encapsulate the complex and diverse nature of an entire business into a small, unique logo design which will be used in a mountain ofareas and circumstances. Be sure to create concepts that are consistent with one another. Too much diversity in your ideas will not only confuse you but willperplex your client as well.
When you create a concept, as yourself, if the logo design resonates with your client’s brand and values, think about how the design ideas and concepts that you have created will perform in different areas. A good logo design is always of a flexible nature; it can look good in tall and skinny places, in color and in black and white, in shadowy areas and up high, stitched on clothes, or printed on balloons.
Creating some rough mock-ups at this stage will help you createthe logo design of your dreams.Mock-ups lend a helping hand to not you and your client to conjure up an image and envision the potential of your logo design ideas that go beyond a single image on the computer screen or a piece of paper.
Iconic Logo Design
Take a deep breath, step back from your work station, and relax. After investing hours of your time, energy, efforts, and creativity, it is time for you to take a breather and relax your mind for a bit. Taking a break will help your brain recharge and give it time to start anew and fresh.
If you have come up with a bunch of logo design concepts, shortlist your ideas by focusing on the stronger ones, and discarding the ones you find weak.Analyze your concepts, be your critic, and make changes accordingly. After you are delighted with your work, try to get feedback from your colleagues and friends and possibly from your client to gain some fresh insights.
Keep an open mind, be tolerant, and experiment with different ideas that you get, step out of your comfort zone and your preferred tastes and prioritize the requirements set by your client.
Once you make all the necessary changes, after the feedback, finalize your designs and prepare to present your ideas formally to your client. Try to keep the amount of logo designs to as minimum as possible. Present your ideas by explaining them thoroughly and with confidence.
When push comes to shove, there is no sure-fire, concrete way to come up with an iconic logo design every time. But you can try your best by tailoring your process to best suit the goals of the project, all the while blending in your ideas to give it the creative edge it requires.
Iconic Logo Design
Follow the work process, tailor it according to your needs, get feedback, and put in the work, and you are on your way to crafting the perfect logo design!
Want more logo design tips? Learn all the tips and tricks about logo designing here.
Have some tips? Comment below and let us know, we would love to hear from you!
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3d612637-0b23-4288-99f9-b594dd12fe33
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Charlotte Higgins
The fourth plinth: message in a bottle
It doesn't move, or sing, or perform: it's Yinka Shonibare's ship in a bottle for Trafalgar Square
Yinka Shonibare's Nelson's Ship in a Bottle
An artistic victory ...? Yinka Shonibare's Ship in a Bottle. Photograph: Dan Kitwood/Getty Images
I don't think I've ever witnessed the unveiling of a Trafalgar Square fourth plinth commission in such propitious meteorological circumstances. For Antony Gormley's One and Other it was chilly and blustery; for Marc Quinn's Alison Lapper Pregnant, sheets and sheets of rain. I can't quite remember what it was like for Thomas Schütte's Model for a Hotel (significant?). But today, the sun beat down on the crowd gathered to see the launch of Yinka Shonibare's replica of the HMS Victory.
Maybe the languid heat of it all made the atmosphere just a little subdued; maybe it was because the ship-in-a-bottle didn't dance or sing or perform comic tricks like the interactive One and Other – but the atmosphere seemed a little subdued this morning. Maybe, in fact, we are now immune to the visual shock of contemporary art on this most rigorously 19th century of squares. (Here's the answer to the usual quiz question, by the way, that asks whom the other statues in the square honour: General Sir Charles James Napier is in the southwest of the square, Major General Sir Henry Havelock in the southeast and George IV in the northeast.)
Adrian Searle has given his measured view; for me, what I like about Shonibare's ship in a bottle is that it causes us to pay attention to the original reason for this square's existence: Admiral Lord Nelson, who presides over the square from such a height, can now gaze down on a replica of his flagship, the ship on which he lost his life at the Battle of Trafalgar in 1805. For me, whatever the merits or demerits of Shonibare's sculpture, the work makes me look at a familiar place differently, to think of the reason this patch of London is as it is.
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Queer X Design: 50 Years of Signs, Symbols, Banners, Logos, and Graphic Art of LGBTQ (Hardcover)
Queer X Design: 50 Years of Signs, Symbols, Banners, Logos, and Graphic Art of LGBTQ Cover Image
On Our Shelves Now
6 on hand, as of Oct 20 9:15pm
(46 LGBT)
The first-ever illustrated history of the iconic designs, symbols, and graphic art representing more than 5 decades of LGBTQ pride and activism.
Beginning with pre-liberation and the years before the Stonewall uprising, spanning across the 1970s and 1980s and through to the new millennium, Queer X Design celebrates the inventive and subversive designs that have powered the resilient and ever-evolving LGBTQ movement.
The diversity and inclusivity of these pages is as inspiring as it is important, both in terms of the objects represented as well as in the array of creators; from buttons worn to protest Anita Bryant, to the original 'The Future is Female' and 'Lavender Menace' t-shirt; from the logos of Pleasure Chest and GLAAD, to the poster for Cheryl Dunye's queer classic The Watermelon Woman; from Gilbert Baker's iconic rainbow flag, to the quite laments of the AIDS quilt and the impassioned rage conveyed in ACT-UP and Gran Fury ephemera.
More than just an accessible history book, Queer X Design tells the story of queerness as something intangible, uplifting, and indestructible. Found among these pages is sorrow, loss, and struggle; an affective selection that queer designers and artists harnessed to bring about political and societal change. But here is also: joy, hope, love, and the enduring fight for free expression and representation. Queer X Design is the potent, inspiring, and colorful visual history of activism and pride.
About the Author
Andy Campbell, PhD, is an art historian, critic, and curator. With more than a decade of experience in higher education and museum institutions, Campbell's projects focus on the juncture of identity-based political movement, visual culture, and art's histories. He is currently Assistant Professor of Critical Studies at USC-Roski School of Art and Design.
Praise For…
"Sometimes, a rebellion begins with a rebrand. In Queer X Design, the professor Andy Campbell weaves a telling visual tapestry of an emerging L.G.B.T.Q. language and identity."—The New York Times
"A beautifully bound, well-researched book that draws a lineage of LGBTQ designs richer than a thousand rainbow Ralph Lauren polos. Campbell's book details an uncut LGBTQ artistry, spanning digital, print, paint, and even ink n' skin work (check out the Phil Sparrow's Tattoo Flash for that good stuff) -- tracing back to the days of pre-liberation and upward into the 21st century."—The Austin Chronicle
"An entertaining, insightful, beautifully illustrated book that explains and celebrates the role of LGBTQ graphic design, and designers, since the Stonewall uprising in 1969 -- a sort of history of LGBTQ life and activism told through our symbols... [Campbell's] writing is insightful and entertaining and always interesting."—A&U Magazine
"A pretty comprehensive illustrated history of the gay rights movement and how it's changed over the years.... Discover the stories behind some of the most memorable symbols of the past five decades."—HeSaid Magazine
"[Queer X Design] is an anthology of our trek from invisibility into Pride and beyond. It's a fascinating record that contains images that also predate the Stonewall rebellion by more than a quarter century... Between the covers of Queer X Design, you'll find photos that delight, artwork that seethes with rage, and images that have united the LGBTQ community in victories and setbacks throughout the struggle for equality."—Metrosource
"An empowering visual history of the iconic symbols and designs that defined many eras of the LGBTQ movement."—The Globe and Mail
"Queer X Design highlights and celebrates the many inventive and subversive designs that have helped drive the LGBTQ movement over the years...it's an inspiring and colourful visual history of design harnessed to bring about political and societal change."—CreativeBloq
Product Details
ISBN: 9780762467853
ISBN-10: 0762467851
Publisher: Black Dog & Leventhal
Publication Date: May 7th, 2019
Pages: 256
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From left: Irina Baranova, Alicia Markova and Nora Kaye posed in one of Jacob's Pillow's original farm buildings. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
These Vintage 1941 Photos Show Rustic Life at Jacob's Pillow, and the Star Dancers Who Saved It
This year, the Jacob's Pillow Dance Festival in Becket, Massachusetts, is celebrating its 85th season. Over the years, some of the world's greatest dancers of the 20th and 21st century have performed here. But without the help of two of Britain's biggest ballet stars during World War II, the festival might not have survived at all.
Founded by modern dance pioneer Ted Shawn, the "Pillow," as it's come to be known, had been home to his company of Men Dancers since the early 1930s. By 1940, due in part to the outbreak of World War II, his company had disbanded, leaving Shawn deeply in debt and eager to realize his assets.
In 1941, British ballet stars Alicia Markova and Anton Dolin leased the property, with the help of benefactor Reginald Wright. There they established The International Dance Festival, a school and summer residency for Ballet Theatre (now American Ballet Theatre). Many of the participating dancers, including Markova, had just left the Ballet Russes de Monte Carlo for Ballet Theatre, and the residency was a way of keeping them together. The dancers were not paid, so many survived on $10 a week in unemployment benefits, contributing $1.00 a day towards food and lodging.
That summer the Pillow saw some of the era's greatest ballet stars, as well as choreographers like Agnes de Mille, Bronislava Nijinska and Antony Tudor. The event provided much needed publicity for the Pillow and following year the Jacob's Pillow Dance Festival, under Shawn's direction, began to flourish.
Here are some photographic gems from the Jacob's Pillow Archives surrounding the summer of 1941.
Markova (center) with Irina Baranova and Nora Kaye. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Alicia Markova (b.1910 – d.2004)
Markova was responsible for organizing all the meals at the Pillow on the tight budget of $10 a week. "The feeding of the five thousand – nearly produced nervous collapse," Markova recalled in her memoir. Meals were eaten in the stone dining room, which is still where artists, students, staff and interns eat today.
There was no running water at the Pillow in the early 1940s – I love the thought of these glamorous ballerinas effectively "camping out" in the woods of Massachusetts. According to Markova's biographer Tina Sutton, before coming to the Pillow Markova consulted a New York camping shop and bought a portable zip-up rubber bath, which she used in her room!
This wonderful clip shows Markova performing the Sugar Plum Fairy Variation on the outside stage in 1941.
https://danceinteractive.jacobspillow.org/alicia-markova/sugar-plum-fairy-variation-nutcracker/
Dolin (center) with Irina Baranova and Alicia Markova seated on the steps of the original farmhouse. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Anton Dolin (b.1904 – d. 1983)
Dolin ran the school that summer and classes were held outside on the Tea Garden stage. Dolin later described Jacob's Pillow as "a summer of heart-aches, bills, work, lessons, rehearsals and headaches."
Despite wartime and gas rationing, people flocked to the festival for the weekend performances, much to Dolin's delight.
Baranova posed in the Tea Garden. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Irina Baronova (b.1919 – d. 2008)
One of George Balanchine's famed "baby ballerinas," Irina Baronova also joined the residency. She lodged at local woman, Ruth Derby's, farmhouse – a short walk from the Pillow. This house is now owned by the festival and continues to house artists today.
Baronova recalled that "Mother Derby was quite a character – she reminded me of those cozy-looking grannies in children's books. She fed as well and we abided by her strict rules."
Billy Skipper (right) and Frederic Franklin hand-washing their clothes under the water pump.. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.
Frederic Franklin (b. 1914 – d. 2013)
Freddie Franklin also came to visit his many friends at the Pillow that summer. This wonderful picture shows him and dancer Billy Skipper washing out their tights under the pump in the service yard!
Franklin would return to the Pillow as a performer with his long-term dance partner Alexandra Danilova in 1946, 1948 and 1952.
This wonderful clip is from their 1948 appearance. At a talk in 2006, Franklin explained that he and Danilova are not wearing the actual costumes from Gaîté Parisienne, as the Ballets Russes de Monte Carlo wouldn't allow them to borrow them.
https://danceinteractive.jacobspillow.org/alexandra-danilova-frederic-franklin/gaite-parisienne/
The archives at Jacob's Pillow have extensive records surrounding all performances at the Pillow past and present. The catalogue can viewed here. You can also see video clips from the collection here.
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Our Team
Ucon Architects encourage a commitment to design excellence by recognizing talent and diligence.
We are a practice that values and respects our staff, fellow consultants and our clients and the shared expertise we all provide.
Ucon architects provides a working environment that fulfills aspiration, enhances knowledge and skills, and continuously builds a culture
of excellence.
Our team brings vision and creative excellence to projects to create rich and meaningful places, inclusive and diverse spaces and enduring solutions.
We have successfully delivered a range of projects from thoughtful open space initiatives and interactive public spaces to major infrastructure works.
As well as providing all of the urban design and landscape architecture services.
Nikos Papadopoulos – Architect
Charlie Kotsampasis – Architect
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Tags: Delhi College of Art, College of Art, Institute of Fine Art
Art is reflection of the society.
Since time immemorial, people have captured the various moments of glory and pride in different art forms prevalent in our society. Indian society is amongst the most ancient civilizations of the world, and one can well witness the transitions and evolution of India society in paintings, drawings, and all other pieces of art. Ranging from common person to some of the most known names in the history of Indian fine art, all have made great attempt to portray all good and evils of the society. Somehow, with the formal establishment of institutes of fine art, these art works always bear a constant motto to deliver a message to the society to build a better society and contribute to effective and efficient community development.
A college of art or an institute of fine art should have a sense of social responsibility and they truly serve to a certain extent. When someone spends some time with a painting, few natural questions arise -
“Who has made this, and why?”
“What is the artist trying to say?”, and more importantly,
“How does this piece of work make me feel?”
Students initially may join an institute of fine art or search for a reputed college of art to satisfy his urge to learn the various minutes of art, but gradually and naturally, his work starts addressing to the above queries. This seems obvious and clearly apparent, and at times one may find nothing new in this. However, the question here is; “is every piece of art able to speak to the society?” “Does every painter cater to some fraction in community development?”
In this earnest attempt, Delhi Collage of Art, one of the whistle blowers among modern colleges of art in Delhi, has been steadily excelling towards show casing the traditional values of Indian society and the evolutionary journey of community development through Art in India. Encouraging numerous individuals from all the nooks and corners of the country, DCA (Delhi Collage of Art) is offering an open platform for everyone to live up to their dreams.
As an institute of fine art, students of this art academy are trained not only to master the techniques of the trade, but they also naturally inculcate in themselves the proficiency how their effort works for better community development.
Here at DCA, social address and community development through teaching fine art are above the syllabus and curriculum. Undoubtedly, the best, this Delhi College of art is a bit different place for all likeminded art enthusiasts.
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Glen Berry
has been a member since May 2008 and goes by GlenVision.
I am a photographer from Huntington, West Virginia. I have a wide range of artistic interests, and I hope to share some of those through JPG Magazine.
Find me at: http://glenvision.com
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Enter "Panorama"!
Q: I am really into my wildlife photography but cannot afford a super zoom lens, I have a 300mm and am considering a teleconvertor. Has anybody had a experience with these and would you recommend them?
A: Do you know?
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Unique Australian design. Three words that can be packed with meaning, or simply used as a marketing slogan. In the case of Jardan, it’s very much the former. Beginning life as an upholstery business in 1987, the company has grown to become one of Australia’s most innovative furniture producers. It’s also one of a small handful that continue to make their products locally, combining modern manufacturing techniques with handcrafting methods that celebrate the nature of local timber.
“We try and push boundaries with materials as well as design,” says Jardan’s head designer, Tom Shaw. “We have a Melbourne-based design team that can really connect with local culture and understand what our customers want. A lot of design comes from overseas, so what we’re offering is quite unique because they don’t have the same lifestyle we do.”
As Shaw explains, the philosophy extends to materials. “We like to use Australian timber because it gives the furniture a story and really ingrains Australia’s history into the product.”
We’re chatting in Jardan’s Melbourne showroom with Shaw and co-owner Nick Garnham, who had been working as a furniture maker at Jardan for several years before taking over the company in 1997 with his brother and father. At that time, Jardan hadn’t yet created a real identity.
In the past 18 years, Jardan has become a completely different company to that of its first decade. Some changes are obvious – the aesthetic and quality of the end product, the attention to detail and the growth in staff from eight to around 100 – and some are less so. An avid surfer who spends as many weekends as he can out of the city and in the ocean, it was important to Garnham that his business didn’t just pay lip service to conservation and sustainability. With its focus on local manufacturing and materials, sourcing ethically and minimising waste, in 2014 Jardan was awarded Australia’s highest environmental rating and is now an accredited carbon-neutral organisation.
“It’s always been important for us to have a low environmental impact,” Garnham says. “It’s a big feature we’ve been building on for the past 10 years. We have an ethical responsibility to look after the planet.”
Beyond this responsibility, Garnham is enthusiastic about supporting Australia’s next generation of designers. As part of the Mercedes-Benz Design Award by Broadsheet, Jardan are giving an emerging Australian designer the opportunity to manufacture their own piece of furniture, to be launched and sold within the Jardan range.
“We’re excited to be partnered with a company like Mercedes-Benz, which is at the forefront of design,” Garnham says. “We’re really looking forward to unearthing new Aussie talent and engaging with the young design community.”
As pioneers in the design field, both Garnham and Shaw will be looking for a design that will be comfortable in any Australian home. They also emphasise the importance of original, creative concepts that will excite them and potential customers.
“We want to see something that excites us, something that’s original, engages with new concepts and that even challenges us by using unusual materials or design techniques,” Shaw says. “We always ask that of our own designers. That really drives us in terms of technology and pushes our design to new levels. Each piece should feel as though it’s been designed with love and that it could bring integrity to someone’s life and home.”
Jardan is partnering with the Mercedes-Benz Design Awards by Broadsheet to give one Australian the chance to bring a product to life with the company. Entries are now closed and the finalist have been announced. The winning submission will be announced on September 17.
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Writings / tag / leigh
About a year ago, as a form of therapy really, that I launched my Facebook page as a complement to my website. I've long been a photographer but I'd never really pushed it at people so I decided to be a bit more "in people's faces" with it. As they say in the movies... it's been emotional!
I really have to thank the band of faithful followers and friends who have encouraged me to push my work out there. Without that encouragement I wouldn't be writing this today.
I also need to thank the people who have allowed me to take their picture, either of them or their families! That said I'm reasonably sure they're all happy with the pictures they got in return!
It's hard to believe that in such a relatively short period of time the page has over 70 "likes". That means at least 40 odd people I don't know have looked at and liked my images! The truly amazing thing is that I've not really pushed myself so the growth is all "organic". I am trying to change that this year
I'm still slightly surprised when I think that people have paid me money for my work and paid me to take their picture! I find it truly humbling to be honest but yes, it's also very cool.
I hope that people continue to enjoy my work and that new people find and enjoy it. There's quite a big moment looming on the horizon and I make no apologies for mentioning (yet again) that I will be showing work over the second May bank holiday at the Mentmore Art Show. Looking at photographic images on the web is all very well but if you really want to enjoy an image then you need to see a print. If that print is mounted and framed all the better.
There's a tendency for some people to be slightly dismissive of photography these days , people don't always appreciate the artistry that goes into conceiving and executing a photographic project. Photographers don't produce these pictures by accident, we see what we want, we figure out how to achieve it and we shoot it and we often put as much thought into how we present it as we do shooting it.
I'm going to finish this blog with a big "Thank you" to the people who had enough faith to entrust me with their likeness... First up is "Simon's Gang" you could consider this my first ever "commercial shoot"
Old Skool!Of course the smiles do spoil the mean and moody look
Next up we've got the simply gorgeous "Pippa" who along with her mum became the first shoot for someone I didn't actually know beforehand!
Dolly 1Dolly is her favourite toy but I'm afraid to say she really didn't get a look in!
I can't say thank you to anyone without saying thank you to "Leigh". Approached by a complete stranger, totally out of the blue who handed her his card and said "Let me take your picture", she was apparently unfazed because she emailed me a few days later and we arranged her first shoot! I've "shot" her a number of times now in various guises and styles. I'm not sure if she realises just what a big help she's been to me in allowing me to practice technique, try out ideas and generally just get out and about with my camera. It's an image from her very first shoot (not just with me either!) that adorns my "hire me" page.
Oh really?!?She's in her element now, relaxed and confident.
These people should all take a bow.
Next stop for me (and Danbo!) will be New York, New Jersey and Philadelphia! It's a hard life eh?
Thanks for reading (and supporting me)
17th April 2017
August comes to an end. All things considered I don't think we can complain too much about the weather, certainly not compared to the washout that was July. Photographically speaking, it's been a very interesting month and as summer slides into autumn I can't help but look forward to the golds and browns that it signifies.
Oh really?!?She's in her element now, relaxed and confident.
I took pictures of Leigh and partner Gideon, a set of pictures I'm very pleased with. They were very well received and that's quite gratifying to be honest. Thinking about it now, I can't believe how I ended up taking her picture. I think I touched on it briefly but to add more flesh to the bones (as it were) I was at a recent event where I was promised "Comic Book Heroes and Villains" but the reality was somewhat lacking. I was sitting on a wall eating an ice cream trying to figure out what I could do for the rest of the day when Leigh and a group of friends walked past. I caught a snatch of conversation..."blah blah.. shoot on Friday.... blah blah" and my plan was formed, I'd ask this girl if she'd like to have her picture taken. With far more confidence than I felt I walked up to her, introduced myself, gave her my card and asked her to have a think about it. She dropped me a line a couple of weeks later and well the rest as they say, is history. Both Leigh and I want to do more pictures so stay tuned.
Time to go...I was using a wide angled lens for this shot, I love the slightly distorted perspective to the image, the flash has given a really nice washed out feel to the foreground and the setting sun in the background adds a splash of colour.
I also took a run out to Rutland Waters. I'd never been before but I'd heard about this church that was half submerged and wanted to go and take pictures of it. To be fair I think me and a million other 'togs have all taken pictures of it but so what? It's a great subject!
View from the southShot from the end of the "Rutland Belle" pier.. fairly sure that I was breaking all kinds of rules; no life vest!
This weekend I found myself at the Imperial War Museum Duxford. I've been many times and I never get tired of the place there's always something going on.
Monkeying aroundthree... er ... "wise".. monkeys?
We went this time because it offered the chance to get "up close and personal" with a Lancaster bomber, I got some great pictures from angles that you wouldn't normally be able to see and excitingly, I was able to go aboard the aircraft and take shots inside. They'll be in a forthcoming update. As a bit of a bonus, we were treated to the sight of the B-17 "Sally B" coming home from Bournemouth, we watched her land and then taxi past us no more than 25 yards away. Fabulous!
Thanks for reading.
22 August 2016
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Music Mutes Photos Trombone
Last weekend, Erin Lesser, Matt Marks and I played for Art Trek Plus at the Metropolitan Museum of Art. Our participation was part of Alarm Will Sound’s residency at the museum. For Art Trek we performed works for children, ages 5-12, and spoke about their relationship with visual art. The presentation also included an interactive activity: the participants improvised sounds with Matt, drew landscapes with Erin and created their own abstract works with me.
I performed Scelsi’s Tre Pezzi, not something someone would traditionally perform for that age group. I ran it by my daughter beforehand, figuring if a three year-old could handle it this group should be OK. It went over well at home and at the museum. I performed in Gallery 911 in front of two works by Burgoyne Diller, one in gray, the other in black and white and punctuated with primary colors; both using, primarily, rectangles to create form on the square canvas.
I related the simplicity in the gray scale piece to the first part of the Scelsi: the music gains its shape from the repetition of an A flat (and eventual explosion to an E flat), the painting’s form comes from repeated rectangles. I related the second part of the Scelsi to the other work by Diller. There’s still repetition in the music (this time centered around an A) but in a more dramatic fashion and with the added “color” of the mute. The relation to the Diller is not one-to-one but there are still some similarities. For the final part of the Scelsi we had the participants create their own image. Most everyone took theirs with them, though I did find this one left behind:
New Music Mute Problems
I had a particularly unusual mute issue. I enlisted my daughter’s help to solve it.
Advice Mutes
Mute Care
This past week I performed the second movement of the Castérède Sonatine. While preparing I came across an issue: my new cup mute didn’t “have” a low G. The issue being that in the final, muted section of the movement, there’s a scalar passage that goes down to that note. So, I did what trombonists have been doing for decades, I drilled a hole in the mute. I think I picked up the skill from David Waters at Rice University but I know I had seen it around for a long time before then. I remember wondering why others had done it. There are a lot of techniques we pick up through the years without having been formally “taught.” Here are a few tips for taking care of mutes that generally fall in that category.
Mute Response Issue
I’ll start with the response predicament. I spoke to Dr. Hans Pfister, a physics professor at Dickinson College, about why it happens. From what I can tell it has a lot to do with (P=P(t)=P_0*sin(omega*t)). Which to me means “????” (Actually, through the power of Google I learned that is the Acoustic Wave Equation and I believe Dr. Pfister is saying something along the lines of “the closed space in the mute doesn’t allow the acoustic wave to fully form; putting a hole in the mute gives more space for the air molecules to move and allows the wave to form. This is why the problem doesn’t exist in the upper register, the smaller waves have enough room.”) There are two questions that come to mind: 1) Why doesn’t Humes & Berg just make the mute with a hole in it? My best guess: it does change the sound slightly. And 2) Why use the mute if it has the problem? To which I answer: I like the sound.
I put together a video demonstrating the problem and the solution:
Cork Replacement
As things would have it, my good buddy Mike Selover borrowed that same mute just a day before my performance and managed to break one of the corks.
What to do? In this case the solution was pretty easy. Since I still had the bit of cork that was missing all I had to do was glue it back into place. I’ve heard of people using everything from a hot glue gun to epoxy. Loctite has worked for me in the past so I went that route.
If I didn’t have the cork there are a couple options: replacement corks from Ferree’s or the mute manufacturer (which can sometimes be difficult to track down), buy a piece of cork board and cut out a piece to size (pricier but you’ll have cork for a few years worth of repairs), weather stripping (I’ve seen people use this in the past with various results though I’ve never tried it myself), or an old mouse pad (I’ve heard of people using this but again, have never tried it). The weather stripping and mouse pad apparently have the benefit of super-friction but using them also makes it more difficult to take the mute out (so I hear).
Mute Won’t Fit
Changing the cork size will affect the fit of the mute and sometimes the sound. If the corks are too big you’ll want to file them down. You’ll need a file that’s not too rough and preferably flat, though my guess is you can probably make most anything work with enough patience. Here’s what I use:
I have an Ion Balu wooden straight mute that came with pretty large corks. So large, in fact, that the mute wouldn’t fit properly. The corks are also interesting because they are in three sections. The outer layer appears to be stitched on:
With just a little filing I got them down to a good size. The mute now fits and sounds pretty good.
If the corks were too small? I’d try either layering cork until I get to the right size or remove the current corks and replace with larger ones.
Individual Mute Bags
I’ve probably taken mute care too far with this… I’ve made bags for my mutes to save them from bumping into one another and getting scratched up when traveling. It’s completely a cosmetic thing but hey, I don’t want them all to end up like this:
That’s why they have these:
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A Look Around The Barton Project.
Published on 22nd January 2014
There is a belief that in architecture and interior design everything should flow. For most, the idea of fluidity and cohesion comes from a consistency of styles; you wouldn’t, for instance, augment a pretty Georgian manor house with a cubist concrete extension. However, sometimes diversity has a magnetism all of its own and it is when people are prepared to experiment in a measured way that great architecture is born.
traditional conservatory by Apropos
It is safe to say that there was nothing unusual about the Barton Project. A well-proportioned redbrick detached house on the Isle of Wight, the building served its owners well, but they had always felt that the property was lacking in light. With small standard windows and a set of sliding doors providing the only apertures, the interior felt dim and stuffy, despite being generously sized. With a wish to enhance their home with a more open-plan feeling, the family turned to Apropos and a redesign mission commenced.
Lean to glass and aluminium extension by Apropos.
The owners of the Barton Project had a clear idea of what they wanted; a traditional style conservatory to the side of their home and a large glazed kitchen and utility extension, which would span the entire back length of the building, allowing light to penetrate deep into the ground floor. The Apropos designer worked closely with the Bartons, using their ideas and adding to them, creating two distinct additions to the house which don’t just boost the functionality of the property, but also the appearance and the atmosphere.
Traditional Conservatory Interior by Apropos
While the traditional side conservatory employs a colour-matched brick base, allowing all sides of the structure to be utilised, the kitchen/utility lean-to takes a different path. Still delivering the light-filled space desired by the Project’s owners, the design has been bettered by the addition of five and ten-leaf Aprofold doors, which fold and slide to the side, allowing the back of the house to be completely opened.
Kitchen Extension by Apropos
Both Apropos structures have been rendered in Pilkington Activ Clear self-cleaning glass and slate powder-coated aluminium, which unite the disparate designs, giving the building the aesthetic interconnectivity that is so much desired. They also feature automatic ventilation, which ensures that the rooms maintain a comfortable temperature throughout the year.
Kitchen Extension by Apropos
Before the addition of the Apropos extensions, the Barton Project was a perfectly pleasant and serviceable home. Now, it is a home to be envied. The kitchen and utility lean-to has become a ‘family meeting ground,’ an attractive, airy and bright home hub. Conversely, the side conservatory is used as a glazed snug; a place to relax, switch off and be content. Together, the existing house and Apropos extensions make a statement; architectural flow can be found in many ways, but the most important thing is to have home that gives you the space you want and need.
If you would like to order your free copy of Apropos’ brand new 2014 brochure please click here or call us on 0161 342 8200. To book a complimentary design consultation with our highly regarded design team please click here.
Return to Blog
©2019 Apropos Conservatories Ltd
Website by Clicky Media
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Review: Field Notes Unexposed
The new Field Notes edition, Unexposed, has been exposed. Like Shelterwood before, this edition elicits both love AND hate from fans. The edition arrives within a black envelope so that you cannot see what covers you are getting. The editions are packaged somewhat randomly, so you have no guarantee of getting all 6 colors in your packages. To me this is a very interesting way of randomizing the packages. This has also led to frustration among collectors and subscribers. In some cases people have only received 3 of the 6 colors and are trading with other collectors and fans to get all 6 colors.I was one of the fortunate people who received all 6 colors in my subscription package. But I liked them so much I traded off my sealed Arts and Sciences edition to get another 3-pack. I received 3 more of my favorite colors and another black envelope.
Let’s get to the nitty gritty of this, the review. The colors are neon, eye searing neon with a near opposite color logo. I love these colors. They go very well with my Ticonderoga Neon pencils or Neon Wopexen. They bring me back to back-to-school shopping in 1989 or 1990 where neon ruled the world in pencils and pens. My love of these colors is pure thrown back, sort of like my total enjoyment of the new Trapper KeeperThe covers and interior feature the same soft touch printing as the Drink Local series, Which up until these was my favorite edition. The soft touch just feels really neat. When thinking I can rub the covers between my thumb and fore finger. The texture is just fantastic. I read more than one complaint about these colors being “not professional.” I use my FN as catch alls and journal, and now during my internship and a place to take quick client notes. Are they professional enough for me to take into staff meetings? I don’t know, but I’m also secure enough that if someone were to comment on the color to be able to say, “I know! Isn’t it AWESOME!?!”Inside is what FN calls “reticle graph.” Before I had received my books I had to look this up. Instead of dots for dot graph they have replaced them with little plus signs (+). One could think of these like sights or unfinished graph. They are printed in light gray. I wasn’t sure if I’d like these, but so far I really really like them. I might even prefer them to regular graph. I do like dot graph a little more but these are fun. The paper itself is regular FN paper. It’s not fountain pen friendly but great with pencils, gel ink, and roller ball pens. Another complaint I’ve read about is that people really really hate the near color opposite* printing on the inside color. It really does make the interior stuff hard to read. I find it impossible to look at and read the interior of the green covered notebook. The neon green on neon orange is impossible for my eyes to makes sense of. If I squint I can read it but it’s hard. I don’t mind since all of the FN stuff stays the same from book to book. I know where to write my name. I also found that once I wrote my info into the various sections in black ink it broke up the field of neon and I was much more able to read the neon-on-neon printing.The envelopes that houses the notebooks as they are shipped to you are a flat black. As soon as you remove the shrink wrap the envelope starts to show finger prints. The envelopes aren’t super sturdy but they are neat and a great way to store 3 FN in a bag or backpack.Overall, this is a great edition from Field Notes. Great colors, great “soft-touch” covers, awesome reticle graph grid inside, and your typical fun FN uses inside. This will be one of the few that I stock up on and keep a few extras in my stationary boxes.
*They aren’t true color opposites! The opposite of red is green, blue is orange and purple is yellow. These are one step away from the true color opposite of the color. This does fun things to our color perception as our eyes try to makes sense of these colors together.
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Inciting operational innovation
In the world of small practice, if you want a bigger slice then you better be prepared to fight for it – enter unrealistically lean fee structures and late night work stints. But what if architects could actually grow the cake? This was the timely question posed by Maria Smith, the curator of this year’s RIBA Guerrilla Tactics conference, at the RIBA in London on 8 November.
Timely because in an era of disruptive technologies and an increasingly efficient development machine that has all but marginalised design, the metaphorical architectural cake is shrinking. We must act fast, in order that as one of the panellists in the Construction Zoo session, John Boxall, Partner at Jackson Coles, ominously put it: architects ‘don’t become the Kodaks of this world’.
Better get thinking then, which is exactly what the interactive format and real-time themed conference intended us to do. Innovatively set within a framework surprisingly borrowed from the CASS Business School at City University of London (yes, you read right) and the research being done there by Professor Stefan Haefliger, the day-long event set out to encourage a more analytical, business-savvy and experimental approach through an understanding of how the traditional ‘solutions based’ model in architectural practice is only one way of doing things (product, match-making and multi-sided business models exist as alternatives).
An inspiring keynote lecture by David Marks of Marks Barfield Architects demonstrated through an insightful and frank account of the practice’s phenomenal success – first with the London Eye and now with the recent BAi360 viewing tower in Brighton – the value of entrepreneurialism in the discipline; a panel discussion looked at different business models operating in the construction industry; and a series of case studies from the coal face of innovative architectural business models provided a tantalising glimpse at the landscape of possibilities when architects begin to innovate at an operational level. Of particular note were Carl Turner’s re-imagination of the shipping container and mixed-use developments with a wider social benefit; and Orkidstudio’s work, which demonstrated how charitable construction work might become sustainable.
During the final part of the day, Daisy Froud chaired the Super Model challenge, commendably dissolving the ordinary didactic format of a conference into a workshop, which asked the audience to collaboratively come up with their own solutions. This leap of faith into the participatory paid off beautifully, as the subsequent exhibition of posters demonstrated. (The posters were pinned up on exhibition stands in the Jarvis Foyer for delegates to view and vote on.) Ideas ranging from 3G Trees to the up-ending of existing development practices with a Section 601 Agreement emerged on large white sheets of paper seemingly from nowhere.
On top of the sheer range of creativity, it was the candidness and generosity of the speakers that really stood out. There was a confidential air to the presentations – as if you were looking through someone’s desk drawers – such as the account given by Nigel Ostime of how the legal agreements for Rational House had fallen short or Claire Bennie’s advice about how to gain access to local authorities.
The conference was a wake-up call to the fact that though we live in an era of business innovation, in which we are seeing the world tipped on its head, as we buy, communicate, learn and experience in radical new ways, architects have been tentative to join the party. As the many inspiring examples on show throughout the day demonstrated, we need to limber up. The second part of the challenge for me, however, relates to how architecture can do this in a critical way. Socially irresponsible and corporate examples such as AirBnB and Uber that regularly came up are a reminder that in the face of endless possibility, the architecture industry also needs to remain grounded. What is lost when architecture becomes a product? Do match-making services centralise economic power? Is efficiency always a good thing? One thing is for sure, as Maria Smith has wryly observed, there are interesting times afoot.
Text by Georgie Day, FACtotum.
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Logo: American Artist Chloe Dee Noble
CHINA 2003 International Sculpture Invitational
Art is for Everyone
and art is in everything
(the journey of creating a sculpture)
A paper written by California painter and sculptor
Chloe Dee Noble
Presented to
Sculptors and Essay Invitational
China Changchun International Sculpture
Conference 2003
as an accompaniment to bronze sculpture
"Beautiful Dreamer"
This paper translated from Braille and English into
Chinese, French and Russian
for the Selection Committee,
State Ministry of Culture,
Changchun Municipal People's Government,
China National Guiding Committee for Urban Sculpture Construction,
with the theme of "Friendship, Peace and Spring"
taking place September 6 thru 8, 2003
Changchun, China
Braille transcription provided by Shirley, Blind & Visually Impaired Center of Monterey County, California.
All rights reserved, copyright 2003
Image: Beautiful Dreamer, bronze sculpture
Art is for Everyone
and art is in everything
(the journey of creating a sculpture)
Chloe Dee Noble
All my life I had been a practicing artist - painter and sculptor, with studios in northern and southern California. I became blind in 1996 when a brown recluse spider bit me on the tip of my nose in the middle of the night as I lay sleeping in my bed. My life changed. It became dark and I became very sad.
Suddenly, I was pulled from the full, energetic life of a person who created art on a daily basis to a withdrawn, sad person who was in constant pain -- emotionally and physically -- every day. My coping skills were minimal.
As soon as I recovered somewhat from physical complications -- the spider's venom is designed to shut down your body's organs -- I started to explore my options for living.
Someone told me about the Center for the Blind and Visually Impaired in Pacific Grove. Several times I called to make an appointment -- but always cancelled. To actually GO would be admitting that I was really BLIND. Somehow, I felt if I didn't acknowledge it, I would wake up one morning fully recovered.
Eventually I went to the Uveitis Clinic at the Proctor Foundation, which is the Eye Research Center for University of California San Francisco. Patients with serious eye problems go there from all over the world. Proctor Foundation is an amazing place. I learned I was not the only person with a problem and compared to many my problems were few.
My spirit began to adjust to this new way of life and I was ready to visit the Blind Center in Pacific Grove.
The first day I met a volunteer named Victoria. Victoria is of Russian descent. That day she shared the experience of her most recent vacation -- riding across the Alaska tundra in a dog sled. I was amazed.
Later that evening, I began to visualize this beautiful dog sled making its way thru the icy cold as it cut a path over snow covered hills -- thru the tall pines. Soon I began to sculpt this vision in my mind and it became a sculpture I plan to cast in acrylic that is clear as ice.
In Braille class several weeks later I learned that Janet -- my instructor -- had lost all of her vision about ten years ago. She returned to school to get a masters degree and work with the blind. In the meantime, she pursued another longtime passion -- that of being a CLOWN. She attended Professional Clown School in Minnesota, graduated and became Monterey Peninsula's "Mop Top".
Janet helped me enroll in several classes at the Blind Center. We met with counselors in an effort to design a program specifically for my needs but my biggest heartbreak was my inability to paint. "Your creativity will find it's way back to you", Janet frequently encourged. She was right.
After attending Proctor Center, San Francisco for several months, special friendships with other patients developed. We got to visit each other in the reception room while waiting our turn to see the doctors. We talked about many things but mostly food and shared recipes.
One day at the clinic, I was anxious to see Tom, another patient I had met. We always had the same appointment date and he was bringing a special recipe. After a long wait I realized Tom was not there. Afraid he was missing his appointment I asked where he was.
"Chloe, he died", the receptionist said.
"Why?". I asked, "What happened to him?"
"He had AIDS. Tom died of AIDS last week. I'm sorry you lost your friend", was the gentle answer.
My heart broke, "I didn't know that."
"Yes", she said, "Many of these beautiful young men in the waiting room have AIDS -- that's why they lose their sight".
I was in total shock. I cried all the way home I din't mean to -- I just couldn't help it.
It was then that I began to wonder if this life journey was leading me to discover some special meaning. Perhaps I was to do something for people with AIDS. What would that be? What could I do?
My art studio had a lot of clay. My Muse led me to unwrap it and put it on the sculpture table. I was overcome with sadness of losing my friend and slowly the clay was transformed into the almost life-size bust of a sleeping man. He had the most beautiful, peaceful face and rested comfortably in a reclining position.
As I sat at the table a magnificent current of energy burned its way from my grieving heart directly thru my fingertips.
When the sculpture was finished, I took the clay to the Monterey Sculpture Center, a wonderful place where I had created sculptures in the past. They made a mold, then it was cast into bronze. The sculpture is 15" x 17" x 9" including the black polished granite base. "Beautiful Dreamer" comes in two finishes. One polished gold, the other brushed silver, both have purple dreadlocks and are mounted on polished black granite.
I designed it to wear a diamond stud earring. The matching earring comes on a Braille Romance Card for the recipient to wear, in memory of a loved one or simply as a prayer for healing. Thru auction, it has become an instrument to raise funds for AIDS research and to benefit the Blind. It will raise more than one million dollars for these two causes, and has touched the hearts of many.
Art is certainly for everyone! And art is in everythng. Many blind people have touched the sculpture to discover it's beauty. Parents who have lost their beautiful children have the sculpture and they wear the matching earring. It brings comfort and joy knowing their purchase dollars are helping others.
During 2001, the sculpture was nominated for the prestigious "Make A Difference Day" Award, an annual day celebrating an occurrence - an event - or a happening - that benefits others. Make A Difference Day is co-sponsored by the Points of Light Foundation, founded in 1990 by President George Bush, Mr. Paul Newman and USA Today Magazine.
Art is for eveyone and in everything because it is all around us, all the time. God is the most magnificient artist. A brief stroll thru a flower garden reveals this each time you smell the delicate fragrance, see the bright colors and sculpted free-form stems as they sway in gentle breeze. Look at the hillsides along the highway as you go for a drive in springtime and witness baby calves standing near their mothers or see lakes being visited by baby ducks.
Everything, everyone, every moment is magnificient unto itself. Life is full of miracles. Miracles are art. Life is art.
You may say, "Yes, but that is such a sad story."
True. But one filled with HOPE and FAITH and LONGING.
to find the answers.
FAITH to keep going.
LONGING to capture art in the spirit so it can nurture the soul.
There really is a reason for everything. There is a time and purpose for everything. When we are unable to see the reason, we have to trust ourselves and our higher power.
This life experience has taught me that the need for love, respect and human dignity never changes.
Whenever I create art, I totally lose myself and at the very same time -- I totally find myself.
ART in the form of personal expression brings each of us to the depths of our innermost selves where we are allowed to tap this energy and bring it forth. It may then be presented as a gift to the hearts and minds of others -- to bless their lives and our own.
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Water Stains on the Wall by Cloud Gate Dance Theatre of Taiwan
Cloud Gate Dance Theatre of Taiwan returns to Brooklyn Academy of Music (BAM) with Water Stains on the Wall, a metaphorically rich continuation of artistic director Lin Hwai-min’s choreographic exploration of the beauty and aesthetics of calligraphy.
Projections of continuously shifting cloud shapes—reminiscent of flowing ink—transform a tilted white platform into a giant sheet of rice paper. All movement is at once filigreed and rooted, reflecting the virtuosity of chi kung, internal martial arts, modern dance, and meditation. The dancers seem to hover as they jump and spin, embodying the calligraphic potential of clouds, slithering snakes, and water stains on the wall.
Lin Hwai-min, choreographer and artistic director of Cloud Gate Dance Theatre of Taiwan, studied Chinese opera movement in his native Taiwan, modern dance in New York, creative writing in Iowa, and classical court dance in Japan and Korea. In 1973, Lin founded the first contemporary dance company in any Chinese-speaking region, naming it after the oldest known dance in China—Cloud Gate, a ritual dance created some 5,000 years ago. Trained in tai chi tao yin—an ancient form of chi kung, modern dance, ballet, meditation and calligraphy—Cloud Gate Dance Theatre of Taiwan’s arresting style has elicited widespread praise, with Dance Europe noting: “No company in the world dances like Cloud Gate.”
For his artistic achievements, Lin was named one of the Ten Outstanding Young Persons in the World in 1983 by Jaycees International, and received a Lifetime Achievement Award from the Department of Culture of New York City in 1996, an Honorary Award of Fellowship by the Hong Kong Academy of Performing Arts in 1997, the Ramon Magsaysay Award (“the Nobel Prize of Asia”) and an Honorary Doctorate from National Chung Cheng University of Taiwan in 1999. Furthermore, he was selected as the “Choreographer of the 20th Century” by dance Europe magazine, nominated for the “Best Director Award” by Nyon Biannual Festival, and was chosen to be one of the “Personalities of the Year” along with Merce Cunningham, Jirí Kylián, Pina Bausch and William Forsythe, by Ballet International magazine in 2000.
He was celebrated by the Time magazine as one of the “Asia’s Heroes” in 2005, and honored by the International Society of Performing Arts (ISPA) with the “Distinguished Artist Award” in 2006.
First Wife of Taiwan with Lin Hwai-Ming
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China's porcelain capital establishes art zone for young artists
Take me away, mom
Animals on the Road
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• http://english.dbw.cn 2016-12-12 15:07:33
Ceramic works sold at the fair at the Taoxichuan cultural park [Photo: Global Times]
Made from components mixed with traditional porcelain clay, a 3D printed replica Sphinx was on sale in a workshop in Taoxichuan, a renovated culture park in the porcelain capital of China - Jingdezhen, East China's Jiangxi Province.
Far faster than traditional handcraft techniques, the statue only took five hours to make, while simpler articles may need only three hours. The process is also far less complicated. Even non-professionals can make their own items with the technology.
These types of workshops and studios, owned by domestic and foreign artists and designers, are common in Taoxichuan, previously the site of 10 thriving ceramic factories built 60 years ago. However, after drastic drops in profits during the 1990s, employees were laid off as the plants shut down.
Staying vintage
In 2014, the factories were renovated into shops and galleries as part of a project to turn the area into an art zone.
"When the renovation project began, we decided to reserve the area's old buildings and articles as much as we could. They bore witness to and present what happened in the past," Xiong Honghua - deputy general manager of the Jingdezhen Ceramic Culture Tourism Group, a state-owned enterprise and developer of Taoxichuan - told the Global Times on Tuesday.
This past can be seen everywhere in the art zone. At the entrance to the zone, a cafe has been set up in a factory. One of the cafe's red brick walls is still painted with a slogan from the 1960s: "Hold high the banner of Mao Zedong Thought."
Apart from old buildings, new uses have been found for old infrastructure, such as pipes that have been turned into chairs and an engine that has been converted into a reception desk in the exhibition center.
A chimney with a painted slogan that reads "Every Communist Party member should know the saying 'Political power grows out of the barrel of a gun'" also attracts many visitors.
In the zone
To give young artists a chance to show off their works, an art fair is held at Taoxichuan every Saturday. Around 500 booths are available for artists to present and sell their art. As of November, more than 3,000 artists had applied for booths since the weekly fair opened in April.
Xia Yiqun, a 22-year-old senior studying sculpture at the Jingdezhen Ceramic Institute (JCI), is among the many artists looking for opportunities at the fair.
"I was one of the first to come to the fair. This is the place where my career and dreams began," Xia told the Global Times on December 6.
After presenting their works to the fair organizer, young art students and artists are assigned a booth for an entire month. While artistic talent helps an artist get in the door, their dedication is what keeps them at the fair. If an artist misses a fair without reason, they will be fined 50 yuan ($7), while two absences disqualify them from getting a booth at the fair.
"For a craftsman, if your works are not good enough or you are not taking your work seriously, then you will find yourself going out of business," said Xia.
According to the sellers at the fair, operating an outdoor booth at Taoxichuan is no simple task. You run the risk of others plagiarizing your work, face increased competition and have to deal with unexpected situations such as rainy weather.
"It rained almost every Saturday night during April and May, but it was worth all the trouble when visitors carrying umbrellas came and asked about my work," said Xia.
Creating a brand
While Taoxichuan is not the only place that holds weekly fairs in Jingdezhen, it is one of the most attractive for young artists.
"Unlike the other places that charge around 50 yuan a day, we don't have to pay to present our work at Taoxichuan. That means a lot for young artists just starting out," one artist at the fair told the Global Times. This sentiment was echoed by many of the artists at the fair.
"The visitors come from different cultures and backgrounds and the art atmosphere far outweighs the commercial feeling," Li Junlong, a 27-year-old businessmen at the fair, told the Global Times on Tuesday.
Li graduated from Nanyang Institute of Technology, a university in Central China's Henan Province, in 2013. He is just one of many who have come to Taoxichuan from other areas of China.
They call themselves jingpiao, or "Jingdezhen drifters," people who came to Jingdezhen to fulfill their dreams of being an artist.
Apart from the pure art atmosphere, Taoxichuan is a major cultural project supported by the local government. Over 450 million yuan has been invested in Taoxichuan so far, turning it into an art community bustling with workshops, cultural centers, galleries, restaurants and hotels."The government has made Taoxichuan the city's brand, and this brings in high quality clients and artists," said Li.
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Author： Source：CRI Editor：Yang Fan
share: 0
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Valley View: Opioids as a community crisis, part two
'Nothing to see here' protest painted over mural on East Allentown business
Emily Opilo
Contact ReporterOf The Morning Call
“Nothing to see here” painted in protest on East Allentown business
Geoff DiVittorio has a little something to say to the east Allentown neighbors who complained about his graffiti-style murals.
"Nothing to see here."
As in no controversial art to see beneath the newly scrawled message on the wall of East Side Tattoo. DiVittorio painted those words on top of an existing mural on the exterior of his Union Boulevard shop after he and several other business owners were accused of creating a negative environment in the neighborhood with their wall art.
"[It] was more or less just as polite of a smack in the face as I could come up with," DiVittorio said. "I definitely feel insulted."
DiVittorio decided to take a stand following controversy that began in March when a local laundromat owner complained about several graffiti-like murals in the East Allentown neighborhood. Members of the East Allentown Rittersville Neighborhood Association took the complaints to City Council, handing members of the board photos of DiVittorio's business and of nearby Dell Motors, both of which have exterior murals.
The neighborhood association argued that the murals suggested a "neighborhood that should be avoided, particularly after dark." DiVittorio's murals, painted in a traditional graffiti style, have bubble letters made to look like dripping paint. Dell Motors' were painted in the style of Japanese anime. One depicts a stylized engine with arms holding two wrenches.
City Managing director Francis Dougherty told council members the murals, commissioned on private property by each property's owner, don't violate city ordinance.
The city solicitor's office is researching legal options to deal with the murals, a spokesman has said. East Side neighbors asked for stricter controls of public art, arguing that Allentown should have a mural arts program similar to one in Philadelphia to give neighbors more input into what is painted on buildings.
DiVittorio, 28, a tattoo artist since 2007, said he's heard no complaints about the new message on the side of his building, but almost no one complained to him about the previous mural either. He blamed a small group of neighbors for escalating the situation without talking to business owners first.
"I'm not here to rouse and rabble, but I'm here to make it known that there is a difference between what I'm doing and vandalism," DiVittorio said.
"The culture behind graffiti is deep," DiVittorio said. "It's definitely based on that rebellious nature, but it's come a long way. Some of the best-paid artists in the world right now are graffiti muralists."
Dave Schell, secretary of the neighborhood association, said several locals noticed the new message at East Side Tattoo, but the group isn't taking an official position on it.
"I don't know if that was a subtle message that we're being a bunch of Philistines, but whatever," Schell said. "As long as he's not painting anything obscene on his wall."
eopilo@mcall.com
Twitter @emilyopilo
610-820-6522
Copyright © 2018, The Morning Call
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Lee, Andrew Hickinbottom (3D) Tank Girl, Pedro Conti (2D)
View Full Version : Grand Space Opera 3D Entry: Richard Hagen
10-27-2004, 06:29 PM
Richard Hagen has entered the Grand Space Opera 3D.
10-27-2004, 06:41 PM
http://www.cgnetworks.com/challenge/entries/7/4881/4881_1098902471_medium.jpg (http://www.cgnetworks.com/challenge/entries/7/4881/4881_1098902471_large.jpg)
A concept sketch to kick off my entry into this contest. A quick sketch and hastily colored in Photoshop, this is meant as a guide for me to ponder on the eventual course this image will take.
I am aiming for the more standard sci-fi images I have seen from such 1970's icons as Angus McKie and Ralph McQuarrie, but with my own quirky sensibility mixed in.
What you see here is one of Verinsonia's colossal "Tree Cities", a hub of commerce, habitation and energy. Being evolved from birds, the creatures known as Verins have adapted an aesthetic from what they evolved from. A love of trees, insects, natural forms. Yet, being evolved, and through interaction with other Sapien-type species, their overall aesthetic has also evolved over the centuries into what you see before you.
My desire for this image is to convey a sense of immense scale. I hope to be able to include vast amounts of details and make it somewhat more colorful and "realistic" than what you see here.
10-27-2004, 09:28 PM
looks interesting.....hehe are they turtle people?
10-28-2004, 10:20 PM
alright man lets see more, the idea could be verry cool. i think i can imagine what you are trying to get at and it could be alot of fun, i dont see that from the concept that much tough, besides the tree. anyway i dont like comenting much when the concept is just developing cuz you probably know everything im telling you and whats wrong with it, so i'll check back later, keep up the work man.
10-28-2004, 10:49 PM
Hi Richard,
Definitely looking a huge scale tree.
Building the Verinsonia's "Tree Cities" with proper detais it will lok very nice.
take care with the background. Maybe more ships, planets?
Keeping one eye fixed on your thread.
Good luck!!
10-28-2004, 11:49 PM
Totally agree with the scale... I think it's crucial for this challenge, so you have your point. I like the giant tree sketch.
10-29-2004, 05:00 PM
thank you all for the positive and uplifting replies! I am going to post some revisions and new ideas soon, but right now I've been waylaid with sudden urgencies in other areas, and which are slowing down the rate at which I want to complete this project.
Having looked at some old books of mine such as "Spaceships 2100AD", "Tour Of the Universe", and other sundry titles, I see that the one thing these sorts of pictures have going for them is the sense of size, mystery, and futuristic weirdness that we all expect from "pictures of the future". Since I'm aiming to do this in 3D, I will be able to duplicate the one city (once complete) and try for a sense of a lot of these massive structures. And yes, something in the sky - a planet or a moon or three.
I truly appreciate your comments, I hope I can live up to them :-)
10-29-2004, 11:46 PM
http://www.cgnetworks.com/challenge/entries/7/4881/4881_1099093586_medium.jpg (http://www.cgnetworks.com/challenge/entries/7/4881/4881_1099093586_large.jpg)
A quick modeling test. I suppose this could be called a Concept Sketch too, at this stage. A quick, textureless radiosity render to serve as a further proof of concept, is all this really is.
It's rather easy to give up seeing the masterworks on display here, but I shall not get discouraged! Thanks everyone for the positive words!
CGTalk Moderation
01-19-2006, 05:00 PM
This thread has been automatically closed as it remained inactive for 12 months. If you wish to continue the discussion, please create a new thread in the appropriate forum.
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BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Playwrights Guild of Canada - ECPv4.9.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Playwrights Guild of Canada X-ORIGINAL-URL:https://playwrightsguild.ca X-WR-CALDESC:Events for Playwrights Guild of Canada BEGIN:VEVENT DTSTART;TZID=America/Toronto:20190515T200000 DTEND;TZID=America/Toronto:20190515T220000 DTSTAMP:20190524T013529 CREATED:20190408T181530Z LAST-MODIFIED:20190408T195113Z UID:52946-1557950400-1557957600@playwrightsguild.ca SUMMARY:Lo (or Dear Mr. Wells) by Rose Napoli DESCRIPTION:Laura\, now a grown woman of 25\, has written a revealing memoir about the time she was an underage student experiencing a sexual and intellectual awakening in the thrall of her former English teacher\, Mr. Wells. This gripping two-hander rewinds the clock by ten years\, and explores the truth of what happened behind closed classroom doors. The script of the play is available at CPO. \nBuy Tickets. \n\n\n\n\nPlaywright: Rose Napoli \n\n\n\n\n\n\nCast\nErica Anderson: Laura\nGeoff McBride: Alan \nCreative Team\nLaurie Champagne: Stage Manager\nEric Coates: Director\nSeth Gerry: Lighting Designer\nJason Hopkins: Apprentice Stage Manager\nVanessa Imeson: Costume Designer\nVenessa Lachance: Sound Designer\nMegan Piercey Monafu: Intimacy Coach\nBrian Smith: Set and Props Designer \n\n\n\n\n \n URL:https://playwrightsguild.ca/event/lo-or-dear-mr-wells-by-rose-napoli/2019-05-15/ LOCATION:Irving Greenberg Theatre\, 300-1227 Wellington St. W.\, Ottawa\, Ontario\, K1Y 0G7\, Canada CATEGORIES:Professional Production ATTACH;FMTTYPE=image/png:https://playwrightsguild.ca/wp-content/uploads/2019/04/2019-04-08-LO.png END:VEVENT END:VCALENDAR
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Glow, Calgary Downtown Winter Light Festival
Members of the public line up to view Light Shower, one of the exhibits mounted as part of Glow, Downtown Winter Light Festival, in Calgary on Feb. 20, 2017.
If you’d told me 10 years ago Calgarians would willingly line up more than half-an-hour to experience a shower of light, I wouldn’t have believed you — and I would have been wrong.
There I was, just one of hundreds (maybe even thousands?) of people who patiently queued up this past weekend to experience a piece of modern art called Light Shower, part of Glow: Downtown Winter Light Festival, an interactive, multi-disciplinary, multi-location display of modern art in Calgary.
You often hear complaints about public art being inaccessible, both figuratively and literally, but from what I witnessed this weekend, it can safely be said Glow was just the opposite. While not every piece was a smashing success, people seemed to keep an open mind about what they were seeing, based on fragments of conversations overheard as I wandered from installation to installation.
On top of it all, it was awesome to see so many people — including families with young children — out enjoying our downtown core well into the evening.
With hope, this event will make a comeback for many years to come … and given Glow’s apparent success, perhaps now’s the time to introduce more of such events, to breathe some life into Calgary central business district outside business hours.
Glow, Calgary Downtown Winter Light Festival
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The Artists Representing Puerto Rico After Hurricane Maria
Artists occupied an abandoned mall in downtown Miami to showcase their work and highlight the plight of Puerto Rico.
Jan 18 2018, 2:30pm
Photos by On the Real Film
Six months before Hurricane Maria wreaked havoc in the Caribbean, a group of Puerto Rican artists were invited to participate in a residency program in Miami by local art organizations. The artists were offered abandoned storefronts-turned-studios at a historic downtown mall, where they’d exhibit their work during Miami Art Week in December to engage an art world that often overlooks the island territory. When Maria struck and knocked the entire island offline, Puerto Rico was suddenly on everyone’s radar. And the residency, Focus on Puerto Rico, became more vital and more timely than ever.
Half the artists in residence were stranded on the island without power or even a plane ticket as the program was set to begin. Those already on the mainland were glued to the news. All of them were thrust into a role they hadn’t anticipated—to be a voice for Puerto Rico in the wake of a disaster that may have left more than 1,000 people dead and half the island offline for nearly ten weeks.
The entrance to the historic 777 International Mall, where the artists have their studios during the Focus on Puerto Rico residency. Photo by On the Real Film
But from isolation to governmental incompetence, the hurricane only heightened the daily struggles faced by many Puerto Ricans, particularly the poor. According to many of the artists, in response to the government’s fumbling recovery efforts, exhibiting in Miami felt like a political act.
Here they tell us how Hurricane Maria changed their lives and affected the work they exhibited at Miami’s 777 International Mall during their Focus on Puerto Rico residency.
Andria Morales
Andria Morales stands in her temporary studio during the Focus on Puerto Rico residency. Photo by On the Real Film
Blank Check. Photo by On the Real Film
When the residency began, it was full of contradictions. On one hand, the MANA Convention Center in Wynwood had been converted into a disaster relief zone, processing hundreds, if not thousands of packages to ship to Puerto Rico. On the other hand, the majority of my fellow artists in residence were stranded on the island.
During the first weeks of the residency, those of us who arrived impressed upon staff the need for tools, additional supplies specific to each artist, and ground transportation in Miami. As we pushed against "the budget" to advocate for our needs, I couldn't help notice the parallel with Trump's comment that Puerto Rico had thrown the US budget “out of whack." Unlike the president however, the program directors answered all of our requests with a "yes." To commemorate their generosity, I fabricated a giant blank check made out to Focus on Puerto Rico in the form of a limited edition beach towel.
Rafael Vargas Bernard
Rafael Vargas Bernard poses in front of his sculpture, Tenemos sed, ¿Where did our presupuesto nacional go? Photo by On the Real Film
Tenemos sed, ¿Where did our presupuesto nacional go? Photo by On the Real Film
Hurricane Maria made things clear. There’s rampant corruption in the Puerto Rican government, abandonment of infrastructure in the service of private interests, and the poor conditions of being a colony of the United States. It forced Puerto Rican citizens to work together to overcome the aftermath of the hurricane, and to realize that the federal and local government had no intention, or were incapable of resolving the immediate emergency.
The sculpture titled Tenemos sed, ¿Where did our presupuesto nacional go? alludes to seeping water, a common experience in homes after Maria. The water flows down the wall, into a sink, and is cycled back up the wall through tubing. There is a constant loss of water resulting in a watermark around the sink that represents how public funds disappear, seep through government agencies, and are misappropriated in the maintenance of public infrastructure, resulting in a lack of running and drinking water.
Elizabeth Robles
Elizabeth Robles stands in front of her wall-art, Maria Reveals Us. Photo by On the Real Film
Presence (front), Coexist (left), Maria Reveals Us (right). Photo by On the Real Film
Maria showed how difficult it is to live in Puerto Rico. Our struggle wasn’t just because of Maria—it existed before. Maria accelerated things and really showed how people are living on the island.
It wasn’t easy to leave Puerto Rico, to leave my family, to come here and do art. But for me that is a very political act—to do art in a moment like this. It was a moment that I couldn’t be silent. It was a moment to tell people what’s happening in Puerto Rico. The residency gave me the opportunity to show others and talk to them about our living conditions, how we are struggling to survive, and how brave we are.
I did a performance in the poor neighborhoods behind Wynwood. I painted the cracks in the sidewalk and sprayed them with graffiti. The cracks showed me where to paint. Everybody who lives there walks that sidewalk every day, and I went there to walk it, too. Sometimes just to wake up and walk is a political act.
Matotumba (Collective)
The eight-person art collective Matotumba pose in their Dystrópical installation. Photo by On the Real Film
Dystrópical, Matotumba. Photo by On the Real Film
Our proposal satirized the sociopolitical and economic crisis of a fictional future wasteland on the dystopian tropical island of Puerto Rico. It’s an alternate reality where everything is artificial, and the only thing that prevails is plastic. The only other real thing we have left is our culture and traditions.
All of the sudden, after Maria, what we had conceptualized as a work of fiction became almost a reality. We found ourselves in a sort of dystopia. The total collapse on the systematic infrastructure of our country was something that anyone could see coming from miles away, but we never expected it to happen this soon.
We brought the dystopia with us. We created our own little dystopian world inside the abandoned mall full of rubble in Downtown Miami.
Yiyo Tirado
Yiyo Tirado stands outside the abandoned storefront turned studio where he presented his piece, Caribbean Blues. Photo by On the Real Film
Caribbean Blues. Photo by On the Real Film
I have been working for two years with Caribbean landscapes and how governments sell it as a tax haven. After the hurricane, I continued working with that landscape, but now I talk about the landscape that the hurricane left as a “replacement landscape." I named the work Caribbean Blues.
It consists of an installation in several visual languages that range from art object to sculpture to intervention. It takes into account the historical, socioeconomic, and political status of Puerto Rico after the storm, such as our dependence on fossil fuels and the impossibility of economic development for an island whose political system is at a precipice due to corruption.
Daniel Bejar
Daniel Bejar’s work appropriates and revises political imagery. Photo by Daniel Bejar
Rec-elections (Let's make America great again, Isabel González). Photo by On the Real Film
My experience with Hurricane Maria came only through news reports, images, and videos of the aftermath and response that were circulating online. I had family that had to leave the island, but thankfully no one was seriously injured.
The work was a continuation of my project Rec-elections, which considers and critiques the weaponization of nostalgia and the American myth deployed within presidential campaign advertising.
I appropriate historical presidential campaign posters and slogans and re-insert them back into the current political landscape. A few of the works from the project touch on the political relationship between the United States federal government and the unincorporated territory of Puerto Rico.
Ulrik López
Ulrik López stands with his piece, Poem for a Mountain. Photo by On the Real Film
Steep Hill (top right), Prolonged Mountain (bottom right), Poem for a Mountain (middle). Photo by On the Real Film
I’ve been based in Mexico City for almost three years, so I wasn’t present on the island during Maria’s passing. But I have been followed by natural disasters for the last couple of months. I was able to avoid Hurricane Irma passing Miami while I was there for an exhibition, just to return to Mexico City for the first strong earthquake. That was followed a few weeks later by the devastating September 19 earthquake. The next day Maria passed through Puerto Rico.
So basically both of my hometowns were hit by disasters at the same time. After these continuous natural disasters, which appeared to be drawn to me, the residency seemed like a good opportunity to concentrate on my work. These events haven’t really affected my work on a direct level, but it has made it more evident to myself and others, especially those who are in Puerto Rico, of some grave flaws in our government structure and its shameful colonial status.
Poncili Creación (Efraín and Pablo Del Hierro)
Poncili Creación create interactive sculptures of makeshift mythologies for the digital age. Photo by On the Real Film
La Protectora. Photo by On the Real Film
We were in France and couldn’t go back to Puerto Rico before the hurricane. Then, the week after the hurricane, we were told the building where we had our workshop was sold, and we needed to take all our stuff out in ten days. We lost almost everything, all the materials we’d collected for two years.
Our work flirts with and embraces late stage capitalism in an ironic way. One of our works is called Telefonitos or Little Phones. It’s an approach to smartphones and a meditation on how we’ve been using phones to become cyborgs and enhance our abilities, and how people have become obsessed with their phones.
We’ve created various models of phone covers with different perspectives, but they all point to the obsession we have with our phones but also their necessity. The phone was the tool during and after the hurricane that allowed people to communicate. Even without light, people could contact the exterior world. The cellphone obsession is something that needs to be taken with care, but it’s still a tool that helps in a particular situation, like this natural disaster.
The Focus on Puerto Rico residency ran from September to December 2017. The residency was a partnership between Clocktower, MECA International Art Fair, and Mana Contemporary Miami.
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Tuesday, 27 November 2012
Design friends and how to get them to get you places!
Last week I had my interview at the South Australia College of the Arts, for a Diploma in Costume for Performance.
A friend of my who is an architect offered to help me re-do my portfolio, real design student style
Cover of my portfolio, laser cut heading and all bound and then stiched with a baseball stitch
After explain to him I currently had a larger than A2 portfolio, he offered to assist me in redoing it on the computer using illustrator and photoshop.
It took a while (well not as long as it take to glue and make an A2 one look pretty). And the end results were pretty awesome.
It also meant I got to learn about some programms I haven't ever used before
We had to include some mood boards in our portfolios (kinda strange I thoguht), these two are my 'Embellishment & Craftsmanship' and 'Fantasy & Costume' boards.
What I had never really though about before when it came to my portfolio was that, did it ever say in the criteria you had to have all your design process documented as well? No....I did just assume you needed to put that in there. Which is annoying.
But this portfolio is just images of the completed projects. Which I actually really like. I mean I clearly made them, and if I am showing you my portfolio I am going to explain to you how and why.
The Flower Maiden
He helped set up templates for the project pages, and for the mood board pages, so everything in the portfolio flows seemlessly and is totally awesomely formatted.
I had my interview with two ladies, and it was the most relaxed interview for a course I have ever been too. I have done 3 fashion interviews and an interview for a textiles course, and they were all kinda horrific experiences. This one was so great they told me to come back next year and they wanted to keep my portfolio to show!
So here's a couple of pages, my favorite ones. Me thinks everyone should hook themselves up with a computer based design friend. They prove oh so handy!
Lolita Inspired
Oh and the best bit, because he teaches at the uni here, we went to the workroom and used the printing, and laser cutter. My friend who studies there says she has to pay $2 min for laser cutting....
Turning Japanese, Akihabara Majokko Princess and Misato Katsuragi
My Ruffles Logo Laser cut into the back cover :)
So in conclusion, next year I will be moving to RADELAIDE! yay!! I go to Melbourne to leave for Japan next friday, and in the mean time I'm working EVERY day. So it's kinda making packing, both boxes, and bags, a little difficult! Still have to find a removalist....eeeep!!
Hope all your holiday plans are coming along dandy =^__^=
1. Holy wow all of this is fantastic, congratulations!! What a crazy exciting time for you, AND you're going to Japan. I love that country very much we had the best holiday there last year! Enjoy x
1. thank you lovely Lonnie! Enjoy your holiday peroid :)
Thank you for reading and sharing your thoughts = ^ _ ^ =
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LC #42 Pipers Alley
View Full Version : OBJ Transform faces from quad to triangles
10-18-2010, 07:24 AM
Hello, i'm new here. I have a question, maybe someone can help me with that.
I have a .OBJ file with faces defined in this way (4vertices):
f 1400/1704/10324 1417/1705/10352 1451/1749/10400 1447/1744/10394
f 1387/1665/10301 1363/1638/10247 1452/1750/10402 1449/1747/10396
I need this OBJ file only with three vertices:
f 1400/1704/10324 1417/1705/10352 1451/1749/10400
You know if with blender, maya, 3dmax or something i can transform the obj fie in this way?
If there is no application, you can tell me the pattern or something to modify it?
Thanks you!!!
Mr. D
10-18-2010, 11:23 PM
If you can get the obj file loaded in max or maya(most likely Blender also) you should be able to save\export it back out as another .obj file, just be sure to specify triangles not quads on save\export.
wondering what program created this file. mostly in a .obj file you see something like a list of lines like
v 2309 3423 5456 6789 3445 -2334 2365 2333 -1111 4356 2134 4567
and below that those lines one like this
f 8 2 5 4
v means vertex positions
f means a face made up in this case from these 4 vertices (usually building in a couter clockwise direction, causing the normal to face towards you).
good luck
Mr. D
CGTalk Moderation
10-18-2010, 11:23 PM
This thread has been automatically closed as it remained inactive for 12 months. If you wish to continue the discussion, please create a new thread in the appropriate forum.
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$1 Cut Files
Sometimes, you just need a simple design for your crafting creations. These designs fill that need. Some of my designs are more elaborate than others. These are simple but beautiful designs. I'll frequently add designs to this section. You might even find the previous week's flash freebie moved here.
1 product
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Design Feature
The top 20 graphic design trends of 2012
Generative type
Craig Ward
Graphic Design Trends: The Bulk of Reality by Craig Ward
The rise and rise of generative art – particularly tools such as Processing – has spread to typography, with new abstract letterforms being created in an organic (yet still wholly digital) way. Although manipulating the code can control various factors, the randomness of the final output can also have a similarly raw, unique appeal to handcrafted work. New York-based typographic illustrator and designer Craig Ward has produced various generative art experiments, with often-unexpected results.
Silhouetted shapes
Daniel Carlsten and Jonas Jansson
Graphic Design Trends: Acne packaging by Daniel Carlsten and Jonas Jansson
Taking cues from street signs and other simple graphic systems that rely on basic shapes, designers are working with silhouette-like patterns and stark black-and-white palettes, playing with positive and negative space with striking consequences. Swedish art director Daniel Carlsten adopted this style for a packaging brief for fashion brand Acne, combining shapes into a series of patterns that are greater than the sum of their parts.
Feminine elegance
Ruiz and company
Graphic Design Trends: Gemma by Ruiz and company
Continuing the trend for clean, simple design that’s free from fussy embellishments, this particular aesthetic brings an elegant, feminine touch to the table. Combining subtle textures with soft, pastel colour palettes, the resulting design work exudes quiet confidence without the need to shout. Bold photography is juxtaposed with blocks of dusky pink, pale aqua and pigeon grey for a feeling of calm, often combined with Didot-inspired fonts for that extra touch of sophistication.
Three-dimensional effects
Schaffter Sahil
Graphic Design Trends: Vila Bernasconi Apparition by Schaffter Sahil
3D is the talk of the movie industry, and the distinctive aesthetic is fast spreading into graphic design work as well – with RGB layering, stereoscopic techniques and various 3D-inspired print effects shaping a unique middle ground between digital and analogue. Swiss design studio Schaffter Sahli, for instance, used an eye-catching 3D optical effect on a poster to promote Villa Bernasconi arts centre – while other projects take this a step further, requiring 3D glasses to fully appreciate them.
Rough sketches
Demian Conrad
Graphic Design Trends: Brand Identity for Almighty by Demian Conrad
Instead of making use of clean photography, polished illustration and crisp typography, some designers prefer a more rough-and-ready, spontaneous approach, utilising basic sketching techniques to explore the diversity, depth and personality of particular brands. Blending traditional ink, paper and pencil skills with modern production methods, the resulting designs are quick to produce and can exude a certain carefree charm. The process isn’t always simple, however: Demian Conrad’s branding for Almighty, for instance, makes use of the Japanese art of Suminagashi marbling.
So bad, it's good
Travis Stearns
Graphic Design Trends: Flyer by Travis Stearns
There’s a strong design movement to celebrate glitches, failures, errors and mistakes – deliberately encouraging them to take place for aesthetic reasons in many cases. Where once designers would avoid them like the plague, tools such as WordArt and ClipArt are enjoying an unlikely resurgence in work that’s intentionally chaotic and confusing. This trend is driven partly by nostalgia, and partly by the influx of amateur Photoshop users who no longer see bevels, drop shadows and rainbow gradients as cardinal sins.
Shake and distort
Graphic Design Trends: Agda Extra Bold Extended by Toko
This belief in the value of mistakes as part of the creative process has had a particular impact on the use of typography. Harking back to the pre-digital days when mistakes were regularly made in the printing process – particularly in DIY cut-and-paste zines – this trend explores the unique effects that resulted, including jumbled, stretched, distorted and often illegible text, to the chagrin of dyed-in-the-wool type traditionalists and advocates of the pure Swiss style.
Crack the code
Graphic Design Trends: TEMAConsults by HORT
Designers are also breaking up individual words in a design in order to construct simple codes or puzzles – splitting, cutting, inverting or removing elements. Seen primarily on corporate identity and packaging work, type is often aligned along horizontal, vertical or diagonal grid lines, further emphasising the ‘wordsearch’ feel. Hort’s work for TEMAConsults, for instance, varies the branding across its many applications – placing letters randomly on different surfaces so the logo is never displayed in the same way twice.
Brutally simple packaging
Graphic Design Trends: Caravan Drinks by Inhousedesign
Weary of too much choice on the shelves, many consumers are turning to packaging that cuts through the noise with simple, black-and-white communication that combine bold type with plenty of white space – the IKEA approach made famous by Stockholm Design Lab. The implication is that the product is of sufficient quality to speak for itself, without the need for ornamentation to sell it too hard. It’s minimalism at its most brutal, but effective.
Didot typography
Graphic Design Trends: Kilsgaard Eyewear by DesignUnit
Named after the French family of type-designers and printers who created it, Didot is an elegant neoclassical typeface that was popular in the late 18th century – and is enjoying another revival, having been last popular in the New York design scene in the 60s and 70s. Best-known for the strong contrast between stroke weights, and especially their ultra-thin hairlines, Didot fonts are most effective used at large display sizes.
Words: Nick Carson
For a more in-depth exploration of the aesthetic movements that are pushing clients' buttons, check out the regular Trend Report in Computer Arts Collection, compiled by pro trend forecasting agency FranklinTill
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September 23, 2023
Illinois most recent state to identify inside structure as distinctive profession
Illinois has grow to be the latest condition with legislation to fortify the inside design and style sector with the passage of Residence Monthly bill 4715, which was signed into legislation by Governor J.B. Pritzker on June 10.
The legislation expands the scope of interior style and design with permitting privileges for inside designers to stamp and seal plans, so defining interior designers as professionals who defend and advance occupant health and fitness security in their work, the Global Interior Style and design Association (IIDA) explained. The new legislation acknowledges the substantial education and knowledge of interior designers regarding safety alternatives in the built natural environment, like ADA-welcoming attributes and hearth basic safety codes.
The American Modern society of Inside Designers, the IIDA and the Council for Inside Layout Qualification have been functioning alongside one another to go these legal guidelines state by condition. Very last thirty day period, the IIDA spoke with sister publication Designers Currently about why this type of laws is important and how it elevates and innovations the career.
These laws aid inside designers who have passed the national NCIDQ exam, and frequently are doing work in code-impacted environments, mainly professional areas this sort of as libraries, airports, hospitals and blended-use structures.
“Interior designers are highly proficient specialists who will have to have significant qualifications to pursue a career in the field,” mentioned Condition Consultant Margaret Croke, who released and sponsored the invoice in Illinois’ Household of Representatives. “This monthly bill will enable designers to stamp their very own style and design strategies for non-structural development, removing an pointless barrier for people in the industry. Inside design is a customarily woman-dominated industry, and I’m very pleased to lead initiatives to simplicity the worries they experience.”
“Interior designers carry an extensive overall body of knowledge, expertise, and care to their occupation, and this legislation reaffirms their impressive qualifications,” reported ASID CEO Gary Wheeler, FASID. “We are grateful to the condition of Illinois for recognizing the profession’s benefit and empowering designers to be legitimate custodians of well being and protection in the created environment. ASID is fully commited to advocating for our members, the profession and the public as we carry on to lead the national motion all over follow legal rights.”
Illinois is the 2nd condition to move laws of this mother nature this year, pursuing Wisconsin in March. Because 2021, ASID, IIDA and CIDQ have also secured legislative victories in North Carolina and Oklahoma and enhanced distinctive experienced recognition in states like Utah and Virginia.
The invoice may well be viewed in its entirety.
Linked content material:
Which condition will be the subsequent to pass legislation strengthening the inside design sector?
New Wisconsin bill strengthens interior style and design job
New North Carolina regulation to bolster inside style occupation with voluntary point out registry
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in Data Studio
Dolma 3 Mix (5.5T)
The Dolma 3 Mix (5.5T) is the collection of data used during the pretraining stage to train the Olmo-3-1125-32B model. This dataset is made up of ~5.5 trillion tokens from a diverse mix of web content, academic publications, code, and more. The majority of this dataset comes from Common Crawl.
For more information on Dolma, please see our original release here.
Licensing Information
Dolma 3 mix is licensed under the Open Data Commons Attribution License v1.0 (ODC-By). It is intended for research and educational use. For more information, please see our Responsible Use Guidelines.
Citation
A technical manuscript is forthcoming! Find the paper at: https://allenai.org/papers/olmo3
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