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Its been a long time coming. Fixing, adding, subtracting, shifting.... its the process of creating the perfect setup to meet my needs. This setup offers open desk space, and functionality. Comments are welcomed =).
...cause I'm a geek.
1.25" pinback button.
Barrel of Monkeys (see my profile).
Pinback button, pocket mirror, bottle opener/keychain, necklace, charm, earrings, wine charms, ring, magnet.
visit www.o-utrecht.nl
O stands for amazement, Awe. That's what they do.
Hasselblad 500c | Carl Zeiss Macro Planar 120mm F4 | Kodak TMX400 HC110B
Film scan with Canon 5dm3, Leitz 60mm/2.8 macro on light box.
Jeanee L. Wallace
graphic designer, pro
Blog: handmadebydirtylaundry.blogspot.com
From: Missouri
Mood Board title: A Hostess Haven
Midwest Modern fabrics that inspired my room: Pink Dahlia collection: grey / happy dots, mustard / martini and linen / optic blossom
Furniture and accessories:
• Pink Melamine Mini Colander – The Spoon Sisters, www.spoonsisters.com
• pink refrigrator – Elle Interior photo
• wilma dinnerware, gray – CB2, www.cb2.com
• The Surya Coasters by Simrin – Velocity Art And Design, www.velocityartanddesign.com
• fuschia rope canvas pillow and lemon rope/oyster linen pillow – Hable Construction, www.hableconstruction.com
• blossom appetizer plate - CB2, www.cb2.com
• Tea And Toast Butter Dish, yellow – Anthropologie, www.anthropologie.com
• Faline Lamp, pink – Urban Outfitters, www.urbanoutfitters.com
• pink chairs – BNODesign photo
• napkin, redig mustard – Lotta Jansdotter, www.jansdotter.com
• apron – handmade by myself, dirty laundry, www.yourdirtylaundry.etsy.com (self portrait)
• cupcakes – Baby Cakes, www.babycakeskc.com
visit www.o-utrecht.nl
O stands for amazement, Awe. That's what they do.
Hasselblad 500c | Carl Zeiss Macro Planar 120mm F4 | Fujifilm Acros 100 | HC110B
Film scan with Canon 5dm3, Leitz 60mm/2.8 macro on light box.
Diss Cemetery, Diss, Norfolk
The cemetery was laid out in the 1860s at the edge of town on the road to Burston, in response to the urban burial ground legislation of that decade. The chapels were opened on the first day of January, 1869. The two chapels, one Anglican and the other non-conformist, are arranged either side of a porte-cloché. The former Anglican chapel on the south side was aligned towards the east, and for many years has been used by the cemetery for storage. The north chapel was aligned at ninety degrees to the other. It is still maintained as a non-denominational chapel and is open every day. It contains memorials to local councillors as well as the war memorials from the former Diss Grammar School. The cemetery is largely maintained as a conservation area for wildlife, in cooperation with the Norfolk Wildlife Trust.
A los recien titulados Phyllis Tebbs (la noticiosa), Feñis Zuñiga, Solecita Quezada, Katy Mora y Pancho Arias de la escuela de diseño grafico UBB, que tengan una prospera vida de diseñadores y cada uno que sus proyectos se cumplan con creces, los quiero muchou.
QUE LA FUERZA LOS ACOMPAÑE !
Su amigo nochero
Classical 100% cotton T-shirt is designed and produced under the project Zmijanje.design. It fits in the even most demanding closet.
Graphical designers, inspired by Zmijanje cultural heritage and Zmijanje embroidery, made their vision of it and applied it on modern everyday clothing.
Order Yours and support Your favourite designers!
Choose size and colour, and send us in the coming message motif You prefer.
Zmijanje.design project by IMAGINARIUM Studio is devoted to the Zmijanje area heritage, specially Zmijanje Embroidery that is listed as Intangible Cultural Heritage by UNESCO in 2014.
You can peek at the site at:
Spent the holiday weekend doing some much needed updating. I do graphic and web design, yet my own site had been falling sadly out of date. Today I finished creating an entirely new look and feel.
*finally!!*
I plan to add actual pages for the photography and artwork... and THEN probably link to the additional websites from within the pages. For now though, this seems like a good start.
In Grafist 10, in May 2006 and under Savas Cekic’s guidance we had to design a graphic icon, logo, or emblem that would be representative of every Graphic designer who is interested in Social Design.
I think that in an early stage of their study, young people have the right to be introduced to both the good and the bad sides of the path they have chosen. Training is needed concerning certain types of choices they will have to make in real conditions. This way they can grow and build their character stronger. I find it extremely important that such change in mentality happens at first place in those professions that have a strong and immediate impact on the society. Arts, design, and media studies are among the first to name.
Being graphic designer myself, I am inviting my younger fellows not to be afraid to discover the controversial nature of our profession.
Flickr: jan_Kurdistan pop -jazz-rock-videos, internet -Flickr: KURD PressCard. photos tagged with kurdistan4all.radio Watch music videos kurdish Theatre · Music · Dance One of over 1000 beautiful photos of Kurdistan . Kurdistan Voice of Kurds Landscaps-Flowers-Art-Fantasy-Nature -3DArt ...classical music - romantic kurdistan--Blues CountryDisco Dis Elektroniskt Funk Karaoke Klassis Best Website For Music. Best Website For Kurdish music by aziz s کردستان
visit www.o-utrecht.nl
O stands for amazement, Awe. That's what they achieve.
Hasselblad 500c | Carl Zeiss Macro Planar 120mm F4 | Kodak TMX400 HC110B
Film scan with Canon 5dm3, Leitz 60mm/2.8 macro on light box.
German edition of Graphic Designers in Europe I, showing work of Jan Lenica, Jean-Michel Folon, Josef Muller-Brockmann and Dick Elfers / 1971
German edition of Graphic Designers in the USA III, showing work of Dorfman, Glaser, Tscherny and Ungerer / 1972
About 19 Lifestyle-Film Lightroom & Camera Raw Presets:
19 Lifestyle-Film Lightroom & Camera Raw Presets is the first pack of professional Lightroom Presets perfect for photographers and graphic designers. All they have been created with precise calibration adjustments and clean arrangement to bring your images to life using powerful tools & professional methods.
Very important features:
19 Premium Presets tested in Lightroom & Camera Raw
Professional and unique result achievable in one click
100% non-destructive, we have been tasted them on different photos, and the results is awesome
Easy to use, just one click + Instalation file + powerful support if needed
This presets don’t change the WB (White Balance) of your image, they work with color, exposure, contrast, whites, blacks etc. This means that if your WB is okay, they do almost the same effect as on the preview image, and this is awesome.
No camera calibration profiles needed
Included 19 Lifestyle-Film Lightroom & Camera Raw Presets
HUBA-Lifestyle-Film 01A
HUBA-Lifestyle-Film 01A –
HUBA-Lifestyle-Film 01A +
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HUBA-Lifestyle-Film 02B -
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HUBA-Lifestyle-Film 03C
HUBA-Lifestyle-Film 03C –
HUBA-Lifestyle-Film 03C +
HUBA-Lifestyle-Film 04D
HUBA-Lifestyle-Film 04D –
HUBA-Lifestyle-Film 04D +
HUBA-Lifestyle-Film 05E
HUBA-Lifestyle-Film 05E -
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The file type: .lrtemplate & .xmp
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Helpful Instalation file added
[Thanks to YLR for sharing her informational interview report about being a graphic designer.]
My current career goal is the graphic design field. I interviewed a local graphic designer over the phone. He has his own local startup company.
While looking for graphic designers near my area on...
aerationworks.net/2016/06/graphic-designer-informational-...
Arabic Typography - Grafisch Ontwerper
خرافيش أونتفيخبخ - باللغة الهولندية يعني مصمّم جرافيك
Languages :
Arabic : مصمّم جرافيك
English : Graphic Designer
Dutch : Grafisch Ontwerper
Italian : Designer Gráfico
Spanish : Diseñador Gráfico
France : Graphiste
German : Grafik-Designer
by SultanGiglio © 2011
Grace Beverly Jones (b19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.
In 1977, Jones secured a record deal with Island Records, initially becoming a star of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985). She scored Top 40 entries on the UK Singles Chart with "Pull Up to the Bumper", "I've Seen That Face Before", "Private Life", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude.
Jones appeared in some low-budget films in the US during the 1970s and early 1980s. In 1984, she made her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the 1985 James Bond movie A View to a Kill as May Day. In 1986, she played a vampire in Vamp, and acted in and contributed a song to the 1992 Eddie Murphy film Boomerang. She appeared alongside Tim Curry in the 2001 film Wolf Girl. For her work in Conan the Destroyer, A View to a Kill, and Vamp, she was nominated for Saturn Awards for Best Supporting Actress.
In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honored with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s and has been an inspiration for artists including Annie Lennox, Lady Gaga, Rihanna, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In December 2016, Billboard magazine ranked her as the 40th most successful dance artist of all time.[10]
1948–73: Early life, and modeling career
Grace Jones was born in 1948 (though most sources say 1952) in Spanish Town, Jamaica, the daughter of Marjorie (née Williams) and Robert W. Jones, who was a local politician and Apostolic clergyman The couple already had two children, and would go on to have four more.[19] Robert and Marjorie moved to the East Coast of the United States,[19] where Robert worked as an agricultural labourer until a spiritual experience during a failed suicide attempt inspired him to become a Pentecostal minister.[20] While they were in the US, they left their children with Marjorie's mother and her new husband, Peart.[21] Jones knew him as "Mas P" ('Master P') and later noted that she "absolutely hated him"; as a strict disciplinarian he regularly beat the children in his care, representing what Jones described as "serious abuse".[22] She was raised into the family's Pentecostal faith,[23] having to take part in prayer meetings and Bible readings every night.[24] She initially attended the Pentecostal All Saints School,[25] before being sent to a nearby public school.[26] As a child, shy Jones had only one schoolfriend and was teased by classmates for her "skinny frame", but she excelled at sports and found solace in the nature of Jamaica.[27]
"[My childhood] was all about the Bible and beatings. We were beaten for any little act of dissent, and hit harder the worse the disobedience. It formed me as a person, my choices, men I have been attracted to... It was a profoundly disciplined, militant upbringing, and so in my own way, I am very militant and disciplined. Even if that sometimes means being militantly naughty, and disciplined in the arts of subversion. ."
— Grace Jones, 2015.[28]
Marjorie and Robert eventually brought their children – including the 13 year old Grace – to live with them in the US, where they had settled in Lyncourt, Salina, New York, near Syracuse.[29][30] It was in the city that her father had established his own ministry, the Apostolic Church of Jesus Christ, in 1956.[31] Jones continued her schooling and after she graduated, enrolled at Onondaga Community College majoring in Spanish.[32][33] Jones began to rebel against her parents and their religion; she began wearing makeup, drinking alcohol, and visiting gay clubs with her brother.[34] At college, she also took a theatre class, with her drama teacher convincing her to join him on a summer stock tour in Philadelphia.[35][33] Arriving in the city, she decided to stay there, immersing herself in the Counterculture of the 1960s by living in hippie communes, earning money as a go-go dancer, and using LSD and other drugs.[36] She later praised the use of LSD as "a very important part of my emotional growth... The mental exercise was good for me".[37]
She moved back to New York at 18 and signed on as a model with Wilhelmina Modelling agency. She moved to Paris in 1970.[33][38] The Parisian fashion scene was receptive to Jones' unusual, androgynous, bold, dark-skinned appearance. Yves St. Laurent, Claude Montana, and Kenzo Takada hired her for runway modelling, and she appeared on the covers of Elle, Vogue, and Stern working with Helmut Newton, Guy Bourdin, and Hans Feurer.[39] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting his line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Le Sept, one of Paris's most popular gay clubs of the 1970s and '80s, and socialised with Giorgio Armani and Karl Lagerfeld.[40] In 1973, Jones appeared on the cover of a reissue of Billy Paul's 1970 album Ebony Woman.
1974–79: Transition to music, and early releases
Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit.[41] The artwork to the album was designed by Richard Bernstein, an artist for Interview.
In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD.[42] Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."[4]
Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.[43]
1980–85: Breakthrough, Nightclubbing, and acting
With anti-disco sentiment spreading, and with the aid of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured by the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was also the first to be recorded with Jones.[44][45] Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones' reinterpretation.[46] The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material.[47] By 1981, she had begun collaborating with photographer and graphic designer Jean-Paul Goude, with whom she also had a relationship.[48]
The 1981 release of Nightclubbing included Jones' covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Three songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Police on the album Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Top 5 in four countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts.
Nightclubbing claimed the number 1 slot on NME's Album of the Year list.[49] Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s.[50] Nightclubbing is now widely considered Jones' best studio album.[51] The album's cover art is a painting of Jones by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty live on air after he had turned to interview other guests, making Jones feel she was being ignored.[52]
Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982 and recorded Living My Life; the album resulted in Jones' final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a limited single release, the title track was left off the album. Further session outtakes included "Man Around the House" (Jones, Reynolds) and a cover of "Ring of Fire", written by June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration; the artwork has been described as being as famous as the music on the record. It features Jones' disembodied head cut out from a photograph and pasted onto a white background. Jones' head is sharpened, giving her head and face an angular shape.A piece of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.
Jones' three albums under the production of the Compass Point All Stars resulted in Jones' One Man Show, a performance art/pop theatre presentation devised by Goude and Jones in which she also performed tracks from the albums Portfolio ("La Vie en rose"), Warm Leatherette, ("Private Life", "Warm Leatherette"), Nightclubbing ("Walking in the Rain", "Feel Up", "Demolition Man", "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)") and from Living My Life, "My Jamaican Guy" and the album's title track. Jones dressed in elaborate costumes and masks (in the opening sequence as a gorilla) and alongside a series of Grace Jones lookalikes. A video version, filmed live in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video the following year.
After the release of Living My Life, Jones took on the role of Zula the Amazonian in Conan the Destroyer (1984) and was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred as May Day, henchman to main antagonist Max Zorin in the 14th James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. That same year, she was featured on the Arcadia song "Election Day". Jones was among the many stars to promote the Honda Scooter; other artists included Lou Reed, Adam Ant, and Miles Davis Jones also, with her boyfriend Dolph Lundgren posed nude for Playboy.
After Jones' success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Island. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones.All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in German-speaking countries and in the Netherlands, where it secured Top 10 placings. It reached number 12 on the UK Albums Chart in November 1985 and became the second-highest-ranking album released by Jones. Jones earned an MTV Video Music Award nomination for the title track's music video.
After her success with Slave to the Rhythm, Island released Island Life, Jones' first best-of compilation, which featured songs from most of her releases with Island (Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American writer and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the UK, New Zealand and the United States.The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones' celestial body in a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible.
The artwork, a piece called "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used as a backdrop for the music video of Jones' hit single "La Vie en rose". The artwork has been described as "one of pop culture's most famous photographs". The image was also parodied in Nicki Minaj's 2011 music video for "Stupid Hoe", in which Minaj mimicked the pose.
1986–89: Slave to the Rhythm, Island Life, further films, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era.[67] The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones' last entry to date on US Billboard 200 albums chart. The same year, Jones starred as Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the film, Jones was awarded a Saturn Award for Best Supporting Actress.
In 1987, Jones appeared in two films, Straight to Hell, and Mary Lambert's Siesta, for which Jones was nominated for Golden Raspberry Award for Worst Supporting Actress. Bulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured as a guest vocalist on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.
1990–2004: Boomerang, soundtracks, and collaborations
In 1990, Jones appeared as herself in the documentary, Superstar: The Life and Times of Andy Warhol. 1992 saw Jones starring as Helen Strangé, in the Eddie Murphy film Boomerang, for which she also contributed the song "7 Day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.7, and "Let Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electro album titled Black Marilyn with artwork featuring the singer as Marilyn Monroe. "Sex Drive" was released as the first single in September 1993, but due to unknown reasons the record was eventually shelved. The track "Volunteer", recorded during the same sessions, leaked in 2009.[68]
In 1996, Jones released "Love Bites", an up-tempo electronic track to promote the Sci-Fi Channel's Vampire Week, which consisted of a series of vampire-themed films aired on the channel in early November 1996. The track features Jones singing from the perspective of a vampire. The track was released as a non-label promo-only single. To this day, it has not been made commercially available.[69] In June 1998, she was scheduled to release an album entitled Force of Nature, on which she worked with trip hop musician Tricky.[70] The release of Force of Nature was cancelled due to a disagreement between the two, and only a white label 12" single featuring two dance mixes of "Hurricane" was issued at the time;[71] a slowed-down version of this song became the title track of her comeback album released ten years later while another unreleased track from the album, "Clandestine Affair" (recycling the chorus from her unreleased 1993 track "Volunteer"), appeared on a bootleg 12" in 2004.[72] Jones recorded the track "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster television series as the Umpatra Warrior.
The same year, Jones recorded "The Perfect Crime", an up-tempo song for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was also ranked 82nd place on VH1's "100 Greatest Women of Rock & Roll".[citation needed] In 2000, Jones collaborated with rapper Lil' Kim, appearing on the song "Revolution" from her album The Notorious K.I.M. In 2001, Jones starred in the made-for-television film, Wolf Girl (also known as Blood Moon), as an intersex circus performer named Christoph/Christine. In 2002, Jones joined Luciano Pavarotti on stage for his annual Pavarotti and Friends fundraiser concert to support the United Nations refugee agency's programs for Angolan refugees in Zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena
German edition of Graphic Designers in the USA I, showing work of Danziger, Lubalin, Max and Wolf / 1971
Exif_JPEG_PICTURE
International architectural think tank, LAVA, go green at Customs House.
Summary:
Summary:
Chris Bosse, Tobias Wallisser and Alexander Rieck’s LAVA (Laboratory for Visionary Architecture) launched the ‘Green Void’, a spectacular sculptural installation suspended in the central atrium of Sydney Customs House.
LAVA designed the ‘Green Void’ installation specifically for the Customs House central atrium which spans through all five levels. Suspended from the top level Café Sydney restaurant, a vertical distance of almost 20m, the sculpture provides an intense visual contrast to the beautifully restored heritage interior of Customs House. GREEN VOID is a digital design, derived from nature, realized in lightweight fabric, using the latest digital fabrication and engineering techniques, to create more with less. Comprised of 3000 cubic meters of space is enclosed within a minimal surface area of 300 square meters and uses only 40 kg of lightweight material.
The Customs House ‘Media Wall’ displays content across 11 video screens detailing the process of design, engineering, fabrication and installation of the sculpture along with recent international design projects completed by the LAVA team.
3D works by multimedia artist Peter Murphy creating 3d immersive imagery can be viewed without shutter glasses displayed over the new 3D screen technology.
The entire installation is immersed in a soundscape by sound artist David Chesworth, who created a “digital rainforest”.
Graphic design by emerging graphic designers TOKO, featuring a 3dimensionally layered catalogue, a wireframed mediawall, and projections onto the building.
Tensile Membrane Company Mak Max, the engineers and fabricators of the sculpture have developed a unique workflow from digital design to Digital Fabrication of complex shapes.
The exhibition is part of the continuous multidisciplinary program developed by Jennifer Kwok, the Manager of Customs House, to activate the public space with a focus on featuring contemporary architecture, photography and multimedia exhibitions.
Background:
The installation is inspired by the relationship between man, nature and technology. SENSUAL, GREEN and DIGITAL, the installation captures some of the key visions of the design team, which has over the past 12 months established offices in Sydney, Abu Dhabi and Stuttgart.
The project caps off a spectacular year for the trio and follows LAVA’s successful launch of the Michael Schumacher World Champion Tower (MSWCT) an ultra-luxury residential tower in October in Abu Dhabi, and the November launch of the future hotel Showcase suite in Germany.
The team also managed to pick up Best International Interior and the Sustainability Grant at the 2008 Interior Design Awards.
Chris’s work on the Watercube Swimming Centre for Beijing 2008 received the prestigious Atmosphere Award at the 9th Annual Venice Biennale and Chris was recently recognized as an emerging architect on the world stage by the RIBA London.
Tobias was instrumental in the emergence of the recent Stuttgart Mercedes-Benz Museum between 2002 and 2007 which has attracted worldwide attention for its innovative spatial concept.
concept
The installation is a ‘Minimal Surface’ that consists of a tensioned Lycra material, digitally patterned and custom-tailored for the space. The Five “funnels” of the sculpture reach out to connect the various levels and carefully hover just off the main interior atrium of the Customs House above the model of the city.
LAVA Asia Pacific Director Chris Bosse explains:
“The shape of the installation is not explicitly designed; it is rather the result of the most efficient connection of different boundaries in three-dimensional space, which can be found in nature in things like plants and corals. We only determined the connection points within the space and the rest is a mathematical formula, a minimal surface.
the concept was achieved with a flexible material that follows the forces of gravity, tension and growth, similar to a spider web or a coral reef. We are interested in the geometries in nature that create both, efficiency and beauty”
The lightweight fabric design follows the natural lines, contours and surface-tension of the fabric.
While appearing solid, the structure is soft and flexible and creates highly unusual spaces within customs house, which come to life with projection and lighting.
Since the 1970’s, with Frei Otto’s soap-bubble experiments for the Munich Olympic Stadium, naturally evolving systems have been an intriguing area of design research; something that hasn’t been lost on the team and their fascination with new building typologies and naturally developed structures.
Lava sought for advise and inspiration from American artist Alexandra Kasuba, who since Woodstock 1972 has created imaginative membrane sculptures around the world, followed by international artists such as Amish Kapoor and Ernesto Neto.
“We wanted to see how far we could take the idea of creating more space with less material, filling 3000 cubic meters, the equivalent of 8 million cola cans, with a minimal surface of 300 square meters weighting only 40 kg.”, emphasises Tobias Wallisser Director of LAVA Europe and professor of Digital Design at the State Academy of Fine Arts Stuttgart.
Rising up to the top level restaurant, a vertical distance of almost 20m, the sculpture provides an intense visual contrast to the beautifully restored heritage interior of Customs House.
The Customs House ‘Media Wall’ is also activated with content detailing the process of design, engineering, fabrication and installation of the sculpture along with recent design projects completed by LAVA across 12 video screens.
The whole installation is immersed in a soundscape by sound artist David Chesworth, who created a “digital rainforest”.
Graphic design by emerging graphic designers TOKO, featuring a 3dimensionally layered catalogue, a wireframed mediawall, and projections onto the building.
3D works by visual artist Peter Murphy creating 3d immersive imagery that can be viewed without shutter glasses thanks to a new technology.
Catalogue Essay by Matteo Cainer , Architecture Critic, London.
Key data:
Building Materials: Specially treated high-tech Nylon and light
Dimensions: approx. 21x8x12m
Surface Area:300 m2
Volume/space: 3000 m3
Weight: 40 kg
Construction/manufacturing time: 5 weeks
Green Void Credits:
Chris Bosse, Tobias Wallisser, Alexander Rieck
Jarrod Lamshed, Esan Rahmani, Kim Ngoc Nguyen, Anh Dao Trinh, Erik Escalante Mendoza, Pascal Tures, Mi Jin Chun, Andrea Dorici.
Contact:
Chris Bosse
Architect | Director
LAVA
Laboratory for Visionary Architecture
72 Campbell Street
Surry Hills
Sydney NSW 2010
Australia
Phone: +61 2 92801475
Fax: +61 2 92818125
Mobile OZ: +61 (0)410773260
Mobile UAE: +971(0)501514386
Mail: bosse@l-a-v-a.net
Press inquiries for LAVA:
Jane Silversmith
jane_silversmith@mac.com
M + 61 [0] 408 029 118
LAVA
directors@L-a-v-a.net
Mak max:
Kobi Tollitt
KobiT@tmcshade.com
Daniel Cook
DanielC@tmcshade.com
Suite 420 185 Elizabeth Street
Sydney NSW 2000
Freecall: 1800 777 727
Customs house:
Jennifer Kwok
JKWOK@CITYOFSYDNEY.NSW.GOV.AU
JENNIFER KWOK | MANAGER CUSTOMS HOUSE
LEVEL 2 31 ALFRED STREET CIRCULAR QUAY NSW 2000
TELEPHONE 02 9242 8591 | MOBILE 0419 205 086
Green Void Features
Digital Workflow
The project renounces on the application of a structure in the traditional sense. Instead, the space is filled with a 3-dimensional lightweight-sculpture, solely based on minimal surface tension, freely stretching between wall and ceiling and floor.
The design and fabrication procedure uses state-of-the-art digital workflow; beginning with 3D computer modelling, that is engineered structurally before undergoing a process of computer controlled (CNC) material cutting and mechanical re-seaming.
The computer-model, based on the simulation of complexity in naturally evolving systems, feeds directly into a production-line of sail-making-software and digital manufacturing.
The product shows a new way of digital workflow, enabling the generation of space out of a lightweight material that requires minimal adjustments onsite to achieve a complete installation in an extremely short time.
Sustainability
LAVA’s process of optimized minimal surface design and CNC (computer numeric code) fabrication technology allows the sculpture to reveal a new dimension in sustainable design practice.
Fulfilling the sustainable agenda of the venue, the work succeeds in its quest for optimum efficiency in material usage, construction weight, fabrication and installation time, while at the same time achieving maximum visual impact in the large atrium space.
The pavilion is easily transportable to any place in the world; can be quickly installed, and is fully reusable.
Fabrication
The sculpture materials consist of a double stretch, 2 way woven fabric that is mechanically attached to specially designed aluminium track profiles. Each profile is suspended from above, and to the side, on 2mm stainless steel cabling.
LAVA BACKGROUND
At the vanguard of a nonconformist and inventive new generation in architecture,
LAVA bridges the gap between the dream and the real world.
LAVA operates as a unique think tank with branches placed strategically worldwide. It has been formed by some of the most experienced and forward thinking architects from around the globe.
LAVA was founded by Chris Bosse and Tobias Wallisser in 2007. During its first year, the office has completed a wide range of projects in Germany, Australia and the U.A.E.
Chris Bosse is the director of LAVA Asia Pacific, based in Sydney, Australia. Chris is Adjunct Professor and Innovation fellow at the University of Technology, Sydney and lectures worldwide.
Educated in Germany and Switzerland, Chris worked with several high-profile European Architects before moving to Sydney. For a number of years Chris was
Associate Architect at PTW Architects in Sydney, completing many projects in China, Vietnam, the Middle-East and Japan.
Chris’s work on the Watercube Swimming Centre in Beijing received the prestigious Atmosphere Award at the 9th Annual Venice Biennale and Chris was recently recognized as an emerging architect on the world stage by the RIBA London.
Tobias Wallisser and Alexander Rieck are the directors of LAVA Europe and are based in Stuttgart, Germany. Tobias is Professor of Innovative Construction and Spatial concepts at the State Academy of Fine Arts Stuttgart.
After studying architecture in Berlin, Stuttgart and New York, Tobias worked in the United States, Netherlands and Germany. For 10 years Tobias was Associate Architect at UNStudio in Amsterdam, completing a series of high Profile projects and master plans including the World Trade Centre project in New York and the Arnhem Interchange.
Tobias was instrumental in the emergence of the recent Stuttgart Mercedes-Benz Museum which has attracted worldwide attention for its innovative spatial
concept.
Alexander works as a senior researcher at the renowned Fraunhofer Institute in Stuttgart. He studied architecture in Stuttgart and Phoenix and worked for a number of high-profile architects in Germany before joining the field of research. He started his research career in the Virtual Reality environment.
Alexander has led many of the Office 21 research projects that produced groundbreaking work in the field of future office organisation. He is a expert
on innovations in the fields of office, hotel, living and future construction, and an author of many publications about working environments and building processes of the future.
Research and Design Focus
LAVA’s research and design focus allows the evolution of architectural and urban design outcomes inaccessible through traditional methodologies.
Our process continually evolves; responding to global and market forces to deliver high quality, technologically advanced and sustainable projects that inspire a new generation.
LAVA Sydney and Stuttgart already have become hotspots and breeding grounds for a new generation of architectural talent.
Network Practice
LAVA works as a network practice, providing Visionary Architectural and Urban design services worldwide.
The LAVA network provides clients with access to an extensive team of leading design consultants and offers a comprehensive list of Architectural Design, Urban Design, Development Feasibility, Marketing and Master planning services.
Our collaboration with the Fraunhofer Institute enhances our work; we can call on cutting-edge research in the field of virtual environments, revolutionary office configurations, new materials and future scenarios.
Our longstanding collaboration with the architectural office WENZEL+WENZEL allows us to provide continuous services and to execute and coordinate individual projects from the beginning to the end.
Collaborations:
ARUP Advanced Geometry Unit | London
Fraunhofer Institute of Industrial Engineering | Stuttgart
Fraunhofer Institute of Solar Energy Systems | Freiburg
PNYG: COMPANY | Dubai
Werner Sobek Ingenieure | Stuttgart
Teuffel Engineering Consultants | Stuttgart
Transsolar Energietechnik | Stuttgart
Wenzel+Wenzel Architects | Stuttgart - Abu Dhabi
Recent Projects
Within the last year, we have worked on the following projects:
Sports Resort | U.A.E.
Architonic Lounge | Cologne
Office Tower | Abu Dhabi
Guest House Al Otaiba | U.A.E.
LBBW Headquarters | Stuttgart
Boutique Hotel Study | U.A.E.
Branded Tower Concept
Branded Tower | Abu Dhabi
Education City Sports Facilities | Doha
Pol Oxygen Pavilion | Sydney
Mixed use Tower | Stuttgart
Master plan Fuxin | China
Future Hotel Showcase | Duisburg
Hotel Jaegerstrasse | Stuttgart
Armstrong Pavilion | Munich
Zero Energy Houses | Saudi Arabia