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The company was founded by John Dyson who began mining clay and making bricks in the early 1800s. From the very beginning the business was a success. The 1834 Sheffield trade directory lists - “John Dyson - Brick Maker, Stannington” which indicates that he ran the business on his own. However, by 1838 the business was listed as “John Dyson and Son - Black clay miners and firebrick manufacturers, Griffs House, Stannington.
Dyson's were manufacturers of Refractory material, ceramics for the steel industry, they also produce fire backs and other household ceramic bricks for the likes of Aga's etc. They have also been know to sell clay for use in Well Dressings.
Unfortunately Dyson's traditional manufacturing process relied heavily on gas fired kilns. With increased in energy costs the plants was no longer economically viable, despite the very best efforts of the management and staff alike the site closed around 2005.
The high performance niche products in Dyson's range are still available and are the cornerstone in Dyson's progression. The company have a wholly owned manufacturing facility in Tianjin, PRC which produces is high quality products.
Mojri, or joothie, is traditional handmade camel leather footwear originating from Rajasthan but widely worn in Punjab and Gujarat as well. The mojri is boat shaped, with no distinction between the right and left shoes. After being worn a few times, the shoes mould to the right and left foot of the wearer, and then the right and left can be easily distinguished.
The manufacturing process takes up to two to three months. Silk, beads, sequins, gold/silver thread, and brass tacks in various combinations are utilized for the pattern work. Typically women's mojris are more colourful than men's, although they are both very visually striking.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
A team of Central Oregon high school students led by an Oregon State University – Cascades computer science junior Andras Mihaly are building sensors that Oregon firms can use to advance manufacturing processes and extend the life of their equipment. The project is a partnership of the OSU-Cascades Innovation Co-Lab, Oregon Manufacturing Extension Partnership, Central Oregon STEM Hub and Oregon Department of Education CTE program. Photos by Joe Kline.
The Luxe Competition hubs with the gold foil labels on the barrels preceeded those with the red labels. But, the distinctions run a little more deeply than that simple comparison.
Look at the dust covers of the two versions. You may notice in this photo that the ends of the hub shells appear to have the inner bearing cups completely sealed over by the smoothly finished aluminum "caps". I really do not know how they did this. There do not appear to be any seams at all. But the hubs obviously required steel bearing cups to be fitted inside at some point during the manufacturing process. On the later version of these hubs, there are clearly defined red plastic covers press fitted to the ends of the hub shells.
DSCF7869
Love For Nature Lasts Forever
With Eco-Friendly uPVC Profiles
Being the experts that we are in the uPVC windows manufacturing business, great importance, and rigorous practices take precedence at every stage of manufacturing process.
The 275,000-square-foot school is built to serve up to 1,400 students.
Hunter XCI Foil product is used in the construction of the new Ankeny High school. XCI Foil is a high thermal, rigid building insulation composed of a closed cell polyiso foam core bonded on-line during the manufacturing process to an impermeable foil facing material. It is designed for use in commercial cavity wall applications to provide continuous insulation within the building envelope.
Hunter Xci polyiso products:
- Have the highest R-Value per inch of any insulation
- NFPA 285 TEST - Passed
- Energy Star approved
- Contribute toward LEED certification credits
- HCFC, CFC, zero ODP, and negligable GWP.
View more: www.hunterxci.com/
Architect: DLR Group
GC/Builder: Stahl Construction
Common Names: castor bean, castor oil plant, palma Christi, wonder tree
Some parts are extremely poisonous
The castor bean seed coat contains ricin, one of the most poisonous naturally occurring chemicals known to Man; even very small doses can be fatal.
Medicinal qualities
Castor oil, derived from castor beans, is used extensively in medicine. The foul tasting laxative, castor oil, loathed by children everywhere, tastes poisonous but is, however, a valuable purgative still widely used in modern medicine. Castor oil also is used externally to treat some kinds of skin diseases including ringworms and warts.
Other uses:
Castor oil is used in cosmetica
Castor oil is used in the food
_ Castor oil is used in varnishes and paints, as a lubricant and lamp oil, and in many other industrial and manufacturing processes.
Biodiesel
Castor bean is the plant of the future: biodiesel (no CO2 pollution)
Information:
Floridata
www.floridata.com/Plants/Euphorbiaceae/Ricinus%20communis...
Marketing Communications Director,
WAMGROUP S.p.A.
More information:
www.bulk-online.com/Co/15425.htm
www.google.com/search?client=safari&rls=de-de&q=W...
"bulk-online Leader"
Corporate Profile:
Since WAMGROUP Chairman and C.E.O., Vainer Marchesini, set up his first workshop back in 1969 as a one-man-operation to manufacture screw conveyors, the name WAM® has come to stand for innovation in bulk material handling technology and equipment supply.
Today, WAMGROUP manufactures and supplies a comprehensive product range including equipment for Bulk Material Handling, Dust Filtration, Solids-Liquid Separation, Mixing and Vibration Technology.
Strongly focused on the requirements of the market, WAMGROUP aims to produce customer-oriented solutions and to turn them into a particularly user-friendly standard.
High quality and a price-performance ratio make WAMGROUP equipment the ideal choice for every project engineer and gives the customer the best deal available on the market.
Uncompromising dedication to R & D is the foundation of a vast product range and leads time and again to the development of custom-designed equipment from standardized modular components.
Highly rationalized and cost-effective CAD/CAM-supported production methods and logistics have been constantly improved throughout the years and now can be considered "state of the art".
The VISION 2000 quality management gives every WAMGROUP customer the assurance that the equipment he is going to use has been checked and tested in each phase of the manufacturing process.
WAMGROUP’s worldwide sales network including subsidiaries and distributors offers each and every user professional advice, smooth order management and a ‘round the clock’ spares service.
For major integration with overseas markets, in the 1990s WAMGROUP started to set up assembly plants for their major product lines in other continents following the principle of centralized production and decentralized assembly.
At the beginning of the 3rd millennium WAMGROUP stands for particularly lean structures and maximum synergies between the Group’s members.
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
This is a fantastic set of 7 signed Fred Press tumblers from the 1950's. Their bold chartreuse colour with cursive black design will add impact to any table setting. These are truly a beautiful mid century set that have a modern design aesthetic.
Each glass stands 5.5 inches tall by 2.5 inches wide. They are chip free and in very good cosmetic (although not perfect) condition. The manufacturing process to make these glasses is to wrap the design on the glass so it is not etched or coloured glass - therefore over time some scratches and marks (caused by air bubbles) have surfaced. . These imperfections are found in all glasses from this period, made in this fashion.
2008 Mercedes-Benz SLR McLaren Roadster
Sold for US$489,000 inc. premium
From the catalog:
VIN. WDDAK76F08M001811
5.5-Liter DOHC Supercharged V8 Engine
Sequential Multi-Point Fuel Injection
617bhp at 6,500rpm
5-Speed AMG Speedshift R Transaxle
4-Wheel Independent Suspension
4-Wheel Carbon-Ceramic Disc Brakes
*Superb 'time-capsule example', with less than 400 miles from new
*A Mercedes-Benz assembled at the McLaren Formula 1 Technology Centre
*One of only 106 SLR Roadster produced for the 2008 model-year
*Extremely powerful and iconic Mercedes-McLaren in stealth and timeless triple-black livery
THE MERCEDES-BENZ SLR McLAREN
Introduced in 2005, their new SLR Supercar (SLR for Sport Leicht Rennsport) allowed Mercedes-Benz and its then Formula 1 partner McLaren to showcase their collective experience in the development, construction and production of high-performance sports cars and, just like its legendary 300SLR predecessor of 1955, incorporated technological developments that were ahead of their time.
The heart of any car is its engine, and that of the SLR McLaren is truly outstanding. Produced at Mercedes-Benz's AMG performance division, where each unit was the responsibility of one engineer who carried out the entire assembly process, it is a 5.5-liter, all-alloy, 24-valve, supercharged V8 producing 617bhp, making it one of the most powerful engines to be found in a series-produced road-going sports car. Impressive though this peak horsepower figure is, it is the torque produced by this state-of-the-art 'blown' motor that is its most remarkable feature. The torque curve is almost flat: there is already 440lb/ft by 1,500 rpm and well over 500lb/ft between 3,000 and 5,000 revs.
A front-engined layout was chosen for the SLR in the interests of optimum weight distribution, handling dynamics and braking stability, the motor's dry-sump lubrication system - more commonly found in competition cars - enabling it to be mounted lower in the chassis. The five-speed automatic transmission, already used in several high-performance Mercedes-Benz models, has been specially optimized for very high torque and also offers the driver the option of choosing between different shift characteristics using the Speedshift system.
Extending the long-term technological collaboration that Mercedes-Benz and McLaren enjoyed in Formula 1, the SLR's carbon fiber composite monocoque body/chassis structure was produced in the latter's all-new facility in Woking, England. Carbon fiber has been used for decades in the aeronautical industry and in the construction of Formula 1 cars but is comparatively rare in series-produced road cars because of the expense involved in manufacturing composite structures by hand. Using several patented innovations, Mercedes-Benz and McLaren brought a measure of automation to the carbon fiber manufacturing process, enabling the material's benefits of low weight, exemplary rigidity and strength, corrosion resistance and significantly higher energy absorption in the event of an impact, to be offered in the SLR.
The pioneering use of composite technology was also extended to the brake discs, which are manufactured from a fiber-reinforced ceramic material capable of withstanding extremely high temperatures and offering a level of fade resistance hitherto unattainable in series-produced road cars. Topping off this technological tour de force is the electronically controlled rear spoiler, which rises to an angle of 65 degrees when the driver brakes heavily, boosting the braking effect by increasing aerodynamic drag and lending the SLR outstanding stability when braking from high speeds.
THE MOTORCAR OFFERED
This exceptional SLR Roadster presents in pristine, immaculately well-kept condition, having covered just 389 miles from new at the time of cataloging. One of the just 106 US-Market examples produced in 2008, this SLR was assembled largely by hand at the McLaren F1 Technology Centre and Mercedes-Benz's AMG performance division during June of 2008, nearing the end of the limited production run. The new car was offered through Mercedes-Benz of Naperville, Illinois, and received its first Pre-delivery Inspection there on August 22nd, 2008. Mercedes-Benz of Naperville would service the car regularly the following year, and then finally sell it to the first recorded owner during October of 2009. By 2011, the SLR would sell to a Michigan owner, yet the car remained largely unused not even racking up 100 miles. The car is recorded as having been serviced from time to time for the next decade, while kept in basically delivery condition. The current owner acquired the 'time-capsule' SLR Roadster in 2019, with less than 350 miles on the odometer, and has since kept the car in his immaculate climate-controlled collection. A service has recently been performed at an authorized Mercedes-Benz agency.
Today the SLR has less than 400 miles from new and essentially remains in showroom condition. Its original factory-applied, triple-black livery is both timeless and suiting of the limited-edition SLR, and the 19-inch Turbine alloy wheels fits the design stunningly well. A rare collaboration between two iconic powerhouse manufacturers coupled with ultra-low production numbers and exceptional performance figures, the Mercedes-Benz SLR McLarens have quickly become highly collectible cars. Here is an opportunity to acquire what must be one of the best preserved and lowest-mileage examples in existence.
- - -
It's Bonhams day!
- - -
This year I was able to escape the snow and join Fred in Scottsdale for sunshine, cars, and music! I also drove down to Tucson to meet Doug for lunch and spend a nice evening visting with Richard and Lola.
From the planting of the seed to the end of the manufacturing process, Portuguese cork makes for authentic, high quality and eco-efficient cork products that are created with true craftsmanship and care.
In 1880 having been taught the use of simple lathes and machinery by his uncle,
and encouraged by William Morris, William Arthur Smith Benson began metalwork production
in Fulham, London. As his business grew Benson closely followed developments in technology, mastering all the processes of casting, turning, folding and riveting many variations of interchangeable components. He opened a showroom in Bond Street in 1887 displaying
light fittings, fireplace accessories, plant stands and hollow-ware, in silver, copper, brass,
iron and polished steel, patenting many of his popular designs to protect them from the
array of sub-standard copies that flooded the market.
WAS Benson was at the forefront of electric installation in homes all over Britain, advising on suitable lighting schemes and installation. In 1893 he electrified Philip Webb’s latest architectural commission, Standen, near East Grinstead, Sussex, now owned by the National Trust.
His metalwork and lighting designs reached iconic status, sold in galleries throughout Europe,
and in 1896 when William Morris died it was Benson with a colleague who bought Morris & Co and ran it alongside his own company until he resigned in 1917.
Benson attracted much acclaim for his metalwork designs and manufacturing processes.
The Studio Magazine of Decorative Arts, The Magazine of Art, and Herman Muthesius in
Das Englische Haus, were among the many who applauded his innovations.
11.5%
A wonderfully strong and yet not overpowering beer, pours well, and has a meringue like heard, which then fades away leaving a wonderfully complex beer.
I like it.
------------------------------------------------
Refreshing as an aperitif, and just as full of flavour and rich in aroma as a beer from heaven. That's Deus.
A magnificent symbiosis of brewing a beer and creating a sparkling wine. Ideal for delighting your guests sometime as an unusual choice with before-dinner nibbles and amuse-geules. Perfect if you have something to celebrate.
Truly the sparkling divine drink based on barley. The result of a months-long manufacturing process in which the best of two methods is combined. In Belgium the master brewer ferments the beer. After that the DeuS to be travels to France where it is transformed into a sparkling divine drink using a centuries old technique.
The elegant contours of the bottle are advance proof of the delightful subtlety of Deus. In a flute glass you will discover a light blonde to pale golden beer, brightly scintillating, saturated and with extremely tiny bubbles.
Deus is crowned by a fine linen white, meringue-like head. A fascinating complexity. It develops the fragrance of fresh apples backed by mint, thyme, citrus, ginger, malt, pears, hops, allspice and cloves. Deus is delicate and complex.
It glides over the tongue as smoothly as silk and then blossoms into a creamy, tingling sparkle. Deus is light and vivacious and seduces you with the sweetness of a grape and the fruitiness of a desert apple.
The finish is beautifully dry with a bare hint of tannin.
"It's stunning - I've never had anything like it." Garrett Oliver, Brewmaster and International Beer Expert
"Other great beers might approach but not quite match the delicacy of Deus." Michael Jackson, Reknowned Beer Author
This high-speed inspection system — originally developed to inspect small-arms ammunition — had the adaptability to be fitted for a variety of other manufactured processes.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory"; Please use provided caption information for use in appropriate context.
100118-F-0782R-009 Kabul- U.S. Army Brig. Gen. Gary Patton, center, NATO Training Mission - Afghanistan (NTM-A), deputy commanding general (programs), samples material that will be used to make boots at the Kabul Milli factory, Kabul, Afghanistan, Jan. 18, 2010. Members of CSTC-A and the Afghan National Army visited the boot factory to observe the boot manufacturing process and to initiate a process improvement program..
(U.S. Air Force Photo/Staff Sgt. Larry E. Reid Jr., Released)
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
AMES TECHNICIAN OBSERVING A UNIQUE TOOLMARK EMBEDDED IN THE SURFACE OF AN ORDINARY PAIR OF PLIERS USED IN A FORENSIC STUDY.
A FORENSIC COMPARISON MICROSCOPE IS USED TO CAPTURE DIGITAL IMAGES OF TOOLMARKS, WHICH ARE ENTERED INTO A DATABASE. FORENSIC EXPERTS CAN USE THE DATABASE TO IDENTIFY TOOLMARKS PRODUCED ON A TOOL THROUGH DIFFERENT MANUFACTURING PROCESSES. IT IS KNOWN IN THE FORENSIC COMMUNITY THAT DURING THE MANUFACTURING PROCESS OF TOOLS, SUCH AS SCREWDRIVERS, PLIERS, OR WIRE CUTTERS, MARKS ARE EMBEDDED ON THEIR SURFACES, MAKING PATTERNS THAT RENDER EACH TOOL UNIQUE.
For more information or additional images, please contact 202-586-5251.
Minton Tiles
The richly patterned and colored Minton tile floors are one of the most striking features of the extensions of the United States Capitol. They were first installed in 1856, when Thomas U. Walter was engaged in the design and construction of vast additions to the Capitol (1851-1865). For the floors in his extensions, Walter chose encaustic tile for its beauty, durability and sophistication.
•Artist: Minton, Hollins and Company
•Date: Installed in 1856
One striking example of the contrast between the interiors of the Old Capitol (finished in 1826) and the extensions (begun in 1851) may be seen in the differences in flooring materials. In the Old Capitol, stone pavers were used in corridors and other public spaces, such as the Rotunda and Crypt, while brick was used to floor committee rooms and offices. These materials, although durable and fireproof, would have looked plain and old-fashioned to the Victorian eye. In the mid-19th century, encaustic tile flooring was considered the most suitable and beautiful material for high-traffic areas. Unlike ordinary glazed tile, the pattern in encaustic tile is made of colored clays inlaid or imbedded in the clay ground. Because the color is part of the fabric of the encaustic tile, it will retain its beauty after years of wear. One observer noted:
“The indestructibility of tiles may be judged from the fact that the excavations at Pompeii have unearthed apartments where painted tiles are just as beautiful, the colors as fresh and bright as... when the fated city was in all its glory.”
Two types of tile were used at the U.S. Capitol: plain and inlaid encaustic tiles in a range of colors. Plain tiles were used as borders for the elaborate inlaid designs or to pave large corridor areas. They were available in seven colors: buff, red, black, drab, chocolate, light blue and white. Additional colors, such as cobalt blue, blue-gray, and light and dark green, appear in the inlaid encaustic tiles that form the elaborate centerpieces and architectural borders. They were made by “filling indentations in the unburnt tile with the desired colors and burning the whole together.”
The patterns and designs formed in the inlaid tiles were limited only by taste and imagination. They include geometric patterns such as the Greek key, guilloche, and basket weave; floral designs such as the fleur-de-lis; and figures such as dolphins and classical heads. Few of the patterns are repeated. Although most of the tiles are six-by-six-inch squares, some are round, triangular or pie-shaped. Approximately 1,000 different tile patterns are used in the corridors of the Capitol alone, and up to 100 different tiles may be needed to create a single design.
The original encaustic tiles in the Capitol extensions were manufactured at Stoke-upon-Trent in Staffordshire, England, by Minton, Hollins and Company. The firm’s patented tiles had won numerous gold medals at international exhibitions and were considered the best tiles made. In 1876, having seen Minton’s large display at the Centennial Exhibition in Philadelphia, one critic wrote, “Messr. Minton shone superior to all exhibits of the sort… and may be cited as showing the highest results in tile-pottery achieved by modern skill and research.”
Beginning in 1856, and continuing for five years, the tile was installed by the import firm of Miller and Coates of New York City. For the journey from New York to Washington, the tiles were packed in wooden casks weighing about 1100 pounds; each cask contained enough tiles to pave about 100 square feet. The cost of the tile ranged from $0.68 to $2.03 per square foot.
Thomas U. Walter had every reason to believe that the encaustic tile floors would last as long as his extensions stood. One visitor noted in 1859 that the tile floors vied with the beauty of marble and surpassed it in durability. While perhaps valid for other installations, however, this prediction proved overly optimistic for the Capitol Building. By 1924, the Minton tile was removed from the corridors in the first and second floors of the House Wing and replaced by “marble tile in patterns of a simple order.” In that day, marble was selected for its superior durability and because suitable replacement tile was difficult to find.
In the 1970s, however, a similar condition prompted a very different response. In 1972, a search was undertaken to determine a source of similar tiles in order to restore the original appearance of the building. Inquiries were made of all major American tile manufacturers, the American Ceramic Tile Manufacturers Association, and even Mexican and Spanish tile suppliers. Although the colors and designs could be reproduced relatively easily, the patterns would quickly wear because they would be applied to the surface. The “inlaid” feature of the encaustic tiles, i.e., the approximately 1/8-inch thickness of the pattern and color, is the characteristic that enables the Minton tiles to be walked upon for over 100 years without signs of wear. It was this technique that formed the basic difficulty of manufacture.
Finally, as a result of the Capitol’s needs becoming generally known, the Architect of the Capitol was placed in contact with H & R Johnson Tiles Ltd., located at Stoke-on-Trent, England. It was discovered that that firm was a successor company to the Minton Tile Co. and had even retained many of the original hand tools and forms in a private museum at the company’s manufacturing site.
Contact was then made with Mr. James Ellis, the Directing Architect of Ancient Monuments and Historic Buildings for the Crown. He had been trying for many years to establish a program for the replacement of the worn Minton tiles at the Houses of Parliament but had more or less given up the attempt because of H & R Johnson’s continued unwillingness to revive the encaustic tile process. However, the restoration work at the Arts and Industries Building of the Smithsonian Institution was in process at about the time the needs of the Capitol became known; it thus appeared that a market for such tiles was developing to the degree that the manufacturer began to reconsider its prior position. The company thus began the experiments that finally led to the present availability, after many decades, of the original Minton-type tiles.
Because the tiles in the Capitol are more decorative and have more complicated designs and color combinations than those in either the Houses of Parliament or the Smithsonian, those institutions were able to obtain replacement tiles sooner than the Capitol. The lessons learned in the manufacture of the simpler tiles served as a basis for filling the later needs.
Color photographs and full-sized drawings of the many required patterns were made and recorded, and many developmental submissions were made as the hand-made manufacturing process was re-developed. Finally, in 1986, the first acceptable tiles were delivered. The installation process was accomplished with modern cement adhesives and has yielded excellent results.
The program enabled the original tiles to be replaced with exact replicas. This project began on the first floor of the Senate wing, where the effects of 130 years of wear and tear were most noticeable. Replacement tile was closely scrutinized to ensure fidelity to the nineteenth-century originals. While difficult and slow, this process is the only fitting response to the history of the Capitol extensions, not only to restore the original beauty and elegance of these unique floors, but also to provide for their continuing attractiveness for the foreseeable future.
Io Aircraft - www.ioaircraft.com
Drew Blair
www.linkedin.com/in/drew-b-25485312/
io aircraft, phantom express, phantom works, boeing phantom works, lockheed skunk works, hypersonic weapon, hypersonic missile, scramjet missile, scramjet engineering, scramjet physics, boost glide, tactical glide vehicle, Boeing XS-1, htv, Air-Launched Rapid Response Weapon, (ARRW), hypersonic tactical vehicle, hypersonic plane, hypersonic aircraft, space plane, scramjet, turbine based combined cycle, ramjet, dual mode ramjet, darpa, onr, navair, afrl, air force research lab, defense science, missile defense agency, aerospike,
Advanced Additive Manufacturing for Hypersonic Aircraft
Utilizing new methods of fabrication and construction, make it possible to use additive manufacturing, dramatically reducing the time and costs of producing hypersonic platforms from missiles, aircraft, and space capable craft. Instead of aircraft being produced in piece, then bolted together; small platforms can be produced as a single unit and large platforms can be produces in large section and mated without bolting. These techniques include using exotic materials and advanced assembly processes, with an end result of streamlining the production costs and time for hypersonic aircraft; reducing months of assembly to weeks. Overall, this process greatly reduced the cost for producing hypersonic platforms. Even to such an extent that a Hellfire missile costs apx $100,000 but by utilizing our technologies, replacing it with a Mach 8-10 hypersonic missile of our physics/engineering and that missile would cost roughly $75,000 each delivered.
Materials used for these manufacturing processes are not disclosed, but overall, provides a foundation for extremely high stresses and thermodynamics, ideal for hypersonic platforms. This specific methodology and materials applications is many decades ahead of all known programs. Even to the extend of normalized space flight and re-entry, without concern of thermodynamic failure.
*Note, most entities that are experimenting with additive manufacturing for hypersonic aircraft, this makes it mainstream and standardized processes, which also applies for mass production.
What would normally be measured in years and perhaps a decade to go from drawing board to test flights, is reduced to singular months and ready for production within a year maximum.
Unified Turbine Based Combined Cycle (U-TBCC)
To date, the closest that NASA and industry have achieved for turbine based aircraft to fly at hypersonic velocities is by mounting a turbine into an aircraft and sharing the inlet with a scramjet or rocket based motor. Reaction Engines Sabre is not able to achieve hypersonic velocities and can only transition into a non air breathing rocket for beyond Mach 4.5
However, utilizing Unified Turbine Based Combine Cycle also known as U-TBCC, the two separate platforms are able to share a common inlet and the dual mode ramjet/scramjet is contained within the engine itself, which allows for a much smaller airframe footprint, thus engingeers are able to then design much higher performance aerial platforms for hypersonic flight, including the ability for constructing true single stage to orbit aircraft by utilizing a modification/version that allows for transition to outside atmosphere propulsion without any other propulsion platforms within the aircraft. By transitioning and developing aircraft to use Unified Turbine Based Combined Cycle, this propulsion system opens up new options to replace that airframe deficit for increased fuel capacity and/or payload.
Enhanced Dynamic Cavitation
Dramatically Increasing the efficiency of fuel air mixture for combustion processes at hypersonic velocities within scramjet propulsion platforms. The aspects of these processes are non disclosable.
Dynamic Scramjet Ignition Processes
For optimal scramjet ignition, a process known as Self Start is sought after, but in many cases if the platform becomes out of attitude, the scramjet will ignite. We have already solved this problem which as a result, a scramjet propulsion system can ignite at lower velocities, high velocities, at optimal attitude or not optimal attitude. It doesn't matter, it will ignite anyways at the proper point for maximum thrust capabilities at hypersonic velocities.
Hydrogen vs Kerosene Fuel Sources
Kerosene is an easy fuel to work with, and most western nations developing scramjet platforms use Kerosene for that fact. However, while kerosene has better thermal properties then Hydrogen, Hydrogen is a far superior fuel source in scramjet propulsion flight, do it having a much higher efficiency capability. Because of this aspect, in conjunction with our developments, it allows for a MUCH increased fuel to air mixture, combustion, thrust; and ability for higher speeds; instead of very low hypersonic velocities in the Mach 5-6 range. Instead, Mach 8-10 range, while we have begun developing hypersonic capabilities to exceed 15 in atmosphere within less then 5 years.
Conforming High Pressure Tank Technology for CNG and H2.
As most know in hypersonics, Hydrogen is a superior fuel source, but due to the storage abilities, can only be stored in cylinders thus much less fuel supply. Not anymore, we developed conforming high pressure storage technology for use in aerospace, automotive sectors, maritime, etc; which means any overall shape required for 8,000+ PSI CNG or Hydrogen. For hypersonic platforms, this means the ability to store a much larger volume of hydrogen vs cylinders.
As an example, X-43 flown by Nasa which flew at Mach 9.97. The fuel source was Hydrogen, which is extremely more volatile and combustible then kerosene (JP-7), via a cylinder in the main body. If it had used our technology, that entire section of the airframe would had been an 8,000 PSI H2 tank, which would had yielded 5-6 times the capacity. While the X-43 flew 11 seconds under power at Mach 9.97, at 6 times the fuel capacity would had yielded apx 66 seconds of fuel under power at Mach 9.97. If it had flew slower, around Mach 6, same principles applied would had yielded apx 500 seconds of fuel supply under power (slower speeds required less energy to maintain).
Enhanced Fuel Mixture During Shock Train Interaction
Normally, fuel injection is conducted at the correct insertion point within the shock train for maximum burn/combustion. Our methodologies differ, since almost half the fuel injection is conducted PRE shock train within the isolator, so at the point of isolator injection the fuel enhances the combustion process, which then requires less fuel injection to reach the same level of thrust capabilities.
Improved Bow Shock Interaction
Smoother interaction at hypersonic velocities and mitigating heat/stresses for beyond Mach 6 thermodynamics, which extraordinarily improves Type 3, 4, and 5 shock interaction.
6,000+ Fahrenheit Thermal Resistance
To date, the maximum thermal resistance was tested at AFRL in the spring of 2018, which resulted in a 3,200F thermal resistance for a short duration. This technology, allows for normalized hypersonic thermal resistance of 3,000-3,500F sustained, and up to 6,500F resistance for short endurance, ie 90 seconds or less. 10-20 minute resistance estimate approximately 4,500F +/- 200F.
*** This technology advancement also applies to Aerospike rocket engines, in which it is common for Aerospike's to exceed 4,500-5,000F temperatures, which results in the melting of the reversed bell housing. That melting no longer ocurrs, providing for stable combustion to ocurr for the entire flight envelope
Scramjet Propulsion Side Wall Cooling
With old technologies, side wall cooling is required for hypersonic flight and scramjet propulsion systems, otherwise the isolator and combustion regions of a scramjet would melt, even using advanced ablatives and ceramics, due to their inability to cope with very high temperatures. Using technology we have developed for very high thermodynamics and high stresses, side wall cooling is no longer required, thus removing that variable from the design process and focusing on improved ignition processes and increasing net thrust values.
Lower Threshold for Hypersonic Ignition
Active and adaptive flight dynamics, resulting in the ability for scramjet ignition at a much lower velocity, ie within ramjet envelope, between Mach 2-4, and seamless transition from supersonic to hypersonic flight, ie supersonic ramjet (scramjet). This active and dynamic aspect, has a wide variety of parameters for many flight dynamics, velocities, and altitudes; which means platforms no longer need to be engineered for specific altitude ranges or preset velocities, but those parameters can then be selected during launch configuration and are able to adapt actively in flight.
Dramatically Improved Maneuvering Capabilities at Hypersonic Velocities
Hypersonic vehicles, like their less technologically advanced brethren, use large actuator and the developers hope those controls surfaces do not disintegrate in flight. In reality, it is like rolling the dice, they may or may not survive, hence another reason why the attempt to keep velocities to Mach 6 or below. We have shrunken down control actuators while almost doubling torque and response capabilities specifically for hypersonic dynamics and extreme stresses involved, which makes it possible for maximum input authority for Mach 10 and beyond.
Paradigm Shift in Control Surface Methodologies, Increasing Control Authority (Internal Mechanical Applications)
To date, most control surfaces for hypersonic missile platforms still use fins, similar to lower speed conventional missiles, and some using ducted fins. This is mostly due to lack of comprehension of hypersonic velocities in their own favor. Instead, the body itself incorporates those control surfaces, greatly enhancing the airframe strength, opening up more space for hardware and fuel capacity; while simultaneously enhancing the platforms maneuvering capabilities.
A scramjet missile can then fly like conventional missile platforms, and not straight and level at high altitudes, losing velocity on it's decent trajectory to target. Another added benefit to this aspect, is the ability to extend range greatly, so if anyone elses hypersonic missile platform were developed for 400 mile range, falling out of the sky due to lack of glide capabilities; our platforms can easily reach 600+ miles, with minimal glide deceleration.
JACKSONVILLE, Fla. (May 10, 2017) – Hans-Mill Corporation, one of the nation’s leading manufacturers of metal and plastic household products, will soon open a state-of-the-art manufacturing center near JAXPORT’s North Jacksonville marine terminals. The 121,000-square-foot facility will be used for manufacturing, assembling and distributing stainless steel trash cans and plastic household products sold at major retailers around the world.
Hans-Mill will use JAXPORT to import materials used in its manufacturing process from Asia, as well as for the import of finished goods for U.S. distribution. In addition, the company has been granted permission to operate within JAXPORT’s Foreign Trade Zone No. 64. The facility, which already serves as the company’s headquarters, represents an $11 million investment in Northeast Florida and creates 23 new, direct jobs.
“The efficiencies Northeast Florida provides have allowed us to bring some of the manufacturing that is traditionally done overseas back to the United States,” said Kenneth Ubillus, Hans-Mill Director of Operations. “We felt welcome in Jacksonville from the very beginning and look forward to being a visible part of this community.”
“Hans-Mill’s decision to invest here highlights the many advantages we offer the industry,” said Eric Green, JAXPORT interim CEO. “Excellent ocean service options from Asia, cost-effective transportation, 60 million plus consumers nearby and a business-friendly environment, all continue to attract manufacturing here.”
Hans-Mill joins other household names, including Michaels Stores, Inc., Coach, Inc. and Bacardi Limited, in taking advantage of FTZ No. 64’s cost savings and streamlined Customs processes.
Nick explains the guitar manufacturing process to Producer Josh Granger and PA Matt MacVey at the Martin guitar workshop.
(En) Founded in 1906, the Coking Plant of Anderlues was specialized in the production of coke for industrial use.
Coke was obtained by distillation of coal in furnaces and, thanks to its superior fuel coal properties, it was used afterwards to feed the blast furnaces in the steel manufacturing process.
Closed and abandoned since 2002, the site has since undergone many losses and damages, not including an important pollution. While some buildings have now been demolished, there are however still some important parts of the former coking plant.
Among them, the former coal tower, next to the imposing "battery" of 38 furnaces, where the coke was produced. Besides them, we still can see the administrative buildings, the power station with its cooling tower, and buildings for the by-products, which were obtained by recovering the tar and coal gas. There are also a gasometer north side, the coal tip east side and a settling basin south side.
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(Fr) Fondées en 1906, les Cokeries d'Anderlues étaient spécialisées dans la fabrication de coke à usage industriel.
Le coke était obtenu par distillation de la houille dans des fours et, grâce à ses propriétés combustibles supérieures au charbon, il servait par après à alimenter les hauts-fourneaux dans le processus de fabrication de l'acier.
Fermé et laissé à l'abandon depuis 2002, le site a depuis lors subi de nombreuses pertes et dégradations, sans compter la pollution qui y règne. Si certains bâtiments (comme l'ancien lavoir à charbon) ont aujourd'hui été démolis, on retrouve encore toutefois certaines parties importantes de cette ancienne cokerie.
Parmi celles-ci, l'ancienne tour à charbon suivie de près par l'imposante "batterie" de 38 fours, où était produit le coke. A côté d'eux, on découvre également les bâtiments administratifs, la centrale électrique avec sa tour de refroidissement, ainsi que les bâtiments des sous-produits, lesquels étaient obtenus par récupération du goudron et du gaz de houille. Et en périphérie, on retrouve un gazomètre côté nord, le terril à l'est et un bassin de décantation côté sud.
The ELTON hodinárská in Nové Mesto nad Metují, Czech Republic where Prim watches are manufactured.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
Noodles Bazaar
The menu for this food attraction features eight varieties of noodles that Momofuku Ando encountered during his travels in search of ramen's origins. Enjoy the noodle culture that has spread to every corner of the world in an ambience that is like an Asian night market.
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At the Cup Noodles Museum, you can learn the secret of cup noodle and even have the opportunity to make one-of-a-kind ramen yourself.
Japanese food company Nissin operates this unique museum for Ramen.
The museum shows the 40 year product history as well as the founder, Mr. Ando Momofuku's creativity, by exhibiting 3,000 kinds of cup noodle packages.
They also recreate Mr. Ando Momofuku's humble research facility.
At "My Cup Noodle Factory," you can make your own cup noodle out of 5,460 soup base / topping combinations.
There is also "Cup Noodles Park", a playground for kids where they can experience the manufacturing process of Cup Noodle.
There is a "Chicken Ramen Factory" where you can make Chicken Ramen by hand, starting with kneading, spreading, and steaming the wheat flour and then drying it with the hot oil drying method. After experiencing the process that led to the invention of the world's first instant ramen, you can take your freshly made ramen with you and enjoy its delicious taste at home.
And of course you can enjoy global varieties of noodles in the contemporarily designed museum restaurant!
Abraders - "PALEO TOOLS: The kinds of tools used by the Paleoindians can tell us much about their way of life. Most of the tools surviving today are made of stone. Spear points, knives, drills, and scrapers are typical Paleoindian artifacts. They were used for a variety of tasks, including hunting and butchering animals, processing plants, and working raw materials to make other tools. Archaeological sites of the Paleoindians contain mostly chipped stone tools and waste flakes left from the manufacturing process. However it is almost certain that these people made wide use of other raw materials including bone, wood, ivory, and antler. Objects made of these materials do not preserve as well as stone and have likely decayed over the past 10,000 years. Springs, sinkholes and deep river beds offer good conditions for preserving organic materials because of their high mineral content and lack of oxygen. Fragments of bone, wood, and other plant remains will give clues to future archaeologists who research the skills that Paleoindians needed to survive in Ice Age Florida. " ~ Display at the Florida Museum of Natural History. (Photo 091712-013.jpg) Paleoindians section of the Division of Historical Resources - Florida Museum of History - Where I used to work - September 17, 2012: A Walk Down Memory Lane - revisiting College Town - Tallahassee, Florida. (c) 2012 - photography by Leaf McGowan, Thomas Baurley, Eadaoin Bineid - technogypsie.com. To purchase this photo or to obtain permission to use, go to www.technogypsie.com/photography/
"PALEOINDIANS: The earliest people who inhabited North America are called Paleoindians. They came to Florida during the end of the last Ice Age, at least 12,000 years ago. Their way of life lasted for about 2,500 years. Archaeologists have found few Paleoindian sites. If, as it seems likely, these early people lived along the coast of Florida, their settlements have been covered by the rising sea level. Compared to later Florida Indian cultures, Paleoindians lived in small, widely dispersed groups. Their artifacts are often found around outcrops of a flint-like rock called chert. Pieces of chert were chipped, or knapped, to make stone tools. Paleoindian artifacts are also found in springs, sinkholes and rivers that were probably ancient waterholes. These were important sources of fresh water in an otherwise dry landscape.
PALEO TIMELINE: 12,000 B.P. to 9,500 B.P. (Before present) - EARLY PALEO PERIOD: 12,000-10,000 BP - Simpson point on mammoth ivory foreshaft (circa 11,500 BP) - First evidence of people on the Florida peninsula, Paleoindians live a semi-nomadic life, hunt big game like mastadon, climate was drier than today, and sea level is more than 100 feet lower than today. - Bison antiguns skull with embedded spearpoint, Wacissa River (circa 11,000 BP).
LATE PALEO PERIOD: 10,000 to 9500 BP - stone bola weight (circa 10,000 BP) had most big game animals extinct, wetter climate prevails, sea level rises gradually, several new styles of stone points appear, like the side notched bolan point. " ~ Display in the Florida Museum of Natural History.
For more information visit:
Paleoindians: www.technogypsie.com/science/?p=939 (expected publication December 2012)
Tallahassee: www.technogypsie.com/reviews/?p=5093 (Expected publication November 2012)
Florida: www.technogypsie.com/reviews/?p=5079 (Expected Publication December 2012)
For travel tales, visit:
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
Audience members smell samples of perfume passed around by Chandler Burr during his presentation on the origins and manufacturing processes behind many well-known scents and perfumes. photography by kris krüg
Destiny Garcia, embracing the second year of her doctorate studies in the UC Davis Department of Mechanical and Aerospace Engineering, is investigating how aerospace parts — such as airplane structures and components — are manufactured. She hopes to develop a method for predicting the residual, stress-based manufacturing distortions and deformations that occur during the manufacturing process.
After earning her PhD, she looks forward to teaching engineering courses, in order to share her passion for manufacturing with next-gen students.
For more information about graduate study at the UC Davis College of Engineering, please visit: engineering.ucdavis.edu/graduate/
Photos by Sean Michael Ayres/UC Davis Engineering
JCC received a grant award through the Western New York Regional Economic Development Council’s Consolidated Funding Application to offer the Machinist Training Program which features classroom and hands-on training and consists of a mixture of college credit and non-credit classes spread over 12 months. Training for the manufacturing environment includes drafting, shop math, CNC machining, teamwork, and lean manufacturing processes.
Beyond Prototyping is a research project looking at the dynamics between the designer, manufacturing process and the consumer in creating everyday products in the age of digital fabrication. The “meaning” of an artifact transcends its physical utility and technical characteristics and is increasingly a personal narrative. The three case studies, Ciphering, Locatable and Highlight illustrate different strategies of how the experts and the target audience can together create meaningful, unique artifacts, based on an algorithmic design idea and through an online platform for intuitive interaction.
credit: Michael Burk
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
November 12th, 2011
Somewhere Elephant Rock
Westport, MA
I have fun with this one. This IS digital manipulation. The title has nothing to do with actual Hg in the ocean. The way the soft sea was being processed reminded me of Hg.
But, while we are at it:
"Mercury is a dangerous chemical finding its way into the oceans and the seafood we eat.
Mercury released to the environment from industrial sources ends up in our oceans, leading to seafood contamination. Because it builds up in wildlife through a process called bioaccumulation, animals high on the food chain carry the most mercury.
Many of the fish we eat, such as tuna and swordfish, are close to the top of the marine food chain.
People exposed to high levels of mercury in fish can experience health effects, such as delayed neurological development in children. Both the Food and Drug Administration and the Environmental Protection Agency have advised women of childbearing age and children not to eat certain types of fish due to high mercury levels.
Elevated mercury levels are also being found in wildlife, like polar bears, whales and sharks.
Most people remain unaware that a small subset of the chlorine industry makes a major – and completely preventable – contribution to the global mercury crisis.
A handful of chlorine plants still use mercury in the chlorine manufacturing process. Not only has newer, mercury-free technology been around for decades but more than 100 factories globally have switched to the modern technology due to environmental reasons as well as increased energy savings.
Oceana’s campaign to stop seafood contamination is working to convince grocery stores to post the FDA’s mercury advice about how to avoid high mercury levels and to convince the remaining chlorine plants who use mercury to convert to mercury-free technology. Since the campaign began, hundreds of grocery stores have started posting the advice and several chlorine factories have closed or converted."
SOURCE: oceana.org/en/our-work/stop-ocean-pollution/mercury/overview
Raw material in the Prim factory.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
I did a lot of brazing for training purposes before building my firs own fork.
Joints were cut to analyse solder distribution and connection between materials.
Enjoyed the improvement in the manufacturing process!
c1910 postcard view of the Lehigh pumping station near Mitchell, Indiana. Presumably, this was associated with one of two Lehigh Portland Cement plants at Mitchell which used water in the manufacturing process.
From a private collection.
Modern women's Euro-style polo shirts. Smooth stretch finish. Two self-coloured buttons. Narrow placket, spare button. Shaped side seams with side vents for feminine fit. Genuine authentic Fruit Of The Loom® brand. Eco-friendly manufacturing processes. See more at: www.blankclothing.com.au/plain-stretch-polo-shirt-women-b....
Nation : Czechoslovakia
Pavilion Name : Czechoslovakia Pavilion
Subject : Handicraft
Island : Ile Notre Dame
Description : Modern Czechoslovakian glass showcased in the Hall of Traditions.
Photographer's Notes : Modern glassware
General Description:
The two storey Czechoslovakia Pavilion consisted of two buildings linked by an entrance hall. A simple, clear architectural strategy provided a harmonious backdrop for the exhibition's exciting displays. The first building featured two levels of exhibition space with a central courtyard which drew some of the largest crowds at Expo. Czechoslovakian art, technology and industry were presented to visitors through an attractive mixture of light, sound and video. The Hall of Centuries exhibit showcased texts and artifacts from ancient royalty. In the Hall of Tradition, visitors could find old and new glass and crystal and learn about their manufacturing processes. The World of Children enchanted the pavilion's younger visitors featuring puppet shows performing traditional tales. The second building featured four restaurants; Le Bistro served light snacks; the Bratislava Inn was a wine tavern; the Castle Restaurant featured fine Czechoslovakian cuisine; and the Prague was home to the famous pilsener Urquell beer. Offices, a gift shop and a theatre could also be found in this second Czechoslovakian building.
A dial press at Prim.
On September 26, 2008 my family and I were privileged to spend the day in the beautiful town of Nové Mesto nad Metují in the east of the Czech Republic, close to the Polish border. Our host was Mr. Jan Prokop, Marketing Director (and principal designer) at the ELTON hodinárská, a.s. - the manufacturers of fine bespoke Prim wristwatches.
Mr. Prokop collected us from our hotel in Prague, drove us to Nové Mesto nad Metují and back (a round trip of three hours), presented their current product range, guided us through their interesting museum, and led us on a tour of the full manufacturing operation at Prim. This was a fantastic opportunity, and we got to see everything from the manufacturing of cases, dials, hesatite crystals and hands through to the final assembly process. We also saw great examples of their bespoke manufacturing capability as well as their top class restoration service. Mr Prokop ended a fine day with a meal and good local beer in a restaurant on the old town square.
Six weeks after our visit I sent my prized Prim Sport "Igen" 38 (produced in the 60's and early-70's) to ELTON where it is currently being restored and modernised to my specification, as well as being personalised. I can't wait to get it back - my first bespoke wristwatch and an heirloom to pass on to my son!
Although obviously sensitive about certain parts of their operation, Mr. Prokop graciously allowed me to take many photographs during our visit, and here they are for your viewing pleasure. As you will see, these are truly hand-made watches that combine both leading edge design and manufacturing processes and age-old processes and technologies. It is this progressive traditionalism and craftsmanship that gives these unique timepieces their individual character...and I love them!
EXHIBITION
100 Best Posters 14
GERMANY, AUSTRIA, SWITZERLAND
MI, MO 11/11/2015, 03/28/2016
MAK Art Print Hall
Already for the tenth time, the MAK in the exhibition 100 Best Posters 14. Germany Austria Switzerland shows the hundred most compelling design concepts in the probably hottest medium of visual everyday culture: the poster. The current winning projects of the popular graphic design competition are characterized by an enigmatic pictural humor, explosive colors as well as precise designs and demonstrate impressively that a poster can be more than just an banal advertising space. Many of the award-winning works furthermore also rely on a subtle play with typography. Innovative ideas can also be found in the manufacturing process: This year's competition shows that you can readily knit posters in high-tech process or use a thermo-insulating space blanket as carrier material for screen printing.
Hardly any medium is such clocked on the consumption and nevertheless sets trends at the cutting edge. "[...] The poster designer challenges himself repeatedly and enjoys himself at gained symbols." Says Götz Gramlich, President of the association 100 Best Posters eV, and he postulats. "A good poster unfolds in the mind of the beholder."
From over 1 800 submitted individual posters, composed of contract work, self-initiated posters/self-promotion as well as student project orders from Germany, Austria and Switzerland, awarded the international jury, consisting of Richard van der Laken (Amsterdam, Chairman), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) and Ariane Spanier (Berlin), the 100 winning posters of the year 2014.
In the competition participated 575 submitters (men and women), of which 48 are from Austria, 128 from Switzerland and 399 from Germany. The leader among the winning 100 best is Switzerland with 51 winning projects, followed by 44 German and 5 Austrian contributions.
The by sensomatic design (Christine Zmölnig and Florian Koch, Vienna) designed catalog offers in addition to the illustrations of all the winning posters and the contacts with the designers also this year a captivating essay by Thomas Friedrich: On the dialectics of image and text in the poster today. In a concise way, he looks at the contextuality of posters and explains the theme facetiously and pictorially based on a poster for a bullfight. Read more in the catalog!
For the corporate design of this year's competition and the new Web Visuals also sensomatic design, Vienna, is responsible. Since June 2014, the new online archive on the homepage of the 100 Best Posters Registered Association offers a comprehensive overview of all award-winning works from the years 2001-2014.
The exhibition takes place in cooperation with 100 Best Posters e. V.
100-beste-plakate.de
Curator Peter Klinger, Deputy Head of the MAK Library and Works on Paper Collection
AUSSTELLUNG
100 Beste Plakate 14
DEUTSCHLAND ÖSTERREICH SCHWEIZ
MI, 11.11.2015–MO, 28.03.2016
MAK-KUNSTBLÄTTERSAAL
Bereits zum zehnten Mal zeigt das MAK in der Ausstellung 100 BESTE PLAKATE 14. Deutschland Österreich Schweiz die einhundert überzeugendsten Gestaltungskonzepte im wohl heißesten Medium der visuellen Alltagskultur: dem Plakat. Die aktuellen Siegerprojekte des beliebten Grafikdesignwettbewerbs bestechen mit hintergründigem Bildwitz, explosiver Farbgebung sowie exakten Ausführungen und demonstrieren eindrücklich, dass ein Plakat mehr als nur banale Werbefläche sein kann. Viele der prämierten Arbeiten setzen außerdem auf ein subtiles Spiel mit Typografie. Innovative Ideen finden sich auch im Herstellungsprozess: Der diesjährige Wettbewerb zeigt, dass man Plakate ohne Weiteres im Hightech-Verfahren stricken oder eine thermo-isolierende Rettungsdecke als Trägermaterial für einen Siebdruck verwenden kann.
Kaum ein Medium ist derart auf den Verbrauch hin getaktet und setzt dennoch Trends am Puls der Zeit. „[…] der Plakatgestalter fordert sich immer wieder selbst heraus und erfreut sich an gewonnenen Sinnbildern.“ so Götz Gramlich, Präsident des Vereins 100 Beste Plakate e. V., und er postuliert: „Ein gutes Plakat entfaltet sich im Kopf des Betrachters.“
Aus über 1 800 eingereichten Einzelplakaten, zusammengesetzt aus Auftragsarbeiten, selbst initiierten Plakaten/Eigenwerbungen sowie studentischen Projektaufträgen aus Deutschland, Österreich und der Schweiz, prämierte die international besetzte Fachjury, bestehend aus Richard van der Laken (Amsterdam, Vorsitz), Christof Nardin (Wien), Jiri Oplatek (Basel), Nicolaus Ott (Berlin) und Ariane Spanier (Berlin), die 100 Siegerplakate des Jahres 2014.
Am Wettbewerb hatten sich 575 EinreicherInnen beteiligt, davon 48 aus Österreich, 128 aus der Schweiz und 399 aus Deutschland. Spitzenreiter unter den prämierten 100 Besten ist die Schweiz mit 51 Siegerprojekten, gefolgt von 44 deutschen und 5 österreichischen Beiträgen.
Der von sensomatic design (Christine Zmölnig und Florian Koch, Wien) gestaltete Katalog bietet neben den Abbildungen aller Siegerplakate und den Kontakten zu den GestalterInnen auch dieses Jahr einen bestechenden Aufsatz von Thomas Friedrich: Zur Dialektik von Bild und Text im Plakat heute. In pointierter Form geht er auf die Kontextualität von Plakaten ein und erklärt das Thema witzig und bildhaft anhand eines Plakats für einen Stierkampf. Mehr dazu im Katalog!
Für das Corporate Design des diesjährigen Wettbewerbs und die neuen Web-Visuals zeichnet ebenfalls sensomatic design, Wien, verantwortlich. Seit Juni 2014 bietet das neue Online-Archiv auf der Homepage der 100 Beste Plakate e. V. einen umfassenden Überblick aller prämierten Arbeiten aus den Jahren 2001 bis 2014.
Die Ausstellung findet in Kooperation mit 100 Beste Plakate e. V. statt.
100-beste-plakate.de
Kurator: Peter Klinger, Stellvertretende Leitung MAK-Bibliothek und Kunstblättersammlung
tools I have used to craft it:
needles (many of...)
threads
scissors
original Polish Navy forces buttons
materials from old coats...
to make a difference we all need to try hard,
inspiration to make handcrafted cloths came soon after Bangladesh factory collapse back in May 2013, which left many people dead…
it’s not right to use upon poor people, demand from them solid effects and pay for laboring as little as 3$ a day…
it’s not right to introduce a manufacturing process in Asian countries – which will source European distributors with cheap products and enable all of them to make a high profit margin,
as all of that is only speculation…
think wisely when you buy a product…
Tennis Ball
Die cut felt
Paused at 50%
"A delight to discover that the tennis ball is upholstered with two identical fluorescent lozenges of woven textile. We have paused the production just as the felt is cut, leaving a beautiful textile stencil. Although the shapes are a little abstract, the colour is unmistakably tennis ball yellow." - Edward & Jay
Part of ‘In The Making’ exhibition - more than twenty objects during the manufacturing stage of their construction...curated by Edward Barber and Jay Osgerby, the design duo who are perhaps best known for designing the 2012 London Olympic torch.
The pair commented on the exhibition “‘We have always been fascinated by the making process as it is an integral part of our work. We have curated an exhibition that will provide a platform to capture and reveal a frozen moment in the manufacturing process and unveils an everyday object in its unfinished state. Often the object is as beautiful, if not more so, than the finished product!”
This was part of the 'factory side' of the site, one side had severall kilns and a bunch of admin type buildings while the other appeared to be home to the rest of the manufacturing process.
(En) Founded in 1906, the Coking Plant of Anderlues was specialized in the production of coke for industrial use.
Coke was obtained by distillation of coal in furnaces and, thanks to its superior fuel coal properties, it was used afterwards to feed the blast furnaces in the steel manufacturing process.
Closed and abandoned since 2002, the site has since undergone many losses and damages, not including an important pollution. While some buildings have now been demolished, there are however still some important parts of the former coking plant.
Among them, the former coal tower, next to the imposing "battery" of 38 furnaces, where the coke was produced. Besides them, we still can see the administrative buildings, the power station with its cooling tower, and buildings for the by-products, which were obtained by recovering the tar and coal gas. There are also a gasometer north side, the coal tip east side and a settling basin south side.
-----------
(Fr) Fondées en 1906, les Cokeries d'Anderlues étaient spécialisées dans la fabrication de coke à usage industriel.
Le coke était obtenu par distillation de la houille dans des fours et, grâce à ses propriétés combustibles supérieures au charbon, il servait par après à alimenter les hauts-fourneaux dans le processus de fabrication de l'acier.
Fermé et laissé à l'abandon depuis 2002, le site a depuis lors subi de nombreuses pertes et dégradations, sans compter la pollution qui y règne. Si certains bâtiments (comme l'ancien lavoir à charbon) ont aujourd'hui été démolis, on retrouve encore toutefois certaines parties importantes de cette ancienne cokerie.
Parmi celles-ci, l'ancienne tour à charbon suivie de près par l'imposante "batterie" de 38 fours, où était produit le coke. A côté d'eux, on découvre également les bâtiments administratifs, la centrale électrique avec sa tour de refroidissement, ainsi que les bâtiments des sous-produits, lesquels étaient obtenus par récupération du goudron et du gaz de houille. Et en périphérie, on retrouve un gazomètre côté nord, le terril à l'est et un bassin de décantation côté sud.