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Pritish Nandy has returned to poetry. One hundred and forty words at a time. On Saturday, Nandy, a journalist, filmmaker, painter and poet, launched his new book of poetry "Stuck On 1/Forty" at Crossword Bookstore at Kemp's Corner - with tweet-sized poems in the tradition of 140-character long
Twitter utterances.
This is Nandy's second book of poetry since his return from a two-decade long hiatus from the form. He had released a book of poems in 2010.
"…I gave up the starkness of poetry, the frugality, the battle with words and images and switched to journalism," writes Nandy in the introduction.
Saturday's launch, with actor Ranbir Kapoor, combined moments of poetry along with hysteria in a packed room. Kapoor and Nandy read out poems from the book and later spoke about them.
"One of the great disciplines of poetry has been how to structure it," said Nandy as part of the discussion on how he wrote. "I went with the simplest possible structure of today. That was the discipline of the poetry... It's not just the words said here but what remains unsaid. That is the magic of poetry."
In a rapid fire round with Kapoor, Nandy once again said about the 140-character paradigm, that it was "liberating" and not limiting, since "brevity is always liberating."
The poems in the new collection cover a spectrum of thoughts and emotions from love and mortality to loneliness and truth.
"I try to use the simplest words," said Nandy, in response to Kapoor's question on how he moulded his thoughts into words. "The most important part of language is touching people."
And part of that endeavour is unleashing poetry from its image as being inaccessible. "The problem with literature is it is treated as something academic... something that lies in a dusty library... Poems are about reaching out, touching lives."
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
Model and make-up: Erika P.
Photographer: Daniele Nicolucci
You can now get prints of my photos on paper and canvas! Click here!
Follow on FB for sneak peeks and previews!
Check out my other photos of Erika here and all my models here!
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
Photos Taken by Edwin Ladd - Mr Ladd Media for The Signature Awards 2023 held at The VOX on 10th February 2023. #SigsBham2023 #TheSignatureAwards
The Signature Awards – Connecting, Influencing and Celebrating the Best in British Business
The Signature Awards:
▪Ninder Johal - CEO
▪Narinder Johal - CEO
▪Malcom Wright - National Business Development Director
Host:
▪Aaron James
Keynote Speaker:
▪Surinder Arora
Judges:
▪Martin Lord
▪Paul Brown
▪Narinder K Johal
▪Eileen Schofield
▪Safaraz Ali
▪Louise Brooke-Smith
▪Steven N. Adjei
Headline Sponsors:
▪Aerotyre Powered by GB Tyres UK Ltd
Sponsors:
▪Lets Sanify
▪Pathway Group
▪Paradigm Wills and Legal Services
▪Edgbaston
▪Birmingham City University
▪Proteger
▪Oxbridge
▪Aston University
▪Gloss
▪West Midlands India Partnership
▪PAB
▪Vision Print
▪Nachural
▪The Business Influencer Publication
▪University College Birmingham
Drinks Sponsors:
▪Cobra Beer
▪Lioncroft
▪Shimla Gin
Charity Partner:
▪Acorns
The Signature Awards 2023 was organised by Nachural
_______________________
Contact: Edwin Ladd
Mob:07828 475 591
Email: info@mrladd.co.uk
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
ASSISTA FILMES ON LINE NO BLOG
www.cademeufilme.blogspot.com/
OCT 4 2009
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insanity OCT 10, 2009
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ghost
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video
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Horror
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t5567
ASSISTA FILMES ON LINE NO BLOG
www.cademeufilme.blogspot.com/
Delfos Media LLCProductions
John Bryant Davila Carroll Management Group Actor Los Angeles Hollywood Elite Film and Television Agency Photo Drew Amann t5433
"Carroll Management Group" advertising horror trailer ghost caught on tape camera video real footage paranormal activity blood demon devil movie Horror poltergeist spooky scary shocking halloween film trailer blair witch project horror thriller ghosts angels demons psychic supernatural Craze haunting Delfos Media LLC Productions "Significant Productions" Coordinator Kobe vs Los Angeles "Adrien Brody" Imagine "Kirk Franklin" Gone "Damian Chapa" "Tony Shalhoub" "Goat Singers" "Gus Van Sant" "Latin Boys Production" "John Bryant Davila" "Secuestro Express" "Daryll Marshak" "Jessica Biel" "John Bryant" "Desert Rat" Productions Paradigm 02A1984
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insanity OCT 10, 2010
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t88376
Alfons Walde (1891-1958), Agricultores a la mesa/Bauern am Tisch/Farmers at the Table, ca. 1928 (Sammlung Österreichische Nationalbank)
Durante toda su vida, Alfons Walde preocupa el hombre en su entorno original, en el mundo campesino tirolés. A partir de 1926, el desarrolló a partir de las imágenes humanas género similar comodidad imagenes de personas como una base de grandes temas humanos: el trabajo, el destino, la existencia de vida. En una mesa casi cuadrada están sentados cuatro hombres y una mujer. Debido al ángulo de visión elevado, la escena, aparte de esto, ordinario es mostrado desde una perspectiva inesperado. Esta vista desde la cima es un recurso estilístco popular de Walde por hacer que banalidades salen del ordinario y darse a las escenas representadas algo especial. Al igual que en Egger-Lienz, se renuncia a los detalles, las personas y el espacio solamente estando esbozados de manera superficial.
Zeitlebens beschäftigt Alfons Walde der Mensch in seiner ursprünglichen Umgebung, in der Tiroler Bauernwelt. Ab 1926 entwickelt er aus der genrehaften Gemütlichkeit Menschenbilder als Fundament großer Menschheitsthemen: Arbeit, Schicksal, Lebensexistenz. An einem annähernd quadratischen Tisch sitzen vier Männer und eine Frau. Durch den erhöhten Blickwinkel wir die ansonsten alltägliche Szene aus einer unerwarteten Perspektive gezeigt. Diese Betrachtung von oben ist ein beliebtes Stilmittel Waldes, um Alltägliches ausgefallen wirken zu lassen und den dargestellten Szenen etwas Besonders zu geben. Ähnlich wie bei Egger-Lienz werden keine Details dargestellt, die Menschen und der Raum nur grob skizziert.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
In case anyone wanted to make Daleks of the official design then here you go:
ldd.us.lego.com/en-us/gallery/7a516d43-42f4-4dc5-80a9-ddb...
L-R:
1963 Dalek, 2005 Dalek, New Paradigm Strategist, NP Scientist, NP Supreme, (Fan made) Dalek Storm, custom NP Geneticist (Dalek That Time Forgot), Dalek pilot, NP Drone, Dalek Sec, NP Eternal, 2005 Dalek, 1963 Dalek.
November 26, 2020:
20-598063
Burlington,
Burlington Night Time Photo,
Residential Development,
Paradigm,
2089-2095 Fairview St W,
Molinaro Group,
5 x 20s,
Graziani & Corazza Architects,
A 16 foot high bronze sculpture for the GMAC Corporate Center, 1100 Virginia Drive, Fort Washington, PA. Dedicated November 1, 2007.
Clerisy Solutions Private Limited is a complete organization which can provide full quality of work according to customer requirement. We are providing a good quality of web development services with latest essential features such as web 2.0 under web design paradigm. We believe in customer relationship model according to our web standards.
Citroën Cactus is more than a concept car; it is a manifest of the future models in the C line. Citroën is shifting the paradigm with the new concept car, shedding the superfluous and bringing well-being firmly into the limelight. Citroën Cactus is a desirable, user-friendly car that forges an unprecedented harmony between distinctive yet pragmatic design, comfort for all occupants, and easy-to-use technology.
2003 Cabernet Savignon, Oakville. Classic Napa cabernet, french oak, juicy. lots of time in the decanter.
Trade Show Exhibit Case Study
IMPACT Equals Attraction
A 50'-by-60' exhibit with floor-to-ceiling impact and constant activity made Paradigm Geophysical Corp. a major attraction at its biggest show.
"We shocked the attendees. Our booth traffic was phenomenal," says Andrew Stein, Chief Marketing Officer for Paradigm, a leading provider of enterprise software solutions for oil and naturalgas exploration and production.
Paradigm requested and received "knock-'em-dead" visual impact: a serpentine hanging sign stretching nearly 54' by 18' and 16' towers anchoring the four corners.
Paradigm bought the fabric graphics but not the framework, which minimized shipping and storage costs for a growing number of large shows a year.
"We can just ship fabric around the globe and rent the structure from Skyline," Stein says. And, because it features a system of modular components, the exhibit can be reconfigured in a variety of shapes and sizes.
To learn more:
PROF. DOUG KING URGES CONSTRUCTION PARADIGM CHANGE
Brandon 3 October 2013: At the Lignacite Lecture 2013 Professor Doug King spoke about Building on Evolution, and called for the need to change the construction paradigm to ensure high performance, low impact buildings, which are essential to the future of humankind.
The Lecture, which was this year held at The Royal Society in London, was attended by architects, specifiers, designers, environmentalists and representatives from construction and local authorities, who came to hear Professor Doug King speak about the need to learn from the evolved wisdom of historic builders.
He said: “In the next 40 years, to accommodate the rapid growth in urban population, humankind will likely have to build as much new urban fabric as already exists today. We will not have time to correct mistakes. We need to ensure that the buildings we put up are genuinely sustainable: appropriate for their cultural and climatic locations, as well as minimising use of resources.
“Everywhere I look, I find evidence of underlying physical properties that have influenced the choices of generations of builders. From structure to roof tiles to paint, the properties of certain materials and methods have brought benefits to buildings, despite these rarely being overtly recognised. We need to examine these with a view to identifying new opportunities for creating high performance, low impact buildings that have not yet even been imagined.”
Chairman of leading masonry products manufacturer, Lignacite, Giles de Lotbiniere, was delighted Professor King accepted his invitation to address this year’s Lecture: “He is a building physicist and one of the most influential figures on sustainable construction in the world. He raised some important points, and at Lignacite we are already working to address his challenge of developing high performance, low impact buildings and conserving resources by using up to 50% of recycled materials in our products.
“Recently we also launched The Carbon Buster, which is the world’s first carbon negative building block, and incorporates recycled materials and carbonated aggregates, which are derived from by-products from waste to energy plants. We believe this block has an important role to play in helping to meet the UK’s zero carbon homes targets and build a more sustainable future,” he said.
The Lignacite Lecture is an annual event, which dates back to year 2000. Since then, a variety of topics ranging from The Relationship between Art & Architecture to Biomimicry and the Ecological Age have been covered by high profile speakers, including Sir Terry Farrell, Anthony Gormley OBE, Ken Shuttleworth and Professor David Mach.
ENDS
More information:
An edited version of Professor King’s Lignacite Lecture is available here: www.dougking.co.uk/building-on-evolution/
For more information, please contact marit@meyerbell.co.uk
Lignacite:
Lignacite is a leading UK manufacturer of masonry products designed for internal or external use. Founded in 1947, it remains a family owned company managed by Allan Eastwood. The Lignacite masonry range incorporates a range of recycled and waste materials, including glass, wood particles, Furnace Ash, Recycled concrete, china clay and shells. The company also provides products to encourage biodiversity in construction. The company uses aggregates from its own local quarry in Brandon, and has supplied many high profile buildings in the UK, including the Shard, the Gherkin, Olympic Village, Heathrow Airport, Stanstead Airport, Canary Warf and the Olympic Stadium. For more information, visit www.lignacite.co.uk
Professor Doug King:
Doug King FREng CEng CPhys CEnv FInstP FEI FCIBSE HonFRIBA is, according to Building Design, one of the most influential figures in UK sustainable construction. He has been the environmental engineer behind numerous ground-breaking, critically acclaimed, buildings including; the Stirling Prize shortlisted Weald & Downland Gridshell, The Innovate Office Leeds, which triggered the introduction of BREEAM Outstanding, The Genzyme Centre in Cambridge Massachusetts, at the time the largest LEED Platinum building in the world, and Sainsbury’s original Eco-Superstore at Greenwich. Doug King now works as a freelance consultant, helping construction clients, designers and supply chains to realise genuinely high performance, low impact buildings. He teaches environmental design widely, to both engineers and architects and is a visiting professor at universities in the UK, China and Russia.
For more information please visit: www.dougking.co.uk
For video highlights of the lecture please see: www.dougking.co.uk/building-on-evolution
024
Fortune Brainstorm HEALTH 2018
Tuesday, March 20th, 2018
Laguna Niguel, CA
10:05 AM
WHO’S THE BOSS?
In the digital health revolution, the patient is supposed to be king. But in a world where this consumer doesn’t pay for much of his or her care, isn’t confident about his or her knowledge of the marketplace, and doesn’t have that much choice anyway, can he or she really be in charge? (If the answer is no, how do we change this paradigm?)
Dr. Valerie Montgomery Rice, President and Dean, Morehouse School of Medicine
Christi Shaw, President, Lilly Bio-Medicines
Dr. Eric Topol, Founder and Director, Scripps Translational Science Institute; Executive VP and Professor, Molecular Medicine, The Scripps Research Institute
Moderator: Beth Kowitt, Senior Writer and Co-chair, MPW Next Gen, Fortune
Photograph by Stuart Isett/Fortune
i was going to have both left and right channels setup as the right channel is setup in this picture. but reason finnaly took over and i changed it back to the way it was(as the left channel is in this picture) stack was over 6 and a half feet tall. i live in a earth quake zone so i took it back down.
Contrast.
Two people.
Happiness.
Silhouettes.
A temporal skyline.
A picture on flickr.
A contrasting shot of the silhouettes of two joyous people, atop a few rocks. On flickr.
A face.
Elaionas, Aegina. 12/2009
We watched an old Peter Sellers movie the other night, and I found myself looking at the fish instead several times. Better entertainment there.
Applying acquired skills to finer details has surged the boom of the hand embroidery business, a paradigm shift towards economic growth, community development & farm to gender-inclusive entrepreneurship.
Use this CC license format for this photo:
CC BYNC-SA 3.0 IGO © UNESCO-UNEVOC/Amitava Chandra
Travel Young. Travel Different
Lidia Marongiu
BTO 2014 | Day ONE | 2 dicembre | #2 Focus Hall [Evols] | 9.45 - 10.30
Travel YOUNG. Travel DIFFERENT
www.buytourismonline.com/event...
Il turismo dei giovani under 30 visto attraverso le reti di relazioni sociali.
Ricerca in esclusiva per i pubblici di BTO 2014 di Studio Giaccardi & Associati e G&M Network Srl.
Oggi chi ha meno di 30 anni si trova ad essere un turista o, sempre più spesso, un viaggiatore che dispone di un sistema complesso di strumenti, contenuti, proposte e opportunità profondamente diverse da quelle disponibili anche solo un decennio fa.
Alcuni fattori, tra cui la crisi economica e il diffondersi della tecnologia e cultura digitale, hanno fatto nascere nuovi protagonisti della filiera turistica contribuendo a evolvere scelte, comportamenti e
modelli di consumo ma soprattutto a ridefinire il concetto stesso di turismo.
Tanto che oggi il turismo è un sistema complesso che cambia continuamente per il costante apporto di contenuti e pratiche online e offline realizzate dal basso da parte di viaggiatori, operatori, cittadini e filiere.
I veri protagonisti di questo nuovo scenario e di questo diverso paradigma del turismo sono proprio i giovani, coloro che hanno meno di 30 anni e hanno iniziato a sperimentare la dimensione del viaggio avendo già familiarità con due fattori fondamentali: la tecnologia digitale e le reti di relazione sui social network.
Ai giovani under 30 non importa sapere che cosa sono i metamotori, non importa discutere se una recensione positiva fa revenue o no, non importa sapere se AIRBNB è legale o meno: loro non devono adattarsi all’innovazione turistica, loro la usano.
Ma come lo fanno?
Con quale frequenza?
Quali strumenti usano per decidere e acquistare il viaggio?
E quanto sono influenzati i singoli individui dalle reti sociali di cui fanno parte?
E soprattutto quanto queste informazioni possono aiutare chi oggi programma, progetta e pianifica l’offerta turistica di strutture e destinazioni?
La ricerca TRAVEL YOUNG. TRAVEL DIFFERENT ha l’obiettivo di indagare questo universo di giovani per capire in cosa e quanto si differenzia il loro modo di viaggiare rispetto alle generazioni over 30.
Speaker
Lidia Marongiu
G&M Network – Filosofia e Tecnologia Web
Metodologia di indagine
La ricerca indaga il turismo vissuto e praticato dai giovani under 30 eleggendo un campione di 1000 giovani (campionamento a valanga) che fanno parte delle reti di relazioni sociale di 10 giovani italiani under 30. Questa tecnica permette di far emergere e analizzare le differenze non solo secondo i tradizionali criteri socio-demografici ma anche le differenze tra una rete sociale e l’altra. Il questionario sarà somministrato on line e diffuso all’intero campione attraverso 10 giovani italiani che avranno il compito di trasmetterlo a 100 amici under 30 parte della loro rete sociale.
Author: Francesco Mauro
Copyright: (c)TheDarkroom/Francesco Mauro