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dgj071 Minihaus I - Minimum Impact House, Frankfurt am Main, D , 2008
English
Minimum-Impact-House is a holistic approach for the reduction of the overall-impact of residential housing by creating a new type of residential house by densifying the city centre. In the design project a prototype mini-house has been developed to explore the potential of so far uninhabitable urban niches. A triangular site of only 29sqm was chosen to built a Mini-house in size comparable to a family house of 150sqm. This strategy avoids the further use of land and the need of building of new infrastructure like streets and public buildings. The city centre is denser an environment so that the inhabitants won’t to travel so often to work, shopping, education, or cultural events.
In a research project the prototype was compared to a typical suburban house. A life-cycle-analysis quantified the amounts of energy, material, and investment for the construction, and consumed during an estimated life-span of the buildings of 50 years. The analysis for which a software was developed was also used as a design-tool for optimising the prototype-building in terms of energy-consumption, construction, and materials. For the building construction renewable resources, mainly timbre, had been used which reduces the energy content and emissions.
Deutsch
Das Minimum Impact House wurde von einem Verbundforschungsprojekt begleitet mit Drexler Guinand Jauslin Architekten GmbH und Fachgebiet Entwerfen und Energieeffizientes Bauen Prof. Manfred Hegger der TU Darmstadt. Gefördert von der Deutschen Bundesstiftung Umwelt DBU.
Das Minihaus ist ein Prototyp für innerstädtische Nachverdichtung. Statt einer Zersiedlung der Landschaft zur Schaffung von Wohnraums können Nischen und Restflächen in der Stadt genutzt werden. So wird die bestehende Infrastruktur besser ausgelastet und das sozio-kulturelle Gefüge der Stadt gestärkt.
Durch eine umfassende Ökobilanzierung wurde das Gebäude ganzheitlich optimiert. Dabei wurde sowohl die Herstellung (Holzbauweise, natürliche nachwachsende Ressourcen) als auch der Betrieb (Passivhaus-Standard, erneuerbare Energien) als auch Instandhaltung und Rückbau analysiert.
Makro-ökonomisch werden durch den geringen Landverbrauch und die Vermeidung von Investitionskosten in Straßen, Leitungen, öffentliche Gebäude vermieden. Bei dem Gebäude wurden durch geringe Betriebkosten und günstige Finanzierung (KFW40) die Lebenszykluskosten optimiert.
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Drexler Guinand Jauslin Architekten GmbH
Dipl. Arch. ETH Hans Drexler M. Arch (Dist.)
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Drexler Guinand Jauslin Architekten GmbH
Sitz und Handelsregister Frankfurt am Main, HR. Nr. HRB 74237
Geschäftsführer Dipl. Arch. ETH Hans Drexler M. Arch.
Walter-Kolb-Strasse 22
D-60594 Frankfurt am Main
TEL +49 69 96 20 62 34
FAX +49 69 96 23 17 78
BACK TO THE FACTORY: Revisiting Stories and Works From The Warhol Factory
CLOCKWORK REDUCTION LIVE
A Conceptual Project By Seattle School
Sponsored by Easy Street Records and KEXP 90.3 FM
FEATURING:
Virginia Bogert - "Tootie Pie"
Sue Corcoran - "She's a Dog"
Daniel Gildark - "Cthulhu"
Kris Kristensen - "Inheritance"
Christian Palmer - "Forcefields"
Lynn Shelton - "We Go Way Back"
WITH:
Rob Millis - Climax Golden Twins
Jacob Stone - Punch Drunk Productions
Kris Moon - Fourthcity
AND:
Aaron Allshouse, JD Barton, Kyle Bliss, Danielle Gibeson, Dustin Kemp, Abby Klein, Caitlin Ngo, and more ...
Six years before Stanley Kubrick’s A CLOCKWORK ORANGE, Andy Warhol adapted the Anthony Burgess novel for his classic, black and white Factory film, VINYL. In homage to Warhol, Seattle School will transform the entire Northwest Film Forum building for a unique Factory-style recreation of the film. This grand, live happening restages the film in parts, with simultaneous live performance, filming, and screening in our two cinemas and lobby. Northwest filmmakers Lynn Shelton, Daniel Gildark, Virginia Bogart, Sue Corcoran, Christian Palmer and Kris Kristensen will direct models cum actors in cinema 1. Their footage will be projected live in cinema 2, where the audience intervenes in the creative process and composers (including Rob Millis of Climax Golden Twins) perform an improvised score. In the lobby, VJs (including Jacob Stone of Opticlash and Kris Moon from the Decibel Festival) will merge and edit the video and audio feeds from both cinemas in real time, creating a live finished film projected onto a translucent screen. The audience can move around freely between rooms throughout the evening, witnessing the different stages of the event’s unique filmmaking process. The event ends when the final new interpretation of VINYL is complete.
DEC 16, Sunday at 8pm
SPECIAL SCREENING
It's amazing, I remember working with the large ones, freakin heavy and holding <250 MB, now I have a 2 TB HD. Use to think there would be no use for a 1 GB drive... lol.
Communities can adapt, absorb, and recover from disruptive events. Here a pastoralist learns how to diversify his livelihood in Borena, Southern Ethiopia, March 2013.
Photo credit: Eva Hinds/UNDP Ethiopia
Amrita Cheema, Senior Anchor, Deutsche Welle, Germany capture during the session: Accelerating Inequality Reduction at the World Economic Forum on ASEAN 2018 in Ha Noi, Viet Nam, September 12, 2018
Copyright by World Economic Forum / Sikarin Thanachaiary
World leaders, including Mexican President Enrique Peña Nieto, European Commissioner for Humanitarian Aid and Crisis Management Christos Stylianides and Deputy Secretary-General of the United Nations Amina J. Mohammed attended the UNISDR Global Platform for DRR (Disaster Risk Reduction) in Cancún, Mexico.
©EU/ECHO
The involvement of young volunteers from the UNEP-TUNZA Eco-Generation project helps to ensure the safety and hygiene of the ‘Dapur Umum’ (public kitchen) for the survivors of various disasters in Indonesia.
Photo credit: Sigit Raharjo/Dompet Dhuafa
Zimoun : Sound Sculptures & Installations, Sound Architectrues
Compilation Video V.2.9 / Last update: December 4, 2011
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«Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of curiously collected material, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena blends effortlessly with electric reverberation in Zimoun's minimalist constructions.» bitforms nyc
«The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the «artificial» and the «organic». It‘s an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns.» Tim Beck
«Zimoun is best compared to a watchmaker of a self-reproducing time constructing his own gauging station.» Radjo Monk
«The clean, elegant sound sculptures combine visual, sonic, and spatial elements in an organically balanced entirely artwork. Using simple and well- conceived mechanical systems, Zimouns‘s work transforms and activates the space.» Jury Prix Ars Electronica 2010
«Zimoun creates complex kinetic sound sculptures by arranging industrially produced parts according to seemingly simple rules. Using motors, wires, ventilators, etc.., he creates closed systems that develop their own behavior and rules similarly to artificial creatures. Once running, they are left to themselves and go through an indeterminable process of (de)generation.
These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categorioes suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve.» Node10
«It is a poetic and humorous absurdity we find in Zimoun’s work, which opens up a wide, refreshing and enriching space for discoveries, associations and a multitude of approaches.» Nina Terry
«The components used in Zimoun’s work are simple, functional and raw, whereas only aesthetically high-level and purposefully chosen elements and materials are used in minimalist fashion. Through radical reduction, Zimoun creates works of art which allow for a plethora of associations without being pinned down to a specific direction. Radical abstraction functions rather like a code in the background of things, thus elegantly avoiding an insinuation of direct, concrete attribution. Thanks to the abundance of mechanical activity, the range of perception, possibilities and interpretations is wide open.» Amanda Neumann
«Indeed, one of the refreshing elements of this work is the immediacy with which one can understand the sound-making process, where each micro-event is present, visible, and concrete. Yet at the same time the resulting complexity of the total system, conjured before your eyes, defies any attempt to dissect it. You might find yourself feeling there is a «prime mover» at work behind the scenes, but in fact it is just the characteristic reaction of materials behaving together and in unison with the space of their activity. A magic of the real.» Xymara
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Watch this video on Vimeo. Video created by STUDIO ZIMOUN.
First, a note: I am not a professional, nor do I pretend to be. The usual frantic pace of the end of the semester has kept me from “playing” with the new toy for any length of time.
Conditions of the test
This particular gym is dark and has mixed lighting. Without an Expodisk, the D200 (and the D50 I used last year) rendered images with a strong yellow and/or green cast.
Settings
I used a variety of settings during this tournament. All pictures were shot using auto ISO and auto white balance. The picture controls were normal, with sharpening set to 7. Noise reduction was set to low. I finally settled on the manual mode, 1/400th of a second with an aperture of f2.8. I used a variety of auto focus modes but most of these were shot in single point mode. The metering mode was centerweight.
I used a Nikor AF-S 80-200 f2.8 for all of these shots.
Post Processing
I used Capture NX to convert the files from RAW to JPEG—after I backed everything up, as Capture NX supposedly doesn’t play well with OS X 10.5. The first images are straight from Capture NX, with no additional processing except for a little resizing in Photoshop (the JPEG files out of NX were over Flickr's 10 mb file size restriction). The second example was post processed in Photoshop CS3 with the Define 2.0 plugin.
Conclusions
The D300 is a complicated beast, far more so than the D200. I’ve used a variety of focusing modes: the 3D tracking is a wonder to behold, in the right conditions. A basketball court full of players with similar uniforms isn’t the best situation. I’ve had good results with focus priority (9 point), but I seem to get the best results with the good, old fashioned single point mode.
The auto WB is a wonder. Exposure is quite good, although I was admittedly pushing it with these images. The end of the gym I usually shoot from has an overhead track that prevents any light from reflecting back onto the players’ faces, resulting in a bad combination of dim light and silhouetted players. The D300 handled the situation quite well.
The noise is quite acceptable for my use. Yes, it’s there and quite evident, particularly at 100%. Given that most of these shots were taken with an ISO of 2000 or above, I don’t think that’s bad.
What’s also present is detail: in one shot, the threads on the player’s uniform are quite visible. I could not have done that with the D200 under these conditions, period.
I printed a 13” by 19” shot from a different game that looked good at normal viewing distances (I did clean it up with Define). That might be stretching it, but it also gives you an idea of how much the high ISO game has changed in the past few months.
I’m not a pixel-peeper, so I’ll let viewers form their own judgments. I’ve only held a 40D in a store, I’ve never used a Canon dSLR and I’m neither inclined nor qualified to render a judgment on the image quality of the respective devices. I’m a neutral party in the Canon/Nikon war. Both companies make fantastic cameras, and I’m sure the 40D is capable of giving fine results in similar conditions.
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Muhamad Chatib Basri, Chairman, Mandiri Institute, Indonesia capture during the session: Accelerating Inequality Reduction at the World Economic Forum on ASEAN 2018 in Ha Noi, Viet Nam, September 12, 2018
Copyright by World Economic Forum / Sikarin Thanachaiary
Winner: Novotel, Birmingham – The hotel introduced a Green Agenda in 2002 and has a green team in each department responsible for promoting green and sustainable issues. Key waste reduction elements include;
•Waste collected by Brindleyplace staff and recycled on site
•Promotion of reuse of towels by guests; cash saved used to plant trees in deprived areas
•Filtered water for conferences; cuts down on number of glass bottles used
The Chernobyl tragedy and its social, environmental, and economic consequences are a reminder of the interaction between natural and man-made assets. As more people, industries, and livelihoods are located in areas of high risk, measures need to be taken at all levels to improve disaster risk management.
Photo credit: Paul Garwood/Green Cross International
The reductions, which he did not spell out in detail, are for the 2015-19 period. They will apply to his office, that of the Joint Chief's chairman and also the Pentagon headquarters offices of the Army, Navy, Air Force and Marine Corps.
Paperclay with rice texture, Celadon glaze inside. High fire Cone 10 reduction. Custom made wooden stand.
With display stand - 10"W x 3.5"W x 5.5"H
One photo every 30 seconds from 11am to 5-30pm for a total of 772 photos compressed into a video 40 seconds long of today's Planned hazard reduction burn at Ben's Track. Mt Drummer in the background and Mt Everard on the far left.
From Maramingo Fire Lookout Tower
Photo by Jorge Romero, www.icvolunteers.org
Session on Disability and Disaster Risk Reduction
Consultation day at the Fourth Session of the Global Platform for Disaster Risk Reduction
www.preventionweb.net/globalplatform/2013/programme/consu...
The Government of Palestine supported by the United Nations Office for Disaster Risk Reduction (UNISDR) has taken steps to establish its first national disaster loss database. The initiative was launched in the presence of the Special Representative of the UN Secretary-General for Disaster Risk Reduction and UNISDR Chief, Margareta Wahlström, who began a visit to Palestine this week.
Read more: www.unisdr.org/archive/31397
A hazard reduction in Belrose on Saturday 26 February 2011. As the fire headed through coastal heath, the fire intensity picked up briefly. These crews helped keep it under control. The hazard reduction has provided improved protection for hundreds of homes in the area. Photo by Anthony Clark, NSW RFS Media.
High-Level Dialogue 3: Risk-Informed Public and Private Investments, CICG, Room 1 – Photo: © UNDRR/Antoine Tardy.
Gabriel Kreuther
Gourmet Fest
L'Auberge Carmel
Carmel-By-The-Sea, California
(March 15, 2017)
the ulterior epicure | Twitter | Instagram | Facebook | Bonjwing Photography
Asia Pacific Ministerial Conference Disaster Risk Reduction 2022. Brisbane Convention and Exhibition Centre, Brisbane on September 20, 2022. Picture-Patrick Hamilton
On 6 October 2015, three judges appointed by the Appeals Chamber of the International Criminal Court (ICC) held a hearing for the purpose of the review concerning the reduction of sentence of Mr Germain Katanga, in the presence of Mr Katanga.©ICC-CPI
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An infographic about the plan - pursued by two governments - to reduce the total number of italian provinces
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