View allAll Photos Tagged Transformation
Integrating Diverse Innovation Ecosystems: Dogpatch and Pier 70 session at the Urban Transformation Summit 2024 in San Francisco, USA, 23 October 2024. World Economic Forum San Francisco Office
Day 2 Urban Transformation Summit 2023 in the A. Albert Taubman Center for Design Education, Detroit, USA on October 10; Afternoon Strategy Session:Jobs and the Green economy
Presenters:
George Mohlakoana
Deputy City Manager, Economic Development and Planning, City of Durban
Fleming Voetmann
Vice-President, External Relations and Sustainability, VELUX
Samuel Alemayehu
Managing Director, Cambridge Industries
Kate Johnson
Head of US Federal Affairs, C40 Cities Climate Leadership Group
Rupesh Madlani
Chief executive officer, BwB
Anthony Noble
Senior Vice-President, Chief Strategy Officer, American Tower
Transformation Tuesday? Standard Signal Company mechanical dwarf has gotten a new GRS Spec with new lenses, still on the fence with the long porcelain blade that needs to be restored but for now it sports an unpainted rubber blade and has a GRS lamp. Now sits inside next to my US&S mechanical dwarf from Ohio.
Santa flew to USAG-Humphreys Saturday and Sunday, Dec. 13-14, to pose for pictures and spread Holiday Cheer.
U.S. Army Photos
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
Jonathan Reckford, Chief Executive Officer, Habitat for Humanity (HFH) International, USA, speaking in the Designing Cities for Healthy Living session at the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024. World Economic Forum San Francisco Office - Auditorium. Copyright: World Economic Forum/Stephen Porter
Day 2 Urban Transformation Summit 2023 at Newlab' Central Hub, Detroit, USA on October 10; Afternoon Off-Site: Michigan Central Tour
Reflecting Transformation
The Caledonia
447 w 16th St NY 10011
June 19 - September 26, 2009
“Reflecting Transformation” was installed in the (yet to be leased) retail space of The Caledonia under the recently opened High Line Park. Inspired by the re-gentrification of the meat packing area and the renovation of the High Line, ”Reflecting Transformation” was organized to reference this urban regeneration and play on the theme of transformation of space and character. In a minimalist aesthetic, the exhibition also alluded to the healing nature that art can have on a community.
Impressions from the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024. Copyright: World Economic Forum/Stephen Porter
Remember that lawn covered with birds? Well, approximately
72 hours later, it was covered with this white stuff.
1. Transformation, 2. Coy, 3. "Cleared for Landing", 4. Blue Blood, 5. 'kalos' 'eidos', 6. Promise, 7. Yoda, 8. Flawed,
9. In the absence of the sun, 10. Bud Bug, 11. Soaked through to the Stinger, 12. Reflection in Silver, 13. Natures Fountain, 14. Lady on a Daisey, 15. Legs & Co., 16. Aquarius Not!!,
17. ginkgo biloba, 18. Pebble Puddle, 19. Out of Place, 20. White 'washed', 21. View from Monserrat - The Monastery, 22. Lanterns, 23. Street Lights, 24. Nameless,
25. Feelin' Blue
Created with fd's Flickr Toys.
Thank you one and all! (2:1 to the girls i believe)
Integrating Diverse Innovation Ecosystems: Dogpatch and Pier 70 session at the Urban Transformation Summit 2024 in San Francisco, USA, 23 October 2024. World Economic Forum San Francisco Office
6/20/2012- Photos from the Otterbein University Theatre Summer production of Circle Mirror Transformation. -Photographed on Wednesday, June 20, 2012, Westerville, Ohio - Photographs by Karl Kuntz. - 614-895-5331
Day 1 Urban Transformation Summit 2023 in the Book Tower, Detroit, USA on October 9; Opening Reception & Awards Ceremony; Speakerss: Jeff Merritt, Head of Centre for Urban Transformation, Member of the Executive Committee, World Economic Forum; Kerri Folmer, Managing Director, Monitor Institute by Deloitte, Deloitte, USA; Vivian Brady-Phillipns, Head, Strategic Initiatives, Urbam Transformation, World Economic Forum; Heela Omarkhail, Vice President, Social Impact, The Daniels Corporation, Canada; Eiichiro Higashiyama, Senior Vice President & General Manager of the Machinery Division, Itochu International, USA; Rick Sporrere, President, North America, Danfoss, USA; James Witherspoon, Vice President of Architecture and Design, Bedrock; speaking at the Urban Transformation Summit; Detroit, USA 9 October 2023
A creative learning summer school organised jointly by Thomas Tallis and Kidbrooke Schools in association with Emergency Exit Arts.
Mmamoloko Kubayi, Minister of Human Settlements, Republic of South Africa, speaking in the Financing Sustainable Development in Cities session at the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024. World Economic Forum San Francisco Office - Auditorium. Copyright: World Economic Forum/Stephen Porter
Been meaning to do this for months. For 2-3 years I had been severely overweight (and legally obese woo!). This is me in August 2010, about 2 weeks before I started up school at UD. I had maxed out at around 242 in weight and decided I needed a change in lifestyle. This was easily the most embarrassing moment of my life being this out of control.
Weight: 235-242
Height is 5'11" for the record
A combination of light, temperature, and moisture conditions encourage transformation of the Amaryllis bud from dormancy into a flower. The plant makes "decisions" that force the opening of the bud, based on data that arrives from the external environment. Many but not all of the plant's cells are involved in this decision-making, but once they have responded, a series of activities are put into play that result in the opening of this flower.
back at the dock, Transformational Sailing day for Concord Veterans Center sailing group go to www.transformationalsaling.org
U.S. Army photos by Mike Mooney
For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.
The transition of Clare Hall from Education classrooms and Sister's residence to state-of-the-art Student Residence space has begun.
The transition of Clare Hall from Education classrooms and Sister's residence to state-of-the-art Student Residence space has begun.
Impressions and Opening & Awards Ceremony from the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024 with Ahmed Al-Khateeb, Minister of Tourism of Saudi Arabia; Jeff Merritt, Head of Centre for Urban Transformation; Member of the Executive Committee, World Economic Forum; London Breed, Mayor of San Francisco, USA; Mmamoloko Kubayi. Copyright: World Economic Forum/Stephen Porter
Impressions from the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024. Copyright: World Economic Forum/Stephen Porter
Day 2 Urban Transformation Summit 2023 in the A. Albert Taubman Center for Design Education, Detroit, USA on October 10; Afternoon Plenary Session: Mobility
Presenters:Vivian Brady-Phillips
Head, Strategic Initiatives, Urban Transformation, World Economic Forum
Mike Duggan
Mayor of Detroit, City of Detroit
Ritu Narayan
Founder and Chief Executive Officer, Zum
Benjamin de la Peña
Chief Executive Officer, Shared Use Mobility Center
Shelby Rust Busó
Chief Sustainability Officer, City of San Diego
Moderated by
Shin-pei Tsay
Director, Global Policy for Cities and Sustainability, Uber Technologies
Antonio Gómez-Palacio, Chair, DIALOG, Canada, speaking in the Opening Plenary: Driving Climate Action in Cities session at the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024. World Economic Forum San Francisco Office - Auditorium. Copyright: World Economic Forum/Stephen Porter
Impressions and Opening & Awards Ceremony from the Urban Transformation Summit 2024 in San Francisco, USA, 22 October 2024 with Ahmed Al-Khateeb, Minister of Tourism of Saudi Arabia; Jeff Merritt, Head of Centre for Urban Transformation; Member of the Executive Committee, World Economic Forum; London Breed, Mayor of San Francisco, USA; Mmamoloko Kubayi. Copyright: World Economic Forum/Stephen Porter
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Midsummer Shadows - 1911
Artist: Willard Leroy Metcalf (American, 1858–1925)
Called the "poet laureate of the New England Hills," Willard Leroy Metcalf depicts a tranquil and harmonious nature in his landscape paintings. Here, he focuses on the beauty of a shade-dappled dirt road in Plainfield, New Hampshire, where he and his new wife spent the late spring through early fall of 1911. The feeling of the open air is achieved by contrasts of pure color used in broken patches, the paint laid on thinly and smoothly. Created during a period of social transformation in American culture, works like Midsummer Shadows were much admired, perhaps because they served as nostalgic evocations of an Arcadian ideal that many Americans had come to associate with New England and its historic past. By the 1920s, however, Metcalf's highly personal and sincere response to nature came under attack from the twin assaults of the Ashcan School's American realism and European modernism, and his painting was soon forgotten. Beginning in the 1990s his work, along with that of his generation, has undergone revival and reappraisal.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Hermann Josef Hack, TRANSFORMATION, 170813, painting and spray paint on tarpaulin, 206 x 162 cm, 2017