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This cabin was made as a concept sketch for an Atlanta gaming company: now defunct 404 gaming. Sadly, I never received payment for the work I did for them. I know better now.
View through window on walk to the top, Sagrada Familia temple, architect Antonio Gaudi, Barcelona, Spain © Linda Dawn Hammond/ IndyFoto 2007
Nativity façade, East Side, Sagrada Familia Temple , architect Antonio Gaudi . Barcelona, Spain
Passion façade, West Side
Walk to top, written Sacrifici Oracio Almoina, brilliant, perpetually unfinished building, Latin Catholic.
www.sagradafamilia.cat/sf-eng/
SYMBOLOGY
Christian symbology is to be found in all Gaudí's work, but the most evident example of its application is the church, which tells the life of Jesus and the history of the faith.
To that end the church has been built over the years according to Gaudí's original idea, which expresses the Catholic faith in the architecture: Jesus and the faithful, represented by Mary, the apostles and the saints. That can be seen in the eighteen bell towers, which symbolise Jesus, the Virgin, the four evangelists and the twelve apostles; on the three facades, which represent the human life of Jesus (from birth to death), and in the interior, which suggests the celestial Jerusalem, where a set of columns, dedicated to Christian cities and continents, represent the apostles.
BEGINNINGS: 1883-1913
After undertaking the project in 1883, Gaudí built the crypt, which was finished in 1889. As he started work on the apse (and the cloister), everything went at a good pace thanks to the donations. When he received a large anonymous one, he thought of doing a new, bigger work: he discarded the old neo-Gothic project and proposed a more monumental and innovatory one in terms of both forms and structures and the construction. Gaudí’s project consisted of a large church with a Latin cross ground plan and high towers; it carried a major symbolic load, in both architectural and sculptural form, with the ultimate aim of being a catechistic explanation of the teachings of the Gospels and the Church.
In 1892 he began work on the foundations of the Nativity façade because, as he said himself, “If, instead of making this decorated, ornamented and swollen façade I had begun with the Passion, hard, bare and as if made of bone, people would have stepped back.” In 1894 the apse façade was finished and in 1899 the Roser door, one of the entrances to the Nativity cloister.
PRESENT: 1986-2010
In 2000 the vaults of the central nave and the transept were built and work began on the foundations of the Glory façade. That year, on the occasion of the new millennium, a mass was held inside the church which provided an opportunity to grasp the grandiosity of the work.
In 2001 the central window of the Passion façade was completed with the installation of a stained glass window dedicated to the resurrection, the work of Joan Vila-Grau. The four columns of the centre of the crossing were also finished.
Wikipedia
Towers
Every part of the design of La Sagrada Família is replete with Christian symbolism, as Gaudí intended the church to be the "last great sanctuary of Christendom". Its most striking aspect is its spindle-shaped towers. A total of eighteen tall towers are called for, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary and, tallest of all, Jesus Christ. (According to the 2005 "Works Report" of the temple's official website, drawings signed by Gaudí found recently in the Municipal Archives indicate that the tower of the Virgin was in fact intended by Gaudí to be shorter than those of the evangelists, and this is the design — which the Works Report states is more compatible with the existing foundations — that will be followed. The same source explains the symbolism in terms of Christ being known through the Evangelists.) The Evangelists' towers will be surmounted by sculptures of their traditional symbols: a bull (St Luke), a winged man (St Matthew), an eagle (St John), and a lion (St Mark). The central tower of Jesus Christ is to be surmounted by a giant cross; the tower's total height (170 m) will be one metre less than that of Montjuïc (a hill in Barcelona), as Gaudí believed that his work should not surpass that of God. Lower towers are surmounted by communion hosts with sheaves of wheat and chalices with bunches of grapes, representing the Eucharist.
Façades
The Church will have three grand façades: the Nativity façade to the East, the Glory façade to the South (yet to be completed) and the Passion façade to the West. The Nativity facade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being flogged and on the crucifix. These controversial designs are the work of Josep Maria Subirachs.
Interior
Tree-like supporting pillars of roof
The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres while the side nave vaults reach thirty metres. The transept has three aisles. The columns are on a 7.5 metre grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres. The apse will be capped by a hyperboloid vault reaching seventy-five metres. Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse, thus the graduated increase in vault loftiness.
The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).
[edit] Geometric details
Alpha and Omega carving at Sagrada Família entrance.
Key to the symbolism of the church.
The towers on the Nativity façade are crowned with geometrically shaped tops that are reminiscent of Cubism (they were finished around 1930), and the intricate decoration is contemporary to the style of Art Nouveau, but Gaudí's unique style drew primarily from nature, not other artists or architects, and resists categorization.
Gaudí used hyperboloid structures in later designs of the Sagrada Família (more obviously after 1914), however there are a few places on the nativity façade—a design not equated with Gaudí's ruled-surface design, where the hyperboloid crops up. For example, all around the scene with the pelican there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). And finally, the "bishop's mitre" spires are capped with hyperboloid structures[3]. In his later designs, ruled surfaces are prominent in the nave's vaults and windows and the surfaces of the Passion facade.
Symbolism
Themes throughout the decoration include words from the liturgy. The towers are decorated with words such as "Hosanna", "Excelsis", and "Sanctus"; the great doors of the Passion façade reproduce words from the Bible in various languages including Catalan; and the Glory façade is to be decorated with the words from the Apostles' Creed.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
Following a same simple pattern I tried design many dresses or combinations for women fighters or princesses. They were done in 2003. I used a mix of pencils, markers and for some even nail polish.
I plan use some of them soon in MOCs.
One of a variety of marketing concepts and designs I prepared for Creative Loafing-Atlanta. This concept for large bus shelter signage brands the "active voice" labeling concept, which I proposed for the section opening pages, and cements it in the public mindset.
For more on this case study, and links to additional information and design samples, visit:
ronreason.com/designwithreason/2010/06/09/new-start-for-a...
Bianchi Pista Concept 2005 57cm
Nitto B123 CrMO NJS
Deda Pista Stem
Syncros Seatpost
Selle Flite Ti
Sugino Crankset NJS
Sugino 48t NJS Miche 16t
Shimano Dura-Ace lockring NJS
KMC Chain
Mavic Open Pro
Vittoria Rubino
Shimano Dura-Ace Hubs NJS
Haven't had this much fun sketching on a project in a long time. the company (confederate motorcycles) was said to embrace a pure, minimalist, and rogue approach to design and all their products have a bare machined aesthetic. I really like drawing machined parts and very harsh, purely functional forms, so this was right up my alley.
My concept was “The Reality of Depression” and how it is darker than most people may think it is. I used bleach to damage the photos and to use that as a metaphor to represent depression. By using different damaging techniques on developed photos, that I took for this series, I think that I illustrated my concept effectively. I hope that people will clearly see my concept through the metaphorical representation of bleach that represents my concept.
In photo number one I showed depression in a physical form by having it surround the subject and make it so it shows the idea of depression closing in around him, without the subject noticing at all. This shows how one little time of self harming or even just hating almost everything that surrounds you is a gigantic welcome sign to have depression close in on you and take you over. In photo number two I show the subject after the idea of depression has closed in on him, it is only impacting the outside so what you see is just a neutral face, which is represented by the subject’s face being blurred, showing that they may almost look completely fine, but depression is starting to take root inside of them. In photo number three I show the idea of the hate of oneself when they are depressed, I did this by scratching the picture. In photo number four I used bleach on the subject’s eyes to show that depression has affected the way that he sees the world around him. In photo number five I show how depression has started to take over his life and that you can see is almost physically spreading over him in the picture. In photo number six I show the end result of depression taking over your life from the inside, out. As you can see in the photo the subject’s view of himself and reality has been completely destroy by depression.
The concept behind the Torch for the 2014 Games is based on the contrasts of Russia. It combines motifs from Russian folklore with ideas of innovation and technological breakthroughs. Its form reminds of the feather of the magic bird, which is said to bring good fortune and happiness.
Following a same simple pattern I tried design many dresses or combinations for women fighters or princesses. They were done in 2003. I used a mix of pencils, markers and for some even nail polish.
I plan use some of them soon in MOCs.
Concept art sketch of the character "Anya Titova Farmer"/"Anya" from "Lunatics" -- a free-culture space science-fiction animated webseries in pre-production.
This original drawing is one of the sale items in our fund-raising Kickstarter campaign (Ends December 18, 2011).
See: lunatics.tv for more info (includes a link to the Kickstarter)
Drawn by Daniel Fu ( daystorm.deviantart.com ).
Please visit my other Photo Site www.francescodazzi.com
Citroën Survolt is a concept electric racing car produced by Citroën and presented at the 2010 Geneva Motor Show.
The Survolt is powered by a pair of electric motors with a combined power output of 300 BHP (223.71 kW). Its top speed is 260 km/h (161.56 MPH), and it can accelerate from 0–100 km/h (62.2 MPH) in less than 5 seconds.
Citroën claims that the batteries provide a range of 200 km (124 miles).
Salon Concept Cars les Invalides 2014
2013 Renault Initiale Concept
Un concept placé sous le signe de la sagesse
La stratégie design de Renault, basée sur le cycle de la vie, figure les différentes expériences des clients : la rencontre amoureuse (DeZir), la découverte du monde (Captur), la fondation d’une famille (R-Space), le travail (Frendzy), les loisirs (Twin'Run) et l’accès à la sagesse (Initiale Paris).
Chacun aspire un jour à la sérénité et à profiter pleinement de la vie. Le concept-car Initiale Paris, présenté pour la première fois au Salon de l'automobile de Francfort, illustre l’ouverture d’esprit, les plaisirs et les sensations associés à un véhicule premium.
Initiale Paris préfigure le successeur d'Espace
[Le toit du concept-car représente le plan de Paris]
Le toit du concept-car représente le plan de Paris
Initiale Paris est une voiture statutaire de 4,85m de long qui s’inspire des codes de l’architecture et de l’aéronautique.
Côté design extérieur, des losanges juxtaposés reprennent l’esprit et le dessin d’une structure en nid d’abeille. Ce thème graphique se retrouve apposé à l’extérieur sur la calandre, sur les jantes et sur les flancs latéraux. Liant l’extérieur et l’intérieur, il se dévoile aussi sur la tranche du plancher par l’ouverture des portes antagonistes.
Un véritable hommage à Paris. La composition structurelle d'Initiale Paris évoque l’ossature d’un avion et est un clin d’œil appuyé au Grand Palais et à la Tour Eiffel, monuments emblématiques de Paris. Le pavillon du concept-car en aluminium et plexiglas dessine le plan de la ville lumière - en plein et en transparence - en reproduisant ses quartiers, ses artères et la Seine.
L’accès à l’intérieur du véhicule s’opère par l’ouverture de portes antagonistes et l’abaissement d’un marchepied motorisé, autre référence à l’aéronautique. Les sièges "grand confort" des deux premières rangées invitent au voyage. Fixés au tunnel central, sans liaison verticale avec le plancher, ils semblent flotter dans l’habitacle.
Une banquette originale entièrement composée de lamelles mobiles indépendantes et animées prend place tout à l’arrière, au troisième rang. Les lames définissent poétiquement la modularité attendue sur un tel véhicule.
Une ambiance sonore travaillée. Dès la mise sous contact, une ambiance sonore accueille les occupants d’Initiale Paris. Cette signature sonore, confiée au compositeur et designer sonore Andrea Cera, fait partie des projets collaboratifs entre l’IRCAM (Institut de Recherche et Coordination Acoustique/Musique) et Renault à l’instar des sons développés pour ZOE. Renault a invité BOSE®, son partenaire sur les véhicules de série depuis 2008, à concevoir un système audio "sur mesure". Ce défi technique relevé par BOSE® annonce l’arrivée prochaine du son Surround sur la gamme Renault.
La signature "Initiale Paris", la vision du premium selon Renault
Au-delà du concept-car, "Initiale Paris" c’est aussi une signature qui incarne la vision de Renault sur le premium.
Les produits signés "Initiale Paris" offriront un design chaleureux, des matériaux et des finitions de qualité, une ambiance acoustique et thermique soignée ainsi qu’une technologie high-tech discrètement intégrée.
Francfort 2013 matérialise l’intention de Renault de faire valoir sa place sur le segment premium. Il marque l’engagement de la marque de construire cette place dans la durée avec méthode et différenciation.
Following a same simple pattern I tried design many dresses or combinations for women fighters or princesses. They were done in 2003. I used a mix of pencils, markers and for some even nail polish.
I plan use some of them soon in MOCs.
The Rimac Concept One - a Croatian-built fully electric hypercar producing over 1000 horsepower - on display on Cannery Row in Monterey during the Exotics on Cannery Row event of Monterey Car Week.
STAR WARS FANS! Check out some of my fun movies that are sure to please!
Star Wars: Episode VII Teaser Spec Trailer
(video pitch for our feature length trailer that's now in production for 2014)
(scene to the sequel of the Emmy winning film "Star Wars: Uncut)
(music video style video highlighting the con attendees featuring The Fighting 501st: Vader's Fist, a legion of Manalorians and Ted the Ewok)
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Never before seen early concept Star Destroyer model.
HDR di un cubo fatto a scacchi. Non è una manipolazione... l'ho fatto veramente a scacchi.
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Following a same simple pattern I tried design many dresses or combinations for women fighters or princesses. They were done in 2003. I used a mix of pencils, markers and for some even nail polish.
I plan use some of them soon in MOCs.
Working on logo concept
Thank you for the feedback!
unecessary effects were removed to a much simplier version.
This is a Web only version!