Sim Designing
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The highway running through 17,000 ft plus highland near Barlacha pass in Lahaul valley, Himachal Pradesh, India
© 2009. Todos los Derechos Reservados
Diseñando la ruta...
Serie - Foto Verano 2009 Asturias
Recuerdos del Verano, en ruta
Series - Photo Summer 2009 Asturias
Summer recollections, in route
Europe, The Netherlands, Noord Brabant, Den Bosch, Design museum, 'Goth - designing darkness' exhibition, Gothic couture.
A small return to the Goth exposition – the couture section. Featured in films and worn by the hardcore fans.
The Goth – designing darkness' exhibition explored the dark side of the human mind and the human imagination & culture. The side that’s both fascinated and fearful of death, the occult and supernatural phenomena. That fascination has always been there. But in the middle of the 18th century, it came to the forefront due to the anxiety about the changing of society thru rapid urbanization and early industrialization. It was translated into funerary culture, painting and the plastic arts. It would later develop into neurasthenia of the beginning of the 20th century. And literature brought us Mary Shelley (Frankenstein). In architecture, Neo-Gothicism appeared too. It basically never went away.
So it still inspires contemporary photography, cinema, video clips (Anton Corbijn), popular music (Siouxsie & the Banshees) and fashion. The exhibition offers an intriguing and eclectic historical overview. Displaying film clips featuring Bela Lugosi a.o. alongside Cuypers' neo-gothic architectural drawings.
This is number 282 of the Museum album.
i don't really get it... lately, i seem to have an easier time sketching my trees than designing clothes... i need to do 4 choices but so far i only did one... i ended up finishing my tree sketch instead...
Forget chasing - Be the magnet.
" In the pursuit of excellence, remember: Quality doesn't chase after, it's attracted!
The good stuff finds you when you focus on you. Let your energy do the talking. The most captivating people are those who 'don't try' 💕"
_______ Scarlett Saphira
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. . . Don't chase, Radiate . . .
To chase means pursuing what you know well you don't really deserve, then being what you deserve so you don't need to chase.
In the pursuit of our desires lies the essence of our being. Yet, before reaching out, we must first cultivate the intrinsic qualities within ourselves. It is in the nurturing of our confidence and the refinement of our character that we lay the foundation for what we seek.
For true fulfillment does not merely come from chasing after what we want, but from embodying the very essence of what we deserve.
" Let your confidence be your compass and your quality your currency, guiding you towards the abundance that awaits... 💕"
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Sponsor: Belle Epoque - Maggie (Fatpack) / Exclusive @ Anthem Event
Please don't use this image on websites, blogs or other media without explicit permission. © 2015 Doha Dove. All rights reserved.
Keeping up my tradition of designing a special model for each new year, I came up with this one, called 45² (pronounced “45 squared”). 2025 is a perfect square: 2025 = 45². It is the only such year I expect to see during my lifetime, the previous one being 44² = 1936, and the next being 46² = 2116, so I couldn’t miss the opportunity.
The model is folded from a 45×45 grid, consisting of 45² = 2025 little squares. In order to visualize this, I folded from a full grid rather than using my clean folding techniques that hide the grid. The finished model is 20×25 grid units (vertical×horizontal). I had to cheat a little this since the model resulting from the collapse of just the digits is slightly larger, and folded the edges behind in order to get the desired size.
Finally, the model is folded from banana paper. I selected it due to interesting looks, and since I wanted to test this sheet I got in the summer (long story short: it’s not well suited for tessellations). Finding the time to finish the model took me almost all of January, and this time gave me the impression that I can ascribe additional meaning to this choice since it seems 2025 is going to be completely bananas.
Got to do something really cool today. The company I work for does a lot of work designing airports. Today was part of recreating a capture of these two engineers taken over 30 years ago as they started out in their careers designing airports. The two of them were photographed together on the airport here back in the 1980's next to an airplane ...
... was able to get them together here again for a re-shoot as they end their long careers in the aviation industry.
Took some close in captures of them that they will hopefully like, but I liked this one here taken further back showing more of the airplane and tarmac / apron.
Hoping they will enjoy this capture again of them as they enter the next stages in their life, enjoying retirement, client and consultant heading separate ways ;)
This full size Hawker Hurricane replica, standing near the River Thames in Windsor, is a memorial to Sir Sydney Camm and his contribution to British aircraft design.
Sir Sydney Camm, CBE, FRAeS (5 August 1893 – 12 March 1966) was an English aeronautical engineer who contributed to many Hawker aircraft designs, from the biplanes of the 1920s to jet fighters. One particularly notable aircraft he designed was the Hawker Hurricane fighter.
Sydney Camm was born at 10 Alma Road in Windsor, Berkshire, the eldest child of the twelve children of Frederick Camm, a carpenter/joiner and Mary Smith. The Camm family lived near Windsor & Eton Central railway station. His brother Frederick James Camm became a technical author and created the Practical Wireless magazine.
In 1901 he began attending the Royal Free School on Bachelors Acre in Windsor (The Royal Free school became the Royal Free Middle School with the secondary school becoming the Princess Margaret Royal Free School on Bourne Avenue). In 1906 he was granted a Foundation Scholarship. In 1908 Camm left school to become an apprentice carpenter.
Camm developed an interest in aeronautics and together with his brothers began building model aircraft, which they supplied to Herbert's Eton High Street shop. After finding that they could obtain a higher price they began making direct sales to boys at Eton College, which were delivered in secret to avoid attracting the attention of Herbert and the school authorities.
These activities led him to being one of the founders of the Windsor Model Aeroplane Club in early 1912. His accomplishments as a model aeroplane builder culminated in a man-carrying glider which he and others at the club built in 1912.
Shortly before the start of the World War I, Camm obtained a position as a shop-floor carpenter at the Martinsyde aircraft company ,which was located at the Brooklands racing circuit in Weybridge, Surrey. His ability soon led to his being promoted to the drawing office, where he spent the war period. After the company went into liquidation in 1921, Camm was employed by George Handasyde, who had created his own aircraft manufacturing company, which was responsible for the creation of the Handasyde Monoplane.
In November 1923 Camm joined the Hawker Aircraft Company (later Hawker Siddeley) based at Canbury Park Road in Kingston upon Thames as a senior draughtsman. His first design was the Cygnet, the success of which led to his being appointed chief designer in 1925.
In 1925, in association with Fred Sigrist, Hawker's managing director, Camm developed a form of metal construction, using cheaper and simpler jointed tubes, rather than the alternative welded structure.
During his employment at Hawker he was responsible for the creation of 52 different types of aircraft, of which a total of 26,000 were manufactured. Among his early designs were the Tomtit, Hornbill, Nimrod, Hart and Fury. At one time in the 1930s 84 per cent of the aircraft in the RAF were of Camm’s design.
He then moved on to designing aeroplanes that would become mainstays of the RAF in the Second World War including the Hawker Hurricane, Hawker Typhoon and Hawker Tempest.
"Camm had a one-tracked mind – his aircraft were right and everybody had to work on them to get them right. If they did not, then there was hell to pay. He was a very difficult man to work for, but you could not have a better aeronautical engineer to work under. With regard to his own staff, he did not suffer fools gladly and at times many of them appeared to be fools. One rarely got into trouble for doing something either in the ideas line, or in the manufacturing line, but woe betide those who did nothing, or who put forward an indeterminate solution."
Among the engineers who worked with Camm at Hawker were Sir Frederick Page (later to design the English Electric Lightning), Leslie Appleton (later to design the advanced Fairey Delta 2 and Britain's first air-to-air missile, the Fairey Fireflash), Stuart Davies (joined Avro in 1936 and later to be chief designer of the Avro Vulcan), Roy Chaplin (became chief designer at Hawker in 1957) and Sir Robert Lickley (chief project engineer during the war, and later to be chief engineer at Fairey).
The Hawker Hurricane was designed by Sir Sydney Camm.
With the Hurricane, Sydney Camm moved from the technology of the biplane to contemporary monoplane fighter aircraft. The result was that fighters flew faster, and with the improved engine technology of the time, higher and could be made more deadly.
The Hawker engineer Frank Murdoch was responsible for getting the Hurricane into production in sufficient numbers before the outbreak of the war, after an eye-opening visit to the MAN diesel plant in Augsburg in 1936.
When the Hawker Typhoon’s design first emerged and entered squadron service, pilots became aware that there was elevator flutter and buffeting at high speeds, due to the positioning of the heavy Napier Sabre engine intake very close to the wing root.
The engineering of the aircraft to travel at higher speeds and handle compressibility effects was one of the challenges of the day, but with his small design team of one hundred members at Hawker, Camm managed to solve these problems and make the Typhoon an effective combat weapon even at these speeds. As operational requirements changed, the Typhoon was used more as a fighter-bomber, in which role its low level performance, weapon-carrying capabilities and ability to absorb damage made it very effective. It was much used in the Battle of the Falaise Pocket, in which ground-attack aircraft proved very destructive. German losses were so severe that most of France was retaken less than two weeks after the conclusion of this operation.
The lessons learned from the Hawker Typhoon were incorporated into its successor, the Hawker Tempest. As soon as the Typhoon entered service, the Air Ministry requested a new design. C amm recommended that they keep the existing design of the Typhoon for the most part, with modifications to the aerofoil. He also considered the new and powerful Napier Sabre and Bristol Centaurus engines as the powerplant. Camm decided that both engines would be used: the Tempest Mk 5 was fitted with the Napier Sabre, while the Tempest Mk 2 had the Bristol Centaurus. The design modifications to be made to the aircraft to switch from one engine type to another were minimal, so that little assistance was needed in ferrying these aircraft all the way to India and Pakistan, in the final days of the conflict.
The Sea Fury was a higher performance development of the Tempest with a reduced wing area, a Centaurus engine, and a considerably improved view for the pilot. Named the Fury, only the carrier-based Hawker Sea Fury went into service, serving with the Royal Navy from 1947 to 1955.
After the Second World War, Camm created many jet-powered designs which would become important aircraft in the Cold War era.
Notable among these are his contributions to the Hawker Siddeley P.1127 / Kestrel FGA.1, the progenitor of the Hawker Siddeley Harrier. The Harrier is a well-known vertical takeoff and landing (VTOL) aircraft designed at Hawker Siddeley, which would later merge into British Aerospace, now known as BAE Systems. The Harrier was one of the radical concept aircraft which took shape in postwar Britain, which required the coming together of many important technologies, such as vectored thrust engines like the Bristol Siddeley (later Rolls-Royce) Pegasus and technologies like the Reaction Control System. Camm played a major role in determining these and other vital Harrier systems. In 1953, Camm was knighted for these and other achievements and his contribution to British Aviation. The P.1127 first flew on 21 October 1960. Working with Camm on this aircraft and the Hunter was Prof John Fozard, who became head of the Hawker design office in 1961 and would write a biography of Camm in 1991.
Camm worked on many aircraft built by Hawker before the Harrier, including what is probably his most significant aircraft after the Second World War, the Hawker Hunter. The Hawker Hunter, designed by Camm, made its first flight in 1951.
Camm was President of the Royal Aeronautical Society(RAeS) from 1954 to 1955. Since 1971 the RAeS has held the biennial Sir Sydney Camm Lecture in June, given by the current commander-in-chief of RAF Air Command.
Camm retired as chief designer at Hawker in 1965 and was succeeded by John Fozard. He, however, remained on the board of its successor, Hawker Siddeley until his death.
Before he died, Camm was planning the design of an aircraft to travel at Mach 4, having begun his life in aircraft design with the building of a man-carrying glider in 1912, just nine years after the first powered flight.
In 1966, Camm was awarded the Guggenheim Gold Medal, which had to be presented posthumously, as on 12 March 1966 he died aged 73, whilst playing golf at the Richmond Golf Club. He was buried in Long Ditton Cemetery, Long Ditton, in the County of Surrey.
The Colosseum was the first place my mind went upon accepting this commission. I am always hesitant to replicate any landmark that has been modeled in LEGO countless times before. Therefore, I decided early on to eliminate the idea of using arch bricks altogether as their bulky dimensions would not nearly do justice at this scale. That’s when I had the idea of using 1x1 rounded plates w/ handle for the lower three arcades. Each of these stacked arcades are topped between alternating 1x1 printed plates and old 1x1 windows (an element that has not been in a LEGO set since 1979). These two motifs express the Corinthian pilasters and are topped by brown minifigure wands which make up the timber structure of the velarium.
As a car manufacturing country Italy has a long and extensive tradition in offering, producing or designing derivative versions of existing models. This occurred not only at expensive top models, but mostly at affordable small cars like the Fiat 600 and the Nuova 500. This resulted in various Spiders, Coupés, Cabriolets, Saloons, Estates and off-road and commercial vehicles.
In the case of the Fiat Nuova 500 Fiat worked together with lots of related and independent car design studios and individual car designers.
Just to mention some: Accossato, Allemano, Amalfi, Auto Mirage, Baldi, Bertone, Boano, Boneschi, Bonomo, Bosato, Buzzi Brezzi, Caprera, Coriasco, Ferrario, Ferves, Fissore, Frua, Ghia, Giannini, Intermeccanica, KGV, Francis Lombardi, Mantelli, Monterosa, Moretti, OTAS/Giannini, Piatti, Pininfarina, Savio, Scioneri, Siata, Sibona & Basano, Sinibaldi, Spada, Stanguellini, Steinwinter, Franco Venturi, Vignale, Viotti, Zagato and Zanella.
In other cases domestic and foreign car manufacturers bought the license for producing their own version of the Fiat 500 like Abarth, Autobianchi, Brütsch, Canta, Foulkes, Neckar, NSU and Steyr-Puch.
I'm pretty sure this list is not 100% complete.
Production standard Fiat Nuova 500: July 1957-1975.
See also: www.museoauto.com/il-museo/la-collezione/
Torino (It.), Museo Nazionale dell'Automobile, Corso Unità d'Italia, Aug. 2, 2022.
© 2022 Sander Toonen Halfweg | All Rights Reserved
Here's a fun little build that I whipped together (might be an understatement) using the same frame as my Lazengann and Gurren Lagann figures. SSSS.Gridman was one of my favorite shows to air last year and was criminally underrated. Do yourself a favor and check it out if you want some robot(?) v. kaiju action with some cool twists throughout!
The two most challenging parts of this build were effectively using my limited collection of light blue bricks and designing the head. The head in particular is the weakest part of the model (IMO) but it's way better than some of its earlier iterations. I may go back sometime in the future and redesign it again. I do quite like how some other parts turned out however, especially the chest, shoulders, and back vents.
Also I decided to throw in Calibur as well just to add some pizzazz to the whole thing. I experimented with building Max so I could have Max Gridman but it proved to be a little bit too ambitious. Maybe I'll do some of the support vehicles in the future, but don't count on it.
Sinéad Burke, Founder, Sinéad Burke, Ireland; Cultural Leader.Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; Cultural Leader.Susannah Rodgers, Paralympian and Director, Spirit of 2012, United Kingdom; Young Global Leader, Cultural Leader,.speaking during the Session "Designing for Everyone" at the Annual Meeting 2019 of the World Economic Forum in Davos, January 22, 2019. Congress Centre - Betazone
Copyright by World Economic Forum / Mattias Nutt
Designing News
Changing the World of Editorial Design and Information Graphics
shop.gestalten.com/designing-news.html
In Designing News, award-winning editorial and infographics designer Francesco Franchi conveys his vision for the future of the news and media industries. He evaluates the fundamental changes that are taking place in our digital age in terms of consumer expectations and the way media is being used. The book then outlines the challenges that result and proposes strategies for traditional publishing houses, broadcasting companies, journalists, and designers to address them.
Designing News explores how today’s media outlets can become credible, cross-platform news brands. Franchi advocates redefining reporting as telling a continuous narrative across a broad range of traditional and digital media. To this end, he proposes a new, integrated role for editorial designers in advancing the evolution of media for the future.
Franchi’s findings in Designing News are based on his own work for Il Sole 24 ORE as well as case studies by top media insiders including Bloomberg Businessweek’s Richard Turley, Thomson Reuters’s Daniele Codega, the New York Times’s Steve Duenes, the Times’s Matt Curtis, and type designer Christian Schwartz.
with felt appliques , handmade crochet circles and pompons .
Inspired by pier 1 summer collection .
( EXPLORED )
The lights came on and the stage was in perfect order. Thank you mother nature...Untouched and uninfluenced by civilization or artificiality as only she can do....
Hello all....I'm so glad to back with you...
Hope you have an INCREDIBLE weekend....
Thanks so much for stopping by always so appreciated....