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Peter Vanier’s team of researchers from the Nonproliferation and National Security Department want to know the origin of the neutrons they encounter since they occur infrequently in the natural environment.
Hotel interiors designing involves the planning, composing, designing of hotels. We undertake Mural Projects for decorating walls of hotels, restaurants, and other such places in Bangalore, Karnataka. We offer these services through our skilled professionals, who are trained for such projects.
Student, Kenneth, looks at his potential design for the smart phone's user interface that audiences will utilize for the audio walks!
Mehandi is a celebrated tradition in Chennai. Ladies decorate their hands and legs with beautiful designs using Henna in Marriages, Festivals and some auspicious occasions. Currently, Henna Tattooing is fast becoming a style statement across the world making it big for the experts. Professional Henna Designs are intricate, charming and creative.
Yaksheetasri Mehndi Arts offers professional mehandi design services for all occasions in Chennai and all over Tamil Nadu. Our mehndi artists are professionals who are trained and offer a huge variety of designs such as bridal mehandi,wedding mehndi, arabic mehndi designs, Chennai mehandi designs, art mehndi, foot mehndi, hand mehandi, leg mehendi designs etc. We serve our customers at their location as well as customers are welcome to our place to get the designs done. We use natural mehndi paste and we prepare this by ourselves.
We at Yaksheetasri Mehndi Arts are dedicated service providers in the field of mehndi designing in Chennai. If your search is for innovative designs from a team of friendly people, you can contact us any time to our Yaksheetasri Mehndi Arts.
We are available for all sorts of functions including mehndi parties, corporate events, appointment holdings with local businesses, engagements, baby showers, weddings, bachelorette parties, graduations, Diwali, Eid, Karwa chouth, group functions, girl's night, get together, birthday parties etc. If you come up with it, We can do it. We provide service in Chennai on request.
Our boutique in city is also open for personal appointments. Travel fees may apply. Bridal mehndi includes an initial bridal consultation at my boutique where in you can view designs, or design your own. You may bring your own design books as well. A popular choice is to include designs found in the bridal gown into the henna. You will also receive a sample henna design on your palm and top of hand.
We have a collection of around 10000 designs where you can choose from for that special occasion. You can view some sample design on my blog as well.
Bridal Mehandi
Indian subcontinents weddings are highly influenced by Bridal Mehndi design traditions and various forms of cultures also show history of henna being a part of decorations during marriages. In Indian weddings Bride follows many customs and traditions as a part of her decorative collections and palms, elbows, feet and calves are decorated with the masterpiece of Mehndi designs.
Henna designs are the natural form of designs that lasts temporarily for few days and are used effectively to make designs on the hands and feet of to-be-married girl. While the color allotted by these designs may vary according to the usage and light or dark shades can be achieved, there has been a good deal of demand for professional designers who can provide their valuable art work to give an authentic as well as majestic output.
Rajasthani Mehandi
Rajasthan state of India has acclaimed praise from all around the world for its cultural heritage in the field of arts. Ranging from a beautiful artwork on pots to clothes, Rajasthani designs are considered to be ranked among the top when it comes to the expose of ancient artwork accompanied with new age fashion. Rajasthani Mehndi has a good deal of demand in the market of henna designs and has become part of occasions such as weddings, birthday parties, baby shower etc.
While a good Mehndi design reflects fashion and decorations, few mass of people also consider it as a symbol of auspiciousness and divine. Rajasthani Mehndi design has a good blend of curved figures and carefully crafted accurate handwork to match your desires and occasions. The traditional way of using henna leaves for making design cones and applying them with different shades of color is a hot trend or fashion fiesta at present.
Indian Paksithani Mehandi
Mehndi or henna has been a popular form of skin decoration in Indian subcontinent countries like India, Pakistan and Bangladesh. Although it is a very old practice in these countries, since 1990s it has also become popular in many western countries being counterpart of tattoos.
Mehndi is applied on some special occasions like Diwali, Teej, Eid, weddings, birthday parties and many other auspicious festivals. Mehndi design is applied on hands or feet of a woman and it is common that to apply henna on palms where due to presence of high levels of keratin the color appears in its dark form. Fresh henna leaves are grinded and oil is added to make cones which are used professionally for applying Mehndi designs. The origin of Mehndi as a part of celebration has been found to be of ancient Indian origin and beautiful patterns are still applied to brides at the time of wedding ceremonies. Although Mehndi design still refers to the common term of applying henna on the body parts, there exists various forms and types of designs that can be further categorized based on the features and their origins. The popular designs at present are found in the form of Rajasthani, Arabic, Pakistani, and Minakari etc.
Arabic Mehandi
The word Arabic itself describe us that this art belongs to the land of "Arab." As we know the Arab's are very artistic with their culture and tradition, the same thing we could see in their art of mehndi designs.
Arabic mehndi designs are very beautiful and complete the most part of the hands and legs. In this style we can use different styles of mehndi like Black mehndi is used as outline, fillings with the normal henna mehndi. We can also include sparkles as a final coating to make the henna design more attractive.
Brides – in India, Pakistan and even in Africa – love Arabic mehndi designs and love getting the design done for their weddings. The Arab culture, especially when it comes to brides is quite popular across Asia and women in India are adopting more of Arabic mehndi designs than of Indian mehndi designs. The design usually does not cover the entire hand and leaves a lot of gaps b/w it.
That's what makes Arabic mehndi designs stand out and appealing to Indian women. Be it for marriage or a festival or any special event, Arabic designs are among top 3 mehndi patterns in the country. To get inspiration on it, you can check out the below gallery.
Gilding Glitter Mehandi
Gilding, Glitter and Gem work is a recent popular innovation in Indian bridal technique, adding dazzle and glamor to henna. These techniques are spectacular, yet easy to master. In India, these adornments are often called Zardosi because they emulate the fabulous gold embroidered, bejeweled bridal sari fabrics. As upper class Indian wedding celebrations expand to a week or more, the modern bride may wish to have her adornment match two dozen saris or more, with an artist re-applying dazzle twice a day. These transitory techniques can be used on their own, at the time of henna paste application, or to ornament the henna stain. They are designed to be "of the moment", to please the camera's eye, and delight the wedding guests.
If you're working a festival, and you're competing with other henna artists, gilding gems, and glitter will make your henna stand out from the competition! There will always be potential clients who would like to be adorned, but who don't want a lingering stain. Offer them these techniques! There are always little children who want adornment, but whom you should NOT henna for health reasons.
Sarah Doherty, Co-Founder and Chief Technology Officer, TeleHealthRobotics, USA at the World Economic Forum - Annual Meeting of the New Champions in Dalian, People's Republic of China 2015. Copyright by World Economic Forum / Jakob Polacsek
www.dabasformumebeles.lv - natures form wood tables
Nature form furniture - Unique furniture and design elements:
Harijs Stradiņš - a craftsman working with natural shape wood processing, has been designing furniture and other interior design elements since 1997 selecting the best parts of the tree from top to root. In his works Harijs uses such materials as stone, glass, hammered works, fabric, clay and other natural materials to be able to make common design for a particular room.
Мебель природных форм - Уникальная мебель и элементы дизайна:
С 1997 года мастер по обработке природных форм дерева Харий Cтрадиньш, работая с деревом, изпользует его с корня до верхушки, отбирая самые интерессные части для создания своей мебели и елементов дизайна. Думая об общем дизайне помещения, в своих работах Xaрий изпользует также камень, ковку, лён, стекло, глину и другие природные елементы.
Dabas formu mēbeles - Unikālas mēbeles un dizaina elementi:
Kopš 1997. gada dabiska koka formu apstrādes meistars Harijs Stradiņš sadarbojas ar koku, kā dabas elementu, mēbeļu un dizaina elementu radīšanā, izmantojot to pēc iespējas pilnīgi (no saknes līdz gaotnei). Domājot par telpas kopējā dizaina risinājumu, savos darbos Harijs Stradiņš izmanto arī akmeni, stiklu, metālkalumus, audumu, mālu un citus dabas elementus.
COPYRIGHT - Creative Commons Attribution-Noncommercial-No Derivative Works:
- This image is licensed under Creative Commons, this means you can use it on your site (blog) if you credit the author (or authors website).
blog.ted.com/2010/06/fellows_friday.php
From pollution-eating robots to abstract animated films, TED Fellow Cesar Harada is involved in an ocean of projects. He was able to squeeze in this interview with TED, where he talks about architecture, his love of the sea and a special cartoon cat.
What are the most important things you're working on right now?
The project I'm working on right now is called the "Energy Animal." I had the first iteration when I was working for the British government Renewable Energies Department at the University of Southampton in the Fluid Mechanics Laboratory.
I built a prototype that makes energy from the waves, the wind, and the sun simultaneously. It's a device that can be working in any type of weather condition, anywhere. It doesn't necessarily produce a lot of energy, but produces it steadily.
I'm still working very much on the World Environment Action. It's in coordination with Ushahidi [another TED Fellows project]. Three weeks ago I was in Kenya working on this environmental monitoring software that I'm going to use in the next application.
Since two weeks ago I am a researcher at MIT SENSEable City Lab and I am working on the project I mentioned before called Energy Animal. We're trying to build devices that make energy while collecting pollution -- apprehending pollution as a resource. Originally I was commissioned by MIT to collect the North Pacific Garbage Patch, but I've been redirected to work on the Gulf of Mexico oil spill, so now I am designing a machine to collect oil. It will use oil as a combustible, as a gasoline fuel to actually move around. The idea is to make autonomous robots that would swarm around and collect garbage or different types of pollution.
I'm designing not one specific device, but a floating open source design "framework" so it can generate many other boats for different applications. It can be used for the oil spill, or the North Pacific Garbage Patch or even for fresh water to purify, for example, the Laguna Venice, where the prototype will be presented for the International Architecture Biennale to represent the MIT SENSEable City Lab.
I am now pushing the lab staff to help me make this robot self-replicating: a robot that can fabricate its own children. Since we are collecting a lot of raw material, the best use we can make of that material is fabricating more robots to accelerate the cleaning. So that means that you make a robot, and if it accumulates energy and raw material, it can build, if you want, a baby -– the same of its own. So it's very futuristic. That is also why we are not working at solving this precise problem but more for longer-term.
We have problems that are very big, like the North Pacific Garbage Patch, and we never have the money to actually build an entire fleet. So we'd rather build a fleet that builds itself!
How will one device feed off of completely different types of pollution?
What I was saying about "framework" -- it's very much like the evolutionary process. You can't have a robot that does everything. The idea is that we build a framework, for example from a simple kind of boat, and you can swap organs. So say that you go for the oil spill -- you will have some oil combustion chamber. In Venezia you will have some anaerobic digester so it will make energy from gas -- methane, propane -- from organic waste digestion, and also create fertilizer. And if it's in the case of the North Pacific Gyre, it will collect the plastic, process some of it, and some will be reused to fabricate more raw materials. So the robots themselves will be made of plastic.
Read more of this interview with Cesar Harada after the jump >>
(Continued)
You have different labs like the "Energy Animal" that make up your overarching project, Open_Sailing. Tell me more about this project.
The purpose of Open_Sailing is to build an International Ocean Station. That's really the main target. Whatever the intermediary experiments we're doing, the objective is the International Ocean Station. So if NASA has as a target to explore space, Open_Sailing's would be to explore the ocean, and to do so, involving probably inventing this new generation of devices.
Open_Sailing has many different applications. For example the Instinctive Architecture could be inhabited human beings. For the Energy Animal, it's autonomous drones. The Nomadic Ecosystem are moving farms. They are designed for a world even without humans.
ABOVE: Cesar and a Nomadic Ecosystem float prototype
You compare your project to the International Space Station. A lot of expertise, money and time were invested in that. You've said you expect to achieve something comparable with a fraction of the resources. Why are you convinced you can succeed?
The first reason is that many, many people have access to the sea, so the testing ground is near us. Secondly, I'd like to actually probably moderate what I said because I said this when I was quite early in the research. And a few days after I wrote these words for the first time, I went to meet Professor Masubuchi in the MIT Center for Ocean Engineering. He happens to also have been the chief welding engineer of NASA for the rocket that went on the moon.
We had a long discussion and I asked him why we don't have already an International Ocean Station if we already have an International Space Station. And he told me that it's because the International Ocean Station is much more complicated to make. And that is also why he himself was transferred from NASA to ocean engineering –- because the ocean is the next frontier.
Space is empty, cold, and the gravitational forces are very predictable, depending on where you are in space. You can deploy these very huge solar panels, like 100-meter long solar panels, with almost no support because there is little gravity. It's mostly empty space, it's cold and there's no acidity.
But in the ocean you have the mechanical action of the waves, some of which impact can be tens of tons per square meter. You have salinity, UV, winds, strong currents all the time, and the conditions are changing very, very quickly. In other words the surface of the ocean is very, very difficult. And on the bottom you have extreme high pressures, darkness….
How did you move from architecture to designing ocean structures?
I'm not a qualified architect, I didn't graduate from architecture. My family is in construction. Most of my uncles are structure engineers in Japan, which is subject to a lot of earthquakes, so since I'm a kid I've been building houses and participating in architectural plans for buildings. When I was in Kenya, again, I was construction manager, so I'm not an architect officially but I'm an architect in the fact. Also my father actually is a professor in an architecture school. These 2 last years I was assistant of the Architect Usman Haque, Angel Borrego Cubero and the biochemist Natalie Jeremijenko.
I've always been passionate about the ocean. Since I was a kid –- before I could walk -- I was a very good baby swimmer [laughs]. Actually the first time I went to the hospital, it was because when I was four years old, I was left alone and I went smashing myself in the waves. I was found on the beach side, my lungs full of sand and my nose cavity full of pebbles. So I had to have my first operation to remove the pebbles out of my nose when I was four.
ABOVE: Cesar on his boat, Vela
And since I'm passionate about sailing and windsurfing … that is also why I'm in MIT, because a few minutes from the office I can sail. So 3 or 4 times a week I am windsurfing and sailing now. I'm really happy here.
Let's talk about World Environment Action.
World Environment Action is a website that is crowdsourcing environmental data. The idea is that to be getting everybody to participate to create the most reliable and multi-platform service. We are using Ushahidi, which is a crisis reporting system, so people can use their mobile phones, they can send just a simple SMS, MMS, they can make a phone call, or they can go directly on the website w-e-a.org and report an environmental problem.
The idea is very simple. If you are passing in front of some environmental damage, you can just take a picture with your mobile phone and you upload it to the website, and almost in real time –- maybe just a couple of hours after because we have to moderate every post -- then you will be able to see this environmental report, amongst a lot of others. So the idea is that everybody can become an environmental activist. You don't have to be part of an NGO, or you don't have to be part of a government, or claim that you belong to anybody, you can just actively report and take action against environmental problems.
Ushahidi was started by two TED Fellows. Can you tell us more about that partnership?
The whole TED experience instantly bounded a TED family that one can only be delighted to be part of. I was looking for partners in software development and environmental monitoring, I found Erik Hersman and the Ushahidi project. I was looking for good programmers, I found Jessica Colaco. Together Erik and Jessica are building the iHub in Nairobi, the Kenyan innovation incubator that will soon be the hottest place in mobile application development in East Africa.
ABOVE: Jessica Colaco, Erik Hersman and Cesar Harada: A TED Fellows Coalition
I brought them an ambitious project clearly answering the question TED asked: "What the World Needs Now." The answer: a powerful environmental governance. We are currently looking for partners and contributors for this world-changing project. We can make it happen, together.
Let's talk about the films you've produced.
Films used to be my goal, but now I consider them only a way to share ideas. So I actually studied animation film until I was 23. I made a couple of things but now when I look back at them I feel they are very intimate and poetic.
Maybe three weeks ago I just republished a film that I re-masterized. One is called Arvo Part -- it's a remix of Arvo Pärt, one of my favorite composers, and it's really abstract. The second is called disponible (available), a roadtrip I made in nature on a boat I fabricated for the purpose of the film.
What cartoon character are you most similar to?
I wish Doraemon! Doraemon is a mechanical cat. He's such an important character. Basically he's a big lazy cat and he's really funny and ingenious. He has a big pocket in front of him like on his belly here, and he always pulls out the craziest gadgets from it. He's the best product designer in history.
Anything else before we wrap up?
I have to stress that a lot of what I do is very propositional. The International Ocean Station is a very, very big endeavor, and the World Environment Action is the same –- it's a very ambitious project. What MIT has asked me to solve are global-scale problems.
Look at me, I'm just a little guy, I do my best, I don't sleep very much already, I don't know how much I can do for the world, but I have lots of ideas and I try hard. I really consider myself a contributor. Even if in my lifetime none of the stuff that I'm talking about and working on everyday exists before I die, it's ok. If I can contribute to the fact that it comes into existence one day, for me it's a very big satisfaction.
Posted by Alana Herro
Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; 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
Washington, District of Columbia. The site for the new national capital was selected in 1790 with land donated from Maryland and Virginia- 2 southern states. A southern site was chosen as Alexander Hamilton, the treasure and Thomas Jefferson got the North to agree to a compromise, the new national government would pay of all the state War of Independence debts if the capital city was located in the South. Most of the Southern states had already paid off their war debts so this was the carrot that enticed the North to agree. The city was named after the first President and founded in 1791 but the Congress did not move to Washington until 1800. Peter L’Enfant was given the task of designing the city and he placed the Capitol (Congress) on a hill at one end of a long mall with the President’s house at the other end. Thomas Jefferson proposed a competition for the design of the Capitol which was won by William Thornton a French architect in 1793 but his design was much modified. The senate wing was completed in 1800 and the Congress and dome in 1811 although congress had met in the Capitol since 1807. During the War of 12 with the British part of the Capitol was burned in 1814 as was the White House when the British sailed up the Potomac River and attacked. The Capitol building was much enlarged and took its current form in the 1850s using slave labour! The current dome is three times the size of the original 1811 dome and it was completed in 1863. It was Thomas Jefferson who insisted the Congress be referred to as the Capitol as he wanted the US legislature to draw upon democratic ties with ancient Rome. The quadrants or sectors of Washington DC are all drawn from a central point in the US Capitol. Adjacent to the Capitol is the Library of Congress and the US Supreme Court also designed in the classical style. The Library of Congress, a research library was established by Congress in 1800. Most of the early collection was destroyed by the British in their raid on Washington in 1814. The Library for Congress now consists of 3 buildings but the oldest was opened in 1797. It terms of shelf space and the number of books it is the largest library in the world. Its original function was a research function for politicians in the Capitol.
Nearby is the US Supreme Court. Remarkably it is a modern building. The US Supreme Court met in a basement of the Capitol building until 1935 when the current classical style Court was opened. The façade is made of marble mined in Vermont. The Supreme Court is exceedingly important in the US as it is one of the three separate powers of government: the Presidency; the Congress and Senate; and the Supreme Court. The legislature makes the laws; the Supreme Court decides if they are consistent with the US Constitution and therefore legal. Presidents have to have their appointments to the Supreme Court ratified by Congress. It is not an easy process. The Justices are there for life or until they retire. Their judgements have been major milestones in the history of America. From earliest days justices, and politicians, have been categorised into two camps when it comes to interpreting the US Constitution:- the “loose constructionists” and the “strict constructionists.” The loose group argue that if the Constitution does not prohibit something, then it can be made into law. The strict group argue that if the Constitution does not mention and identified something it cannot be made legal. These arguments still continue. The first big argument emerged over the establishment of the first US Bank in the 1790s. Apart from interpretations of the Constitution the US Supreme Court has made many momentous decisions. One important one was the 1954 ruling that facilities and schooling for black Americans could never be equal to that of whites if it was separate. That led to desegregation, the Civil Rights movement and the later student bussing controversies of the 1970s. But the Court changes over time and this 1954 ruling was a repudiation of an earlier ruling of 1899 when the Court ruled that separate but equal facilities for blacks did not breach the 14th amendment to the Constitution of 1866 which gave black Americans equal rights and Civil Rights. The US Supreme Court if one for the three major arms of US government.
Washington DC has 600,000 residents and just over 50% are black residents but it used to be over 70% black residents. But the white suburbs flow out across Maryland and Virginia and the metro area has 5.6 million people making it the 7th largest US city. Although a planned city with some beautiful boulevards, and a large complex of government buildings, including the Pentagon which covers acres, it is also a city of black slums and tenements. But one distinguishing feature is the lack of skyscrapers. In 1899 Congress passed a Heights of Buildings Act when a 10 storey hotel was erected. It limited building heights to 110 feet, and this was further lowered by a 1910 amendment which meant no building could be higher than the width of the street that it faced. The only exception has been the Catholic National Shrine (Cathedral) opened in 1959. Thus the Washington Monument is the second highest structure in Washington DC. The Capitol building is 4th highest but it is placed on a hill so it can dominate the city skyline. The city‘s economy is based on government services, political lobbying groups, national offices of professional and trade organisations etc. A number of universities are located in the city and it has a strong arts sector with the Kennedy Performing Arts Centre being the home for the National Symphony Orchestra, National Opera, Washington Ballet Company, National Theatre Company etc.
Pre-Master students at the ESCP Europe Paris campus took part in the Designing Tomorrow seminar, raising awareness of the importance of fighting climate change.
Some background:
The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).
Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.
At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.
A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).
Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.
The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.
A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.
The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.
Building the kit and its display box:
I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.
The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.
Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!
As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.
I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).
Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.
The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.
The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.
The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.
Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.
Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.
As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!
The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!
Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.
The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.
The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.
Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.
At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.
In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.
Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.
Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.
Quapaw Quarter, Little Rock Arkansas. This was the house used in the television show "Designing Women".
From the Moors to the Sea - a celebration of RHS Britain in Bloom
Alan Titchmarsh designs RHS Britain in Bloom 50th anniversary garden at Chelsea Flower Show.
Alan Titchmarsh is celebrating his own 50th year in horticulture by designing a special Chelsea garden for RHS Britain in Bloom.
RHS Vice President, Alan Titchmarsh MBE VMH DL, is designing the garden at this year's show, sponsored by M&G Investments, to celebrate the 50th anniversary of RHS Britain in Bloom and Alan’s own 50 years in horticulture.
It is almost 30 years since Alan has designed a garden at the world’s most famous horticultural event. He was awarded a Gold medal in 1985 for his Country Kitchen garden. This year Alan is joining forces with another RHS Chelsea Flower Show Gold medal winner, Kate Gould, to create ‘From the Moors to the Sea - a celebration of RHS Britain in Bloom’, which will be a garden feature.
Currently, after 50 years, there are 300,000 Bloom volunteers who look after 200,000 acres of public land and save the UK millions of pounds annually by cleaning up and greening up their neighbourhoods. The enthusiasm and drive of Bloom volunteers helps create communities that make better places to live.
The garden feature will demonstrate how the 300,000 volunteers help to make Britain bloom as well as exploring Alan’s relationship with horticulture through his life.
The journey starts in the Yorkshire Dales where more than 50 Bloom groups work year round to transform their local streets and neighbourhoods, and where Alan was born. It finishes with a seaside scene to depict the Isle of Wight where civic pride has united Bloom volunteers, schools and businesses, and where Alan has a home and garden.
RHS Director General, Sue Biggs, said: “By bringing people together across Britain to enhance their surroundings, Bloom makes an immense difference to the UK, from promoting planting for bees and butterflies and making beautiful and social places for people to live to boosting communities financially through encouraging tourism.
“Alan is one of the most powerful forces in horticulture, reaching out to and promoting gardening to millions of people. He has also been one of the biggest supporters of the RHS and, as this garden demonstrates, continues to generously support and promote horticultural campaigns that transform lives and reinforce our great position as a nation of gardeners.
“As the world’s most famous and best horticultural event, RHS Chelsea is the perfect place to celebrate both Alan’s and RHS Britain in Bloom’s 50th anniversaries.”
Alan Titchmarsh, said: “I can think of no better way of celebrating 50 years as a professional gardener, and 50 years of RHS Britain in Bloom, than by creating a garden for the RHS at the Chelsea Flower Show. I began my career in horticulture on the edge of Ilkley Moor and now garden on the Isle of Wight - a fact which is reflected in my Chelsea garden and in Bloom itself which celebrates the importance of life-enhancing floral displays from one end of the British Isles to the other. 'From the Moors to the Sea' is a joyous celebration of our floral heritage and the people who do their bit to conserve our islands' plants and flowers and realise the importance of beautifying our surroundings whether in village, town or city.”
Kate Gould is working closely with Alan to deliver the garden with the contractor, Mark Gregory, of Landform Consultants. It will be located next to the RHS stand, at the bottom of Main Avenue opposite the triangle. As it is an RHS garden feature it will not be judged.
In this photo you can see the sticks to mark the levels for digging swales at the back of house to retain water. The upside of the swales became the paths between the raised beds
The 11th International FDSS Cup Floral Designing Competition at the Meadow, Gardens by the Bay during Singapore Garden Festival 2018.
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Photograph taken during the 'Designing the Archive' joint ICA / ASA / ARANZ / PARBICA conference, Adelaide, South Australia.
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Caroline Baumann, Director, Cooper Hewitt, Smithsonian Design Museum, USA; 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
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography by Kathryn Rattray
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Grandnephew Finny, age 8, at work.
Photo by Niece Mare.
Finny's father is a jazz drummer, but his day job is carpentry.
Finny helps his father with carpentry on Long Island and has
worked with his grandfather in Denmark.
Billy Knights, a retired farmer began designing and creating the Water Gardens in 1970 in his 70th year. The site was a damp meadow which became too wet for cattle to graze. Mr Knights' son jokingly suggested he should have a water garden, which prompted him to draw out plans (on the back of a piece of wallpaper) and he soon had machines digging out the ponds and waterways. He worked on his garden with love and enthusiasm until he died aged 93. For over 20 years the gardens had been open to the public.
Both Billy and his wife Florence loved their gardens and sharing them with others. With this in mind and as a tribute to her parents Coral Hoyos began restoration in April 2002. Having been unattended and closed for five years, the Gardens had become quite derelict. However they were re-opened again in June 2003, with a new car park, refurbished tea-room / gallery, a toilet for disabled people and an 8 acre nature trail. There has since been the addition of a bird hide and a new plant sales area, bamboo grove, scented arbour and rustic roundhouse.
To help you find your way round, the bridges are numbered and when you have walked enough rest on one of the many benches provided, or perhaps visit the tearoom in the south-east corner where you can enjoy a relaxing cup of freshly brewed tea or coffee, soft drinks, ice-creams and delicious home made cakes.