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Explored - Highest Position #181
Mission:
Emulate the work of Pete Turner. Seek out color. Place as much importance on color as on the subject and composition. In other words, color should play a major role in your photo. Use it for drama, intensity, mood and impact. Study Turner's photographs and see what makes them stand out. Present your assignment photo in any format. Turner's work is not only found in galleries but on albums, books, magazines, and in advertising.
dWIT (detailed What It Took):
I was inspired by Mr. Turners Americana photographs. Originally I set out to emulate the Coca-Cola sign. Unfortantly the sign I know of is in basically an alleyway and is quite large. I had a hard time getting a shot that was straight on without major distractions.
I tried a few Americana type signs, but nothing that had his bright blue skys in them. Mostly cloudy ones. On my way to the botanical gardens on Saturday I drove by this shopping plaza. When I saw the circles in the squares I thought of Pete Turner. I pulled in a took a few shots.
When I went back to his website for references, I found a simmilar shot in his Walls of Light collection. I liked it and thought I would try for something simillar through photo editing (the original color of the stone was a soft sand/light beige). I struggled with getting the stone yellow and keeping the sky blue. I tried a few different versions, and I even tinted the whole thing blue.
Maybe with more time I could of come closer to his results. I must say it was not as easy as I thought it would be. I like Mr. Turners use of color and composition, but found it harder to emulate. I think that is a sign of a good photograher - to make the difficult look so easy.
As for what I have gained as a photographer from studying Pete Turner's work - well, patience for one. Something I lack often. Planning and flexability is another one. I had in my mind what I wanted and I put of doing it. So when plan A fell through, I had no plan B. Hence this hastily put together entry.
Emulating Tempest in MAME, displaying the vectors on a Vectrex game console's XY monitor. More info: trmm.net/Vectrex
Classic Commodore 64 case with a Raspberry Pi Model 2B inside running Raspberrian Linux OS. Installed VICE x64 emulator this morning in just a couple of short minutes, then played an 80s Space Invaders type game in the emulator. Seems to work like a charm, although the authentic C64 keyboard doesn't have an F12 button to get into the VICE menu.
The C64 keyboard is adapted into a USB keyboard for the RPi using a German Keyrah v2.0 adaptor board.
Emulative of a magazine from the 1980's advertising a simple prism:
More at blakew.smugmug.com/art/PRISM
ipodlinux.org/forums/viewtopic.php?t=18245
Rockman(Megaman) on iPod nano!
This emulator is still under development.
Speed:not running in full speed; Sounds are crappy; Couldn't change ROM easily.
This quilt emulates the colours of the autumn meadows with the predominant Golden Rod, Purple Asters and White Daisies - plus all the grasses.
The white sashing is pehaps a reminder of the white blanket of snow that will soon cover the landscape in Canada.
This quilt was made as a wedding present. It is approx 85" x 85".
.… two young boys, who wish to emulate the hero of the town of Mezzojuso, the Master of Field ......
.… l'anello di congiunzione: due giovanissimi emuli dell'eroe di Mezzojuso, il Mastro di Campo ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Emulating the Soviet military cartographic style using custom QML. You can get the QML files here on github (assumes osm2pgsql)
Using data Copyright OpenStreetMap contributors, Contour Lines from Ordnance Survey Panorama, Crown Copyright and Database rights 2014.
Street names have been transliterated into Cyrillic, not translated into Russian. I used an online tool by Steve Morse. This provided many transliterations for each street name, I just chose the first, so it may not be an optimal transliteration.
After 365, the journey continues and Our Daily Challenge: Emulate an Explore image from a previous ODC challenge
This image was inspired by the creative work of BaylorBear78. See the original image here: www.flickr.com/photos/baylorbear78/5674480532/in/faves-46...
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through flickr if you are interested in using one of my images for any reason.
Emulating faded film effects in Lightroom using analog film presets from www.reallyniceimages.com
P.S. Don't hesitate to check the original size to enjoy the grain and the image itself without Flickr's sharpening.
Emulating the masters of photography.
You Tube: www.youtube.com/channel/UC0Q2B4bEFotoIfICFkXp5Gw
500px: 500px.com/kozushi
Facebook: www.facebook.com/kohtaroh.zushi
Artistic Director @ Ghost Players Theatre Co: www.theghostplayers.net
Email: kohtarohzushi@yahoo.com
Trying to emulate the style of Martin Neuhof
35mm Agfacolour
Taken by Olympus OM1
Scanned by Plustek 8200i scanner and converted to B&W in Lightroom CC, PSCC and Silver Efex pro
I tried hard to suggest movement and dynamism, to reflect Jane's character... a quite remarkable artist
© 2015 Nick Edwards, All Rights Reserved This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
For the group Photography Critique Assignments
Mission: To emulate the style of an iconic photographer.
The photographer for this assignment is Harry Callahan. American, 1912-99
WIT (what it took)
First, let me say that this challenge was one of the reasons I joined this group. Harry has been a strong influence ever since I first saw him years ago. I’ve since loosely subscribed to his style and ideals and believed that I followed in his footsteps (of course not as eloquent as the man himself). This challenge proved very enlightening in that I realized I subscribed to many of his methodologies, but definitely didn’t take it to the next level. I was on the fringe (and still am). So this exercise proved much more difficult than I had imagined. It also proved far more enjoyable.
I first encountered Harry years ago in some photography books I’d checked out from the library (the place they store hardcopies of art and literature prior to the internet). In July of 2007, the Museum of Photographic Arts in San Diego had an exhibition of Harry’s work. What I saw stunned me. I sat down and took notes. You see, not much has been written of Harry, which I find a shame. The smattering of images available in books on and on the web is limited at best. The museum offered a way to see Harry’s process. Because they showed the outtakes, the many contact sheets and also Harry’s notes and quotes. It was truly awe-inspiring. For only then, did I begin to see what he was really about.
I think I related to Harry initially because for the most part, I shoot many of the same things. Harry had three main subjects throughout his career: buildings, nature, people. It really doesn’t get much simpler. By his admission, though the subjects are repetitious, they were varied. “I just had the feeling that I wanted to go back to the same ideas, knowing that they would be different, yet still the same." To be different meant he had to capture that extra essence that made a photo unique. And he did.
Briefly, Harry utilized high contrast quite a bit. A definite influence from Ansel. He also tried to capture that decisive moment. The perfect time. More than that, he tried to record something that caused the viewer to react. But he did this so subtlety. On the surface, his photos seem a bit pedestrian. After all, they are just people, nature and buildings. But it is the second look, or the look just a millisecond later, that captures and holds your attention.
Harry truly had a passion for photography. And I think he hoped that people shared his enthusiasm as much as he did. "I wish more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting."
So I was presented with a dilemma of what to emulate. What shot? What subject. Initially, I gravitated to people and buildings. For this assignment, I wanted to try a more literal emulation of one or more of Harry’s works in the hopes it would lead me away from the fringe I had been on with respect to his style. And that’s where it started to become difficult. I never really was able to chose just one image and ended up with three (four if you count my outtake). My main image was ‘New York’ so I began in downtown San Francisco, in pursuit of the backlight and high contrast in my quest for emulation. I parked myself in a plaza initially pretty much in the center next to a monument. It soon became obvious that I stuck out a bit too much here. People saw me and steered clear. After being asked several times to take other peoples photos on their own cameras, I was forced a retreat to a position less traveled. I was seeking the criss-cross of people…all against a darker background of a building. 108 shots later, I hoped I’d come away with a reasonable walking pattern. And while time constraints didn't permit me to shoot film, I did use in camera BW mode with minor contrast and level adjustments in photoshop.
Overall, I guess what inspires me most about Harry, is his passion and also the process in which he believes we learn to be photographers. So I leave you with these four quotes, in hopes that it will inspire you to put down your books, and get out there and take photographs.
"The mystery is not in the technique; it’s in each of us."
"To be a photographer, one must photograph. No amount of book learning, no checklist of seminars attended, can substitute for the simple act of making pictures."
"I do believe strongly in photography and hope by following it intuitively, that when the photographs are looked at, they will touch the spirit in people."
"Experience is the best teacher of all. And for that, there are no guarantees that one will become an artist. Only the journey matters."
Camera: Nikon D80
Exposure: 1/1600th second
Aperture: f4.2
Focal Length: 31mm
ISO: 200
Exposure: Aperture-priority
Focus: Auto, AF-A
This was the pose I was probably trying to emulate in the last slide. Dad was a war correspondent in the European Theater, 1944-45, working for Acme Newspictures, which later was absorbed into UPI. Dad has an Acme-issue medium format roll-film Kodak Medalist in his hands. I have a letter from him to his boss back in New York evidently replying to the question, "How do you like the Medalist?" It turns out he didn't like it as well as his big Anniversary Model 4x5" Speed Graphic, which he wrote he could work faster, especially with film packs.
From Mike Eckman: [The] Kodak Medalist rangefinder camera [was] made in 1944 by the Eastman Kodak company out of Rochester, NY. This camera is considered by many to be the pinnacle of American camera manufacturing. Other highly regarded Kodak cameras were actually made in Germany, but not this one. This is a 100% American made camera made for the US military during World War II. It is one of the very few cameras that were manufactured and sold during the war making it the only camera in my collection from the year 1944. It has a well built Ektar lens that is extremely sharp even by today’s standards, and a mirror-less prism based rangefinder for incredibly accurate focus. The Kodak Medalist is considered by many to be the most sought after antique American camera ever made.
Film Type: 620
Format: 2-1/4 x 3-1/4 (aprx 6x9 cm)
Lens: 100mm f/3.5 Kodak Ektar coated 5 elements
Focus: 3′ 6″ to Infinity
Type: Coupled Rangefinder
Shutter: Kodak Supermatic No. 2 Leaf
Speeds: B, 1 – 1/400 seconds
Exposure Meter: None
Battery: None
Flash Mount: None
Refraction is an installation comprising solar cookers, assembled to emulate a wing. Presented first on Alcatraz island, the notorious prison island in the San Francisco bay, in 2014, the wing symbolizes freedom, but at the same time it imparts a sense of claustrophobia on account of its size and gravity, seeking to communicate a sense of the narrow confines within which prisoners live out their lives. Thus it becomes a metaphor of the deprivation of freedom that Ai Weiwei himself experienced when he was jailed by the police in a secret location for 81 days in 2011. The installation also alludes to the political situation in Tibet, where these solar cookers are used to cook and brew tea.
L'installazione Refraction è costituita da cucine solari assemblate a forma di un'ala. Presentata per la prima volta nel 2014 nell'isola di Alcatraz, la famosa prigione nella baia di San Francisco, quest'ala è simbolo di libertà, ma essendo pesante e ancorata a terra, è come immobilizzata. Per le dimensioni ingombranti e gli elementi taglienti comunica un senso claustrofobico che fa percepire la ristrettezza in cui vivono i detenuti. È dunque metafora della privazione della libertà, la stessa imposta ad Ai Weiwei, incarcerato nel 2011 dalla polizia in un luogo segreto per 81 giorni. L'opera allude anche alla situazione politica tibetana, essendo questi pannelli solari utilizzati in Tibet per cucinare e preparare il tè.
For the group "Photography Critique Assignments" Stephen Shore Emulation.
Mission: Emulate Stephen Shore, one of the pioneers of color photography as fine art form.
I only recently became aware of Stephen Shore, although I swear I’ve seen his work before. I seriously should get out more. I had the opportunity to see his work a few weeks ago in the SFMOMA as part of an exhibit entitled “New Topographics: Photographs of a Man Altered Landscape. Unfortunately, it was only 4 images. But that was certainly better than nothing. I could see them as he wanted, without worrying about mis-calibrated monitors or some awful web conversion sapping the life from the photo. Having seen his work on the web, it was a real treat to see hardcopies.
dWIT (detailed What It Took):
The one thing that has always struck me about his work is how he seemingly imparts a voice to the most mundane of objects. On the surface, they may appear ordinary, but given a second look, the images all call out with a personality. He sees things that others would pass by and presents them in a portrait that exudes as much dignity as a more conventional image. Do I like every image that he takes? Certainly not. But I don’t like every image I take either. I’m not even sure if it ultimately is supposed to be about whether one ultimately likes the final image so much as it is about the fact that he has presented the inanimate everyday object(s) with a personality. A personality otherwise missed, like it or not.
I was initially drawn to his portrayal of buildings in their environs. Buildings that may have been there some time. To me, this is history. There is nothing more fascinating than see a photo of a place that no longer exists. I can’t remember how many times I’ve seen a new building and wished that I had taken a photo of the building that used to occupy that space.
Many locations had possibilities. The one I ultimately pursued the most was about a two hour drive away. I had passed by this little house many times. Each time, it slipped a little further into disrepair. Each time, I said to myself, you’d better get a photo before it is gone. So this seemed like the perfect opportunity. I made five separate visits over the weeks at varying times of day in order to capture varying light and shadow. It was alongside a rural highway that had a fair amount of traffic whizzing by at 50mph. It was also adjacent to farmland. Farmland that on more than one occasion hampered my efforts to document this building. You see, I felt it important to pull back and shoot from across the road in order to better put this house in it’s environs, otherwise, it could have been in the middle of the field for all we know. His quote from one of his interviews seemed to bear this out -- "What I mean by that is this: I can get out of the car and stand by the edge of the highway and take a picture that looks like a totally natural landscape, untouched by the hand of man. I could move back six inches and include the guardrail in the picture and the meaning of the picture changes dramatically.” The day I felt had the most promise in terms of light was ruined by an the adjacent farm irrigating the fields and making my shooting point under a spray of water and a sea of mud. The long afternoon shadows in many of his images weren’t to be. I finally considered that the afterglow of the sunset was best suited for this home because it echoed the stage of life that it was currently in, the last vestiges of its existence before it is either renovated or torn down. The leading lines down the long road signifying the long road that this house had been down. And a small spark of a glow that said it wasn’t dead yet. Was this a significant find? No. In fact, many passing cars hollered something along the lines “what are you taking a photo of that for” when they passed by me and my tripod in the ditch next to the road. A sheriff started to slow down as he approached me and I quickly started construction how I would explain what I was doing if he stopped. He didn’t, but he did give me one of those ‘you’d better be careful risking your life on the side of the road for such an inconsequential photo' look as he passed by. Little did he know that I had my theory. We’ll have to see how it plays itself out.
What I’ve come away with, besides many miles traveled, is that I have somewhat of a better understanding of Shore’s work. Better, yet more complicated, because the more I look at his images, the more details I discover. In the end, I have only scratched the surface with regards to understanding his work. But I think it a very worthwhile pursuit whether I like every image or not.
With this ugly montage emulating a comic I want to make a complaint about an episode that happened to me today when I was taking my last picture.
When you take pics with full setting you usually become more vulnerable because you can crash only in a blink. I have received a message that I didn’t read because I crashed. When I logged again I have received two messages that I mention below:
[05:03] Doggy Edman: beautiful milady imgur.com/a/??????????
[05:12] Doggy Edman: just need to match better this head, it's ugly on neck, different tones imgur.com/a/???????????
[05:12] Doggy Edman: oh you logged off...... in case you lost the previous message, here how I was seeing you! better wear alphas next time, unless you like people to see you naked :) beautiful milady imgur.com/a/???????????
First of all DOGGY EDMAN I use Second Life to meet new people and have fun like you. But I try to do more things like make clothes (long ago), poses, makeups, and now trying to make skins. I make my own skins and some are work in progress. I am always learning and trying to improve myself because for me SL is to learn and even share… Share my work giving gifts to nice people, or people who do interesting and creative things in SL. So now you know why I have 2 tones. I am not going to gift you because the pics you sent are dull for me. The pose is so nice and you take bad pictures. You have to improve it.
The real problem became when an imbecile like you objectify a women's body. In Second Life we are all avatars and It could be a funny joke from a dear friend… But you are not my friend. I don’t have a problem being nude but why a jerk remove my clothes and sent the picture. Is it funny?
I decided to post it because you can find people like this in SL (not everyday). But for me the real problem is this kind of people that hide in anonymity to do this.
In RL, if I do not want to wear underwear, Do people have the right to humiliate me because they think they are a funny guys? The answer is NO.
DOGGY EDMAN… You need to improve yourself and take better pics. You have to be nice with people in SL and RL… and please look for a good consultant because you have a problem.
Tried to emulate Klinkos image of David Bowie. Almost, but not quite. I think I need a ringflash for that, but I made that small compromise.
The legendary image here.
Anyhow, I used four lights for this. On each side behind subject, is a d-lite 4 plus. On the cam left side it has a beauty dish on it, on the right side a small softbox. The key light is a very up-close and personal gridded sb80dx on cam left. The fourth light is reflected from a white wall behind camera on low power for juuust a little bit of fill, so I could have more room to play with in photoshop. It was an sb24. all lights were triggered by opticals with the pop up flash.
Setup diagram here.
It was bound to happen at some point: Godwin's Law – Reductio ad Hitlerum
Because of this:
flickr.com/photos/35531831@N02/53082138790/
30 August - A Doll A Day 2023
I'm selling my PSP. I just didn't get that much use out of it, so it's in perfect condition. I'm hoping to get $300 for the system, value pack, 1GB memory stick, 3 games (THUG2, Wipeout Pure, and Lumines), and an included SNES emulator with ROMs.
S for sucks. This thing drove me absoulutely crazy. (More than normal)
Inspired by Wimbe and I'll tag Makbricks. And Limabean 'cause he's lime.
Just so you know, I could launch into a story about how this took me forever, the connections wouldn't hold, it fell apart or was broken at least 10 times, and that it still came out meh, but I'll just get helpings of "cool story bro".
This angle makes the mech look terrible.
So for now, if you would like to suggest a way to improve this mech, I'd implore you to consider this first:
"Frankly, my dear; I don't give a damn."
^There's your poetry Wimbe.
Oh, and comment if you favorite. Who knows, you might amuse me.
Mission:
To emulate the style of Ansel Adams, American (1902-1984).
WIT: I tried to take a quintenssential AA pic of an amazing landscape. I couldn't cut it. The landscape was not the problem; there are a lot of mountains and an mighty river out my back door, but I could not get anything close to the AA sharpness. And the tonal ranges on my landscape attempts were not good, partly because the weather has been very gray and overcast. So this is the 'northern' emulation of AA's gardenia(?) and driftwood. I plucked a snowberry branch and propped it on a really wonderful huge burl on a tree along my dog-walking path. I found this a difficult assignment, and I really didn't have a lot of time to work on it, but I do like this composition. I think it is better in b&w than the original in colour - I converted in pp and cropped.
The Eden Project is a visitor attraction in Cornwall, England, UK. The project is located in a reclaimed china clay pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell.
The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal ethylene tetrafluoroethylene (ETFE) inflated cells supported by geodesic tubular steel domes. The larger of the two biomes simulates a rainforest environment (and is the largest indoor rainforest in the world) and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage.
There are plans to build an Eden Project North in the seaside town of Morecambe, Lancashire, with a focus on the marine environment.
The clay pit in which the project is sited was in use for over 160 years. In 1981, the pit was used by the BBC as the planet surface of Magrathea in the TV series the Hitchhiker's Guide to the Galaxy. By the mid-1990s the pit was all but exhausted.
The initial idea for the project dates back to 1996, with construction beginning in 1998. The work was hampered by torrential rain in the first few months of the project, and parts of the pit flooded as it sits 15 m (49 ft) below the water table.
The first part of the Eden Project, the visitor centre, opened to the public in May 2000. The first plants began arriving in September of that year,[8] and the full site opened on 17 March 2001.
To counter criticism from environmental groups, the Eden Project committed to investigate a rail link to the site. The rail link was never built, and car parking on the site is still funded from revenue generated from general admission ticket sales.
The Eden Project was used as a filming location for the 2002 James Bond film Die Another Day. On 2 July 2005 The Eden Project hosted the "Africa Calling" concert of the Live 8 concert series. It has also provided some plants for the British Museum's Africa garden.
In 2005, the Project launched "A Time of Gifts" for the winter months, November to February. This features an ice rink covering the lake, with a small café-bar attached, as well as a Christmas market. Cornish choirs regularly perform in the biomes.
In 2007, the Eden Project campaigned unsuccessfully for £50 million in Big Lottery Fund money for a proposed desert biome.[10][11] It received just 12.07% of the votes, the lowest for the four projects being considered. As part of the campaign, the Eden Project invited people all over Cornwall to try to break the world record for the biggest ever pub quiz as part of its campaign to bring £50 million of lottery funds to Cornwall.
In December 2009, much of the project, including both greenhouses, became available to navigate through Google Street View.
The Eden Trust revealed a trading loss of £1.3 million for 2012–13, on a turnover of £25.4 million. The Eden Project had posted a surplus of £136,000 for the previous year. In 2014 Eden accounts showed a surplus of £2 million.
The World Pasty Championships, an international competition to find the best Cornish pasties and other pasty-type savoury snacks, have been held at the Eden Project since 2012.
The Eden Project is said to have contributed over £1 billion to the Cornish economy. In 2016, Eden became home to Europe's second-largest redwood forest (after the Giants Grove at Birr Castle, Birr Castle, Ireland) when forty saplings of coast redwoods, Sequoia sempervirens, which could live for 4,000 years and reach 115 metres in height, were planted there.
The Eden Project received 1,010,095 visitors in 2019.
In December 2020 the project was closed after heavy rain caused several landslips at the site. Managers at the site are assessing the damage and will announce when the project will reopen on the company's website. Reopening became irrelevant as Covid lockdown measures in the UK indefinitely closed the venue from early 2021, though it had reopened by May 2021 after remedial works had taken place. The site was used for an event during the 2021 G7 Summit, hosted by the United Kingdom.
The project was conceived by Tim Smit and Jonathan Ball, and designed by Grimshaw Architects and structural engineering firm Anthony Hunt Associates (now part of Sinclair Knight Merz). Davis Langdon carried out the project management, Sir Robert McAlpine and Alfred McAlpine did the construction, MERO jointly designed and built the biome steel structures, the ETFE pillows that build the façade were realized by Vector Foiltec, and Arup was the services engineer, economic consultant, environmental engineer and transportation engineer. Land Use Consultants led the masterplan and landscape design. The project took 2½ years to construct and opened to the public on 17 March 2001.
Once into the attraction, there is a meandering path with views of the two biomes, planted landscapes, including vegetable gardens, and sculptures that include a giant bee and previously The WEEE Man (removed in 2016), a towering figure made from old electrical appliances and was meant to represent the average electrical waste used by one person in a lifetime.
At the bottom of the pit are two covered biomes:
The Tropical Biome, covers 1.56 ha (3.9 acres) and measures 55 m (180 ft) high, 100 m (328 ft) wide, and 200 m (656 ft) long. It is used for tropical plants, such as fruiting banana plants, coffee, rubber and giant bamboo, and is kept at a tropical temperature and moisture level.
The Mediterranean Biome covers 0.654 ha (1.6 acres) and measures 35 m (115 ft) high, 65 m (213 ft) wide, and 135 m (443 ft) long. It houses familiar warm temperate and arid plants such as olives and grape vines and various sculptures.
The Outdoor Gardens represent the temperate regions of the world with plants such as tea, lavender, hops, hemp, and sunflowers, as well as local plant species.
The covered biomes are constructed from a tubular steel (hex-tri-hex) with mostly hexagonal external cladding panels made from the thermoplastic ETFE. Glass was avoided due to its weight and potential dangers. The cladding panels themselves are created from several layers of thin UV-transparent ETFE film, which are sealed around their perimeter and inflated to create a large cushion. The resulting cushion acts as a thermal blanket to the structure. The ETFE material is resistant to most stains, which simply wash off in the rain. If required, cleaning can be performed by abseilers. Although the ETFE is susceptible to punctures, these can be easily fixed with ETFE tape. The structure is completely self-supporting, with no internal supports, and takes the form of a geodesic structure. The panels vary in size up to 9 m (29.5 ft) across, with the largest at the top of the structure.
The ETFE technology was supplied and installed by the firm Vector Foiltec, which is also responsible for ongoing maintenance of the cladding. The steel spaceframe and cladding package (with Vector Foiltec as ETFE subcontractor) was designed, supplied and installed by MERO (UK) PLC, who also jointly developed the overall scheme geometry with the architect, Nicholas Grimshaw & Partners.
The entire build project was managed by McAlpine Joint Venture.
The Core is the latest addition to the site and opened in September 2005. It provides the Eden Project with an education facility, incorporating classrooms and exhibition spaces designed to help communicate Eden's central message about the relationship between people and plants. Accordingly, the building has taken its inspiration from plants, most noticeable in the form of the soaring timber roof, which gives the building its distinctive shape.
Grimshaw developed the geometry of the copper-clad roof in collaboration with a sculptor, Peter Randall-Page, and Mike Purvis of structural engineers SKM Anthony Hunts. It is derived from phyllotaxis, which is the mathematical basis for nearly all plant growth; the "opposing spirals" found in many plants such as the seeds in a sunflower's head, pine cones and pineapples. The copper was obtained from traceable sources, and the Eden Project is working with Rio Tinto Group to explore the possibility of encouraging further traceable supply routes for metals, which would enable users to avoid metals mined unethically. The services and acoustic, mechanical, and electrical engineering design was carried out by Buro Happold.
The Core is also home to art exhibitions throughout the year. A permanent installation entitled Seed, by Peter Randall-Page, occupies the anteroom. Seed is a large, 70 tonne egg-shaped stone installation standing some 13 feet (4.0 m) tall and displaying a complex pattern of protrusions that are based upon the geometric and mathematical principles that underlie plant growth.
Environmental aspects
The biomes provide diverse growing conditions, and many plants are on display.
The Eden Project includes environmental education focusing on the interdependence of plants and people; plants are labelled with their medicinal uses. The massive amounts of water required to create the humid conditions of the Tropical Biome, and to serve the toilet facilities, are all sanitised rain water that would otherwise collect at the bottom of the quarry. The only mains water used is for hand washing and for cooking. The complex also uses Green Tariff Electricity – the energy comes from one of the many wind turbines in Cornwall, which were among the first in Europe.
In December 2010 the Eden Project received permission to build a geothermal electricity plant which will generate approx 4MWe, enough to supply Eden and about 5000 households. The project will involve geothermal heating as well as geothermal electricity. Cornwall Council and the European Union came up with the greater part of £16.8m required to start the project. First a well will be sunk nearly 3 miles (4.5 km) into the granite crust underneath Eden.
Eden co-founder, Sir Tim Smit said, "Since we began, Eden has had a dream that the world should be powered by renewable energy. The sun can provide massive solar power and the wind has been harnessed by humankind for thousands of years, but because both are intermittent and battery technology cannot yet store all we need there is a gap. We believe the answer lies beneath our feet in the heat underground that can be accessed by drilling technology that pumps water towards the centre of the Earth and brings it back up superheated to provide us with heat and electricity".
Drilling began in May 2021, and it was expected the project would be completed by 2023
Other projects
Eden Project Morecambe
In 2018, the Eden Project revealed its design for a new version of the project, located on the seafront in Morecambe, Lancashire. There will be biomes shaped like mussels and a focus on the marine environment. There will also be reimagined lidos, gardens, performance spaces, immersive experiences, and observatories.
Grimshaw are the architects for the project, which is expected to cost £80 million. The project is a partnership with the Lancashire Enterprise Partnership, Lancaster University, Lancashire County Council, and Lancaster City Council. In December 2018, the four local partners agreed to provide £1 million to develop the idea, which allowed the development of an outline planning application for the project. It is expected that there will be 500 jobs created and 8,000 visitors a day to the site.
Having been granted planning permission in January 2022 and with £50 million of levelling-up funding granted in January 2023, it is due to open in 2026 and predicted to benefit the North West economy by £200 million per year.
Eden Project Dundee
In May 2020, the Eden Project revealed plans to establish their first attraction in Scotland, and named Dundee as the proposed site of the location. The city's Camperdown Park was widely touted to be the proposed location of the new attraction however in May 2021, it was announced that the Eden Project had chosen the site of the former gasworks in Dundee as the location. It was planned that the new development would result in 200 new jobs and "contribute £27m a year to the regional economy". The project is in partnership with Dundee City Council, the University of Dundee and the Northwood Charitable Trust.
In 2021, Eden Project announced that they would establish fourteen hectares of new wildflower habitat in areas across Dundee, including Morgan Academy and Caird Park.
In July 2023, new images were released depicting what the Dundee attraction would look which accompanied the planning permission documents for the new attraction which would be submitted by autumn 2023.
South Downs
In 2020, Eastbourne Borough Council and the Eden Project announced a joint project to explore the viability of a new Eden site in the South Downs National Park.
Qingdao, China
In 2015, the Eden Project announced that it had reached an agreement to construct an Eden site in Qingdao, China. While the site had originally been slated to open by 2020, construction fell behind schedule due to the COVID-19 pandemic and the opening date was delayed to 2023. The new site is expected to focus on "water" and its central role in civilization and nature.
Eden Project New Zealand
A planned Eden Project for the New Zealand city of Christchurch, to be called Eden Project New Zealand/Eden Project Aotearoa, is expected to be inaugurated in 2025. It is to be centred close to the Avon River, on a site largely razed as a result of the 2011 Christchurch Earthquake.
Eden Sessions
Since 2002, the Project has hosted a series of musical performances, called the Eden Sessions, usually held during the summer.
The 2024 sessions will be headlined by Fatboy Slim, Suede, Manic Street Preachers, The National, JLS, Crowded House, Rick Astley, Tom Grennan and Paolo Nutini.
In the media
The Eden Project has appeared in various television shows and films such as the James Bond film Die Another Day, The Bad Education Movie, in the Netflix series The Last Bus, and in the CBeebies show Andy's Aquatic Adventure.
A weekly radio show called The Eden Radio Project is held every Thursday afternoon on Radio St Austell Bay.
On 18 November 2019, on the Trees A Crowd podcast, David Oakes would interview the Eden Project's Head of Interpretation, Dr Jo Elworthy, about the site.
Poster 60 x 90.
Edition: 1000.
Text by Charles Waldheim.
Chair of Landscape Architecture, Harvard University Graduate School of Design.
AN ARCHITECTURE OF ATMOSPHERICS:
In the postmodern era architectural culture has come to emulate the culture of fashion. This culture is one predicated on a regularly scheduled production of novelty, carefully timed to the cycles of the attendant media. This culture and its cult of celebrity are now firmly established globally. As a result, the shelf-life of any particular architectural discourse has grown shorter and shorter. In part because of this relentless demand for regularly reproduced newness, actual architectural innovation is harder to come by. It occurs occasionally, in the unlikeliest of places, and of its own organic accord. This work is often difficult to recognize and harder to disseminate.
Among the dangers of the architecture-fashion industry has been its anesthetizing effects on our collective cultural sensitivity to original thought and genuine architectural innovation. When the shock of the new is felt, it is often in obscure and marginalized contexts, and often resists easy categorization. In spite of this cultural condition, and the difficulty that it poses for the dissemination of deserving work from a range of emerging talents, architecture does emerge in new and stimulating varieties. And architecture persists as a vibrant cultural form through which actual innovation is still possible. No contemporary practice represents this perennial potential for the shock of the new through architectural innovation better than the trio of young Colombian architects practicing under the collective description “Paisajes Emergentes.”
The work of Paisajes Emergentes is embodied through an astonishing array of recent projects exhibiting fluency with a range of scales and subject matter. Their provocative appropriation of the culturally loaded term ‘paisajes’ to describe their practice signals their ambivalence regarding traditional professional role of the architect. It also points toward their literacy with international architectural culture and the recent recovery of landscape as a medium of design. Combined with the adjectival modifier ‘emergentes,’ their appropriation of landscape as a frame for their diverse body of work illustrates an appetite for addressing the ecological imperatives of contemporary design culture as well as the diverse array of international environments in which they find their work projected. As such, Paisajes Emergentes serves as an apt appellation for both the medium and message of the collective’s architectural aspirations that have as much to do with curating atmospheres as with constructing buildings.
Many of the young practice’s projects exhibit specifically horticultural or botanical strategies in the service of complex public realms. These projects typically resist easy identification with the traditional typological categories of landscape, urban design, or architecture. Rather, these projects more often conflate various aspects of these diverse disciplinary practices, in favor of a new hybrid form of work. This confluence of disciplinary commitments often reveals itself through robust representational strategies hacked from various architectural and landscape precedents. More often, it is revealed through the very subject matter and operating assumptions driving the particular design response on a given site. At its best this work simultaneously reveals aspects of a particular site and subject, while conjuring remote and fleeting environments and emotions.
The architectonic language and design sensibility of Paisajes Emergentes reveal a deep literacy with contemporary architectural culture, they are equally informed by the rising importance of environment as a category of architectural thought. In this sense the recent work of Paisajes Emergentes transcends Iberoamerican architectural precedents from late 90’s and early 00’s by pushing the limits of the architectural object to its extreme end conditions, into environments, experiences, or even atmospheres. Many of the projects of Paisajes Emergentes accomplish this through a close reading of the particular ecological or phenomenal contexts in which they are sited. While these effects can reveal themselves through architectural artifice, they are best described through that dated term landscape. While much of Iberian architectural culture (and its international diaspora) has been actively engaged in resisting the rise of landscape as a professional and cultural practice in recent years, Paisajes Emergentes have firmly declared their commitments to the messy and productive potentials of landscape in relation to architectural production. In so doing, they have not only offered us an example of genuine innovation and a whiff of the new, they have also made a generational and geographic stake in the ongoing cultural struggle to open architecture to its multiform and various ecological and urban associations.
Many of the projects of Paisajes Emergentes depend upon deep horticultural and botanical knowledge. Yet it would be a misreading of their work to take these projects for traditional landscape architecture with a focus on plant material as a medium of design. Rather these projects often illustrate an ambidextrous quality, equally fluent with landform and ecological process on the one hand as with architectonic language and spatial composition on the other. What these various methodological approaches often share is an interest in the specific media of atmosphere itself, water and air. In a diverse range of projects including the Jardin Botanico and their recently completed Piscinas complex both in Medellin, Colombia, Paisajes Emergentes build complex public realms through an obsession with the material and phenomenal properties of water. In this project the hydraulic logics, and experiential potential of liquid water as well as their ephemeral effects on light and air offer the primary operating systems of a complex refined public realm. Further afield, their recent competition entries for the Parque del Lago in Quito, Ecuador and the Venice Lagoon reveal an ongoing commitment to the various potentials of a hydrological urbanism. In Quito their proposal juxtaposes the reflectivity and endlessness of pools stretching to the horizon of an abandoned airfield with the reflective metallic surfaces of the airplanes that once occupied them. In contrast with the bright light, and clear blue of Quito, their Venice Lagoon project plumbs the murky impenetrable depths of a dark, dank, Venice. In both examples, the particular phenomenal and experiential qualities of the site are revealed through the most fundamental of elements, water. Equally these projects explore the associated experiential conditions of fecund humidity of luminous aridity, while constructing complex public venues through the ambient and atmospheric conditions attendant to water in its various states.
An equally significant line of investigation pursued by Paisajes Emergentes might be described by the term atmospherics. In pushing their architecture to the limits of the object, beyond the question of ground, into the realm of climate and humidity, the collaborative has developed an approach to pneumatics and aerial suspension. In a range of projects including their proposals for monumental totemic structures in New York or other North American cities, for Heathrow airport’s guerrilla decommissioning through balloons, and for the commemoration of communities impacted by a Ituango hydroelectric plant in their native Colombia, Paisajes Emergentes have proposed a new age of inflatables.
Through their projects, and the pursuit of an architecture beyond weight and mass, Paisajes Emergentes propose an architecture of atmospherics. In this realm, liquid water, water vapor, and ice emerge as primary representational media for a new form of public life. In this work the fleeting experiential qualities of air and water as seen through light are orchestrated much in the way that the sequential experience of space was orchestrated by traditional typologies and subjectivities of landscape architecture. In pursuing the ends of architecture, the work of Paisajes Emergentes exhibited here simultaneously transcend the limits of the architectural object, while renewing the cultural potential of architecture as a medium of genuine innovation. While this body of work is still emerging, the energy, ambition, and optimism of these projects suggest that an architecture of atmospherics may very well be an important way forward for Paisajes Emergentes and for design culture internationally.
Charles Waldheim. Chair of Landscape Architecture, Harvard University Graduate School of Design.
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