Art in Plastic
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Llum BCN es un festival europeo de referencia en el ámbito de las artes lumínicas y un acontecimiento cultural muy apreciado por la ciudadanía de Barcelona. Organizado por el Ayuntamiento de Barcelona, en Llum BCN convergen las intervenciones de creadores y creadoras de todos los ámbitos de las artes visuales: del arte contemporáneo al diseño o la arquitectura, y de la tecnología al diseño de iluminación.
"REFLƎXES"
Solar Pàrquing Ona - Gran Via de les Corts Catalanes, 848
ESDi Escola Superior de Disseny
#esdireflexes
Con una ubicación estratégica en la confluencia de tres de las avenidas más importantes de Barcelona (Meridiana, Les Corts Catalanes y Diagonal), el proyecto REFLƎXES emerge como una síntesis cautivadora entre el arte lumínico y el entorno urbano dinámico. En el corazón de este punto neurálgico, destaca una imponente esfera de cinco metros de diámetro confeccionada con un material altamente reflectante. Inspirándose en el amanecer y en los reflejos y la magnificencia de la vecina Torre Glòries, esta obra interactúa con la luz natural y artificial de la ciudad. La elección de teñir el suelo con tonalidades cálidas potencia la percepción de la transición entre el contexto circundante y su proyección reflejada en la superficie. Es un punto de convergencia que sublima la intersección de las avenidas y la convierte en un escenario en constante transformación que captura la magia efímera de la ciudad barcelonesa.
ALUMNADO: María Pintor, Judit Torcal, Jelwen Arconado y Clàudia Campo
TUTORÍA: David Pablo y Raúl Fidalgo
COLABORACIÓN Y/O PATROCINIO: Xavier Vinaixa (consultor lumínico)
With a strategic location at the confluence of three of the most important avenues in Barcelona (Meridiana, Les Corts Catalans and Diagonal), the reflǝxes project emerges as a captivating synthesis between light art and the dynamic urban environment. In the heart of this nerve point, it highlights an imposing five -meter diameter sphere made with a highly reflective material. Inspired by dawn and the reflexes and magnificence of the neighboring Tower Glòries, this work interacts with the natural and artificial light of the city. The choice to dye the soil with warm tones enhances the perception of the transition between the surrounding context and its projection reflected on the surface. It is a point of convergence that sublimates the intersection of avenues and makes it a scenario in constant transformation that captures the ephemeral magic of the Barcelona city.
STUDENTS: María Pintor, Judit Torcal, Jelwen Ardonado and Clàudia Campo
Tutoring: David Pablo and Raúl Fidalgo
Collaboration and/or sponsorship: Xavier Vinaixa (light consultant)
Handbags like this were made of Acrylic (Lucite) sheet; cut, molded, machined and glued. Made in USA in the 1950s. Maker unknown.
Jardim Botânico
Atenção:
Não deixem de visitar a expo "GLAZIOU E OS JARDINS SINUOSOS", no Museu do Meio Ambiente, no Jardim Botânico
IMPERDÍVEL!!
Exposição Glaziou e os Jardins Sinuosos no Museu do Meio Ambiente
30/10/2009
A exposição, aberta ao público a partir de sexta-feira, 6/11, reúne arte, ciência e história numa oportunidade única para conhecer a trajetória do paisagista e botânico francês Auguste Glaziou, seus mais importantes projetos de parques públicos e jardins privados em nosso país e a importância de suas descobertas botânicas.
Como parte das comemorações do Ano da França no Brasil, o Jardim Botânico do Rio de Janeiro, a Dantes Editora e a França.Br 2009 realizam a exposição Glaziou e os Jardins Sinuosos, aberta ao público a partir de sexta-feira, 6 de novembro de 2009 até 15 de janeiro de 2010, no Museu do Meio Ambiente (MuMA) – Jardim Botânico. Ainda no dia 6, às 10h30, no MuMA, o diretor do Paço Imperial, Lauro Cavalcanti, dará a palestra “De Glaziou a Burle Marx”.
O paisagista e botânico francês Auguste Glaziou (1833-1906) viveu no Brasil de 1858 a 1897, sendo responsável, no Rio de Janeiro, pela reformulação do Passeio Público e pelos projetos dos jardins da Quinta da Boa Vista e do Campo de Santana, além do jardim do palácio de verão de Petrópolis e de parques públicos e particulares em várias cidades do país. Seu trabalho revolucionou o paisagismo no país, introduzindo o uso de árvores de flores e, principalmente, de espécies nativas, muitas das quais ele próprio descobriu e trouxe para o Jardim Botânico do Rio de Janeiro.
As projeções digitais serão um dos destaques da exposição no MuMA. Em uma das salas, o visitante poderá fazer um passeio virtual pela Quinta da Boa Vista, Campo de Sant'Ana e Passeio Público atuais, por meio de filmagens projetadas em 180º , em dimensões naturais, que enfocam aspectos da obra de Glaziou. Uma outra projeção, em 3D, mostrará a beleza do Passeio Público do início do século XX.
Os visitantes também poderão ver, entre outras coisas, a planta baixa original do projeto de Glaziou para a Quinta da Boa Vista, uma maquete construída pelo artista Flávio Papi a partir do projeto do Jardim Imperial de Petrópolis, que não chegou a ser realizado, e fotos originais feitas por Marc Ferrez, Klumb, Insley Pacheco e outros fotógrafos de fins do século XIX.
Também serão expostos originais da correspondência entre Glaziou e o naturalista Von Martius (1794-1868), a lista original manuscrita das plantas que o francês catalogou no Brasil, exsicatas (registros de espécies vegetais) originais de herbários brasileiros e projeções digitais de exsicatas que estão no Herbário de Paris, além de livros raros do acervo do Jardim Botânico do Rio de Janeiro, inclusive da Coleção Teresa Cristina, de botânica.
Exposição Glaziou e os jardins sinuosos
Visitação: de 6 de novembro de 2009 a 15 de janeiro de 2010
Horário: de terça-feira a domingo, das 10h às 17h
Museu do Meio Ambiente – MuMA – Jardim Botânico do Rio de Janeiro
Rua Jardim Botânico, 1008
Tel.: 3204-2505
Palestra “De Glaziou a Burle Marx”
Com Lauro Cavalcanti, arquiteto e doutor em Antropologia Social pela UFRJ, professor da Esdi- Escola Superior de Desenho Industrial da UERJ e atual diretor do Paço Imperial.
Dia 6 de novembro, às 10h30 no Museu do Meio Ambiente
This travel razor disassembles to fit in the thin box. Molded of Bakelite, this specimen is unmarked, but another one was seen marked "made in USA".
Made of Vinyl (soft parts) and Acrylic (heels) these shoes shows a typical late 1940s / early 1950s design. Made by Qualicraft in USA.
Please check out this site to learn about and take some action on the dangers of a household plastic named PVC, aka Vinyl:
Llum BCN es un festival europeo de referencia en el ámbito de las artes lumínicas y un acontecimiento cultural muy apreciado por la ciudadanía de Barcelona. Organizado por el Ayuntamiento de Barcelona, en Llum BCN convergen las intervenciones de creadores y creadoras de todos los ámbitos de las artes visuales: del arte contemporáneo al diseño o la arquitectura, y de la tecnología al diseño de iluminación.
"REFLƎXES"
Solar Pàrquing Ona - Gran Via de les Corts Catalanes, 848
ESDi Escola Superior de Disseny
#esdireflexes
Con una ubicación estratégica en la confluencia de tres de las avenidas más importantes de Barcelona (Meridiana, Les Corts Catalanes y Diagonal), el proyecto REFLƎXES emerge como una síntesis cautivadora entre el arte lumínico y el entorno urbano dinámico. En el corazón de este punto neurálgico, destaca una imponente esfera de cinco metros de diámetro confeccionada con un material altamente reflectante. Inspirándose en el amanecer y en los reflejos y la magnificencia de la vecina Torre Glòries, esta obra interactúa con la luz natural y artificial de la ciudad. La elección de teñir el suelo con tonalidades cálidas potencia la percepción de la transición entre el contexto circundante y su proyección reflejada en la superficie. Es un punto de convergencia que sublima la intersección de las avenidas y la convierte en un escenario en constante transformación que captura la magia efímera de la ciudad barcelonesa.
ALUMNADO: María Pintor, Judit Torcal, Jelwen Arconado y Clàudia Campo
TUTORÍA: David Pablo y Raúl Fidalgo
COLABORACIÓN Y/O PATROCINIO: Xavier Vinaixa (consultor lumínico)
With a strategic location at the confluence of three of the most important avenues in Barcelona (Meridiana, Les Corts Catalans and Diagonal), the reflǝxes project emerges as a captivating synthesis between light art and the dynamic urban environment. In the heart of this nerve point, it highlights an imposing five -meter diameter sphere made with a highly reflective material. Inspired by dawn and the reflexes and magnificence of the neighboring Tower Glòries, this work interacts with the natural and artificial light of the city. The choice to dye the soil with warm tones enhances the perception of the transition between the surrounding context and its projection reflected on the surface. It is a point of convergence that sublimates the intersection of avenues and makes it a scenario in constant transformation that captures the ephemeral magic of the Barcelona city.
STUDENTS: María Pintor, Judit Torcal, Jelwen Ardonado and Clàudia Campo
Tutoring: David Pablo and Raúl Fidalgo
Collaboration and/or sponsorship: Xavier Vinaixa (light consultant)
Llum BCN es un festival europeo de referencia en el ámbito de las artes lumínicas y un acontecimiento cultural muy apreciado por la ciudadanía de Barcelona. Organizado por el Ayuntamiento de Barcelona, en Llum BCN convergen las intervenciones de creadores y creadoras de todos los ámbitos de las artes visuales: del arte contemporáneo al diseño o la arquitectura, y de la tecnología al diseño de iluminación.
"REFLƎXES"
Solar Pàrquing Ona - Gran Via de les Corts Catalanes, 848
ESDi Escola Superior de Disseny
#esdireflexes
Con una ubicación estratégica en la confluencia de tres de las avenidas más importantes de Barcelona (Meridiana, Les Corts Catalanes y Diagonal), el proyecto REFLƎXES emerge como una síntesis cautivadora entre el arte lumínico y el entorno urbano dinámico. En el corazón de este punto neurálgico, destaca una imponente esfera de cinco metros de diámetro confeccionada con un material altamente reflectante. Inspirándose en el amanecer y en los reflejos y la magnificencia de la vecina Torre Glòries, esta obra interactúa con la luz natural y artificial de la ciudad. La elección de teñir el suelo con tonalidades cálidas potencia la percepción de la transición entre el contexto circundante y su proyección reflejada en la superficie. Es un punto de convergencia que sublima la intersección de las avenidas y la convierte en un escenario en constante transformación que captura la magia efímera de la ciudad barcelonesa.
ALUMNADO: María Pintor, Judit Torcal, Jelwen Arconado y Clàudia Campo
TUTORÍA: David Pablo y Raúl Fidalgo
COLABORACIÓN Y/O PATROCINIO: Xavier Vinaixa (consultor lumínico)
With a strategic location at the confluence of three of the most important avenues in Barcelona (Meridiana, Les Corts Catalans and Diagonal), the reflǝxes project emerges as a captivating synthesis between light art and the dynamic urban environment. In the heart of this nerve point, it highlights an imposing five -meter diameter sphere made with a highly reflective material. Inspired by dawn and the reflexes and magnificence of the neighboring Tower Glòries, this work interacts with the natural and artificial light of the city. The choice to dye the soil with warm tones enhances the perception of the transition between the surrounding context and its projection reflected on the surface. It is a point of convergence that sublimates the intersection of avenues and makes it a scenario in constant transformation that captures the ephemeral magic of the Barcelona city.
STUDENTS: María Pintor, Judit Torcal, Jelwen Ardonado and Clàudia Campo
Tutoring: David Pablo and Raúl Fidalgo
Collaboration and/or sponsorship: Xavier Vinaixa (light consultant)
The Mendocino Complex fire is now entering its 19th day as the complex grows in size. Today the fire is 354,410 acres and 68% contained. The River fire is wholly contained, and there has been no further movement, but the Ranch fire portion of the complex continues to grow northward. On Monday, tragically, a firefighter who had come from Utah to help fight the blaze died from injuries he sustained on the job. That is the sixth firefighter who has lost his life this fire season in California.
Smoke continues to billow from the active fire area within the Ranch portion of the complex. The dark red-brown area below the smoke in the satellite image contrasts starkly with the lighter tan and green areas. That red-brown area is the scorched earth left behind after the fire has burned out and moved on. In this satellite image, the fire complex has nearly ringed Clear Lake and continues to move northward.
Once again high temperatures, low humidity, and winds are all causes for ongoing concern with this fire. These are the three areas of weather concern that continue to plague all current California fires.
This Aqua satellite image was captured on August 13, 2018. Actively burning areas (hot spots) are outlined in red. Each hot spot is an area where the thermal detectors recognized temperatures higher than the background temperatures. When accompanied by plumes of smoke, as in this image, such hot spots are diagnostic for fire.
NASA image courtesy of the NASA/Goddard Space Flight Center Earth Science Data and Information System (ESDIS) project. Caption by Lynn Jenner with information from CAL fire and Inciweb.
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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This rather bizarre telephone is a mystery to me. All I know about it is that it was made by Webcor in the 1980s, and Webcor was an American brand producing radios and phonographs since the 1950s. What is going on here? Is it a phone for people with visual issues or is it just a post-modern joke, 1980s style? Made in Hong Kong of injected ABS plastic.
UPDATE 2-27-2010: I just found reference of a Canadian company also producing these phones: Webcor Electronics of Mississauga, Ontario.
HELLO there: This is the most viewed object in this stream, to my surprise. I think it is far from being the most interesting object here, so I got REALLY curious about HOW did you get to this image and WHY you faved it. Can you leave some remarks? Thanks!
What a difference a few days can make in the life cycle of a fire. In this particular case, the Thomas Fire that is ongoing in the Ventura County around (and surrounding) in Southern California. The following images were taken by the Terra and Aqua satellites on Dec. 16, 17, and 19, 2017, and during those times fire conditions improved visibly. A difference in winds, in humidity, in the ability of firefighters to control the fire's perimeter, and in the amount of fuel left for the fire to consume can bring a raging fire to heel. This does not mean the fire cannot gain strength again if conditions worsen, but it is heartening to realize that weather conditions can allow firefighters to get a better handle on events as they have in the last few days.
This is a Terra image of the Thomas Fire on Dec. 16, 2017.
Image credit: NASA/Goddard Space Flight Center Earth Science Data and Information System (ESDIS) project.
This design, probably brazilian, was produced in many colors in Plaskon plastic (Urea formaldehyde) in the mid 1950s in Brazil. It resembles the Brazilian modern architecture of the period.
This model is the same of the OneStep, just renamed for the international market. An American design by the Polaroid Corp. produced in Brazil in injected ABS plastic. Like many 1970s designs, this camera still clings to the "form follows function" doctrine and was it not for the color "ornaments", it could be easily mistaken for an inner part of a bigger machine, like a xerox copier. No metaphors allowed here!
It measures about 14 x 10,5 x 9 cm.
A favorite among collectors, the FADA Bullet is also known as the "Streamliner". Made of cast Bakelite, it came in a range of color combinations, that may have changed dramatically over time. This one was originally all translucent onix white, for instance. The knobs and the dial frame took slightly different hues from the rest of the cabinet. Radios like these can fetch four digit prices, especially when in rare and contrasting color combinations. This design was first produced in 1941 in the USA as the model 115, then released again after the war as the model 1000 with minute changes.
The golden dial and the lens were made of celluloid, but this lens is a replacement.
The radio is 26 cm wide.
Made of ABS plastic, this design is japanese from 1969 but this specimem was made in Brazil. The cool thing is that you can wear it around your wrist and go for a walk. Cooler than any iPod. Design by J.M.Willmin.
Designed by Hugo Blomberg, Ralph Lysell e Has Gösta Thames in 1954, but this one is the slightly shorter model of 1961. Made by Ericsson in Sweden using ABS plastic.
This Argus camera was produced in USA from 1938 to 1942 by the International Research Corp., attributed to designer Gustav Fassin. Made with a Bakelite body, metal front and back with black fake leather panels and chromed buttons and trims. The nickname "the brick" refers not only to its shape but to its odd weight. Almost 850 grams for a 13 x 6,5 x 4,5 cm camera.
IN ENGLISH BELOW THE LINE
Foto presa amb una Zeiss Ikon Super Ikonta 531, fabricada el 1938 i venguda a Budapest; Carl Zeiss Tessar f3.5 / 75mm; Cinestill 50D, revelat amb procés C41 modificat a "bleach bypass", amb el kit de Tetenal.
Amb el mètode "bleach bypass", es processa la pel·licula en color amb els quimics C41 però eliminant (bypass) el bleach, o en cas d'emprar "blix" (bleach+fixador), substituint-lo per fixador usual en el revelat blanc i negre (Ilford Rapid Fixer en el meu cas). D'aquesta manera els colors queden apagats i la pel·licula guanya gra. Es el que feren amb "Saving Private Ryan" o "Band of Brothers".
De fet aquí he imitat al maxim aquestes pel·licules, ja que els rodets Cinestill 50D de fet és el Kodak Vision 3 50D (Kodak 5203/7203), pel·licula de cinema en color i per a llum de dia. No és exactament la que feren servir, pero és el maxim que m'hi puc acostar.
bluemooncameracodex.com/film-fridays/ffcinestill50d
====================
Photo taken with a Zeiss Ikon Super Ikonta 531, made in 1938 and sold in Budapest; Carl Zeiss Tessar f3.5 / 75mm; Cinestill 50D, developed with C41 process modified to "bleach bypass", with the Tetenal kit.
With the "bleach bypass" method, the color film is processed with the C41 chemicals but removing (bypass) the bleach, or in case of using "blix" (bleach + fixer), replacing it with the usual fixer in the black and white developer (Ilford Rapid Fixer in my case). This way the colors are muted and the film gains grain. That's what they did with "Saving Private Ryan" or "Band of Brothers."
In fact here I have imitated these films to the fullest possible, as the Cinestill 50D roll film is in fact the Kodak Vision 3 50D (Kodak 5203/7203), color movie film. It’s not exactly the one they used, but it’s the maximum I can get close to.
A portable player by Philips. It is made of ABS plastic with a Polypropylene handle.
Philips is not known for having many cool designs, but this one is surely groovy.
Yes, there is a crack at the blue lid/speaker and we must learn how to live with it.
It has 30cm in diameter.
Update 1/8/08: Flickr user Scleroplex gave me more precise data: This design is from 1969, designed in France by Patrice Dupont. This specimen has a sticker dated 1976.
Thank you, doctor!
Cheap toys from the 1950s and 60s were generally made of injected Polystyrene plastic, a cheap material ideal for mass production that reached the markets in huge volumes after WWII. This brittle plastic made toys short-lived and it is great to find some in great shape like this ray gun. This Space Razer (friction powered!) releases sparkles in the transparent nose when triggered. The body used to be white, but exposition to light made one side to get this rich ivory color. Probably made in Hong Kong.
18 cm long.
This amazing design could not be more 1970s Japan. Made of injected Polystyrene, it is portable and hangable by the chain, assuming the shape of a drop. The bold typographic dial adds to that unmistakable 70s look. Made in Japan by the Matsushita Electric Industrial Co. Ltd.
11 cm high, without the aerial.
Anili was an Italian maker of quality dolls, usually of fabric. This is a rare example made of painted celluloid. Very well made, it has a coil system to keep the articulated pieces together. The whiskers are made of nylon, so it must have been made after 1938 or after WWII. It was found complete, with bloomers and plaid dress.
It is 32cm (about one foot) high.
This RCA radio is said to be a Canadian design of 1938, resumed after the War and produced in Brazil until mid 1950s. The case is molded Urea Formaldehyde (Plaskon) and the knobs are Polystyrene. Small and available in brown, green, white, bordeaux, blue and pink.
Foto presa amb una Leica IIIb fabricada el 1938; objectiu Leitz Elmar f3.5 / 50mm fabricat el 1936; Cinestill BWXX @250 (Eastman Double-X), revelat amb HC110.
Els antics Docks de la Llana o Docks Vells de Sabadell eren unes naus d'enmagatzematge de llana per a la industria textil de Sabadell.Actualment formen part de la escola de diseny ESDI, tot i que en part encara estan abandonats.
www.espaisrecobrats.cat/docks-vells-docks-de-la-llana-esc...
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Picture taken with a Leica IIIb made in 1938; Leitz Elmar f3.5 / 50mm lens, made in 1936; Cinestill BWXX @250 (Eastman Double-X), developed in HC110.
The former Docks de la Llana (Wool "Docks"), in Sabadell, Catalonia. Those were raw wool warehouses, called here "docks" like the harbour ones, because it was the place were the wool was unloaded, I presume. Sabadell was once a huge wool textile industrial center, even called the "Catalan Manchester".
www.espaisrecobrats.cat/docks-vells-docks-de-la-llana-esc...
These buckles were machined out of Galalith plastic slabs, probably in Brazil or Europe in the 1930s. The variety of designs and colors is endless.
Considered by author Andrea DiNoto "a Pop Art treasure" this Polyethylene plastic pitcher was made in Brazil by Trol in the 1960s and reissued shortly in 1992 from the same molds. The origin of the design is uncertain, probably american. It is considered an icon of plastics kitsch in Brazil.
This design was made from mid 1960s to late 70s by Brazilian brand Goyana, molded of Melamine plastic, both in bold colors or decorated; in this example, in typical early 1970s decor. You will find other examples of Goyana products in this photostream. This set was given me as a birthday present by dear friends Chico & Bianca this August. Thank you!
This portable typewriter, also known as "the Dora", was designed in 1965 by Ettore Sottsass, one of the most influential italian designers of the 20th century. The use of colorful ABS plastic in the case helped to make this compact design a more portable and personal object, if compared to previous ones, made of metal alloys. Designed in Italy, this one was made in Mexico.
I have just found out, to my surprise, that colorful typewriters were not a new concept in 1965. Remington was already producing outrageously colorful machines by the 1920s!
An assortment of bangles made of cast Phenolic Resin, a plastic also known as Bakelite or Catalin. Hand made from Bakelite tubes cut, carved and polished and sometimes dyed by artisans. These tubes were about the same height of these stacks. The mix with other materials was common, as seen here with wood and mother-of-pearl. These bangles were in fashion from 1930 to after the war.
They all have the standard inner measure of 2 and a half inches.
To see more bakelite bangles in this collection:
www.flickr.com/photos/galessa/2047945766/
This radio was made in Brazil but similar designs were made in USA too, probably in the 40s. Made of Plaskon (urea formaldehyde) plastic.
A japanese Space Age design made of injected ABS plastic. About 13cm in diameter. National Panasonic developed fantastic designs for portable radios. Check some out:
www.flickr.com/photos/galessa/367094466
A cute cutlery set for babies, made of cast phenolic resin, aka Bakelite or Catalin. The resin was cast as a stock rod a few inches long, with a Scottie profile. Makers would just slice the rods, finish them and add the hardware. The same stock material could be used for toys, jewelry, curios and many other applications.
They are about 10cm long.
This midget streamlined radio was made in Brazil by Standard Electric, possibly a Brazilian design of the early 1950s, in molded Plaskon (urea formaldehyde plastic). The visible stains are typical of the aging of this material and are very hard to get rid of.
It is 13cm high.
Designed by Ernõ Rubik in 1974 in Hungary, it was released worldwide in 1980, made of ABS plastic by many makers. The original ones had colored stickers, but this later version has injected colors. A real classic. I presume everybody knows what it is for.
This radio was one of the first transistor radios ever produced. The case is made of Nylon, considered "unbreakable" if compared with other plastics used for table radios like Bakelite. Made in USA by Zenith Radio Corporation from 1955. It was produced initially only in black and maroon; the ad is from 1957, when the other colors were released. This one was white, but many plastics are prone to color change through oxidation.
This Calendox calendar was patented in England in 1931 and was customized for the Portuguese speaking market. Made of compression molded Bakelite with a Celluloid window that is very yellowed by aging.
It measures 11 cm in diameter.
IN ENGLISH BELOW THE LINE
Foto feta amb una Vest Pocket Kodak, fabricada cap al 1914; Ilford HP5 400 en format 127, revelat amb Rodinal.
Part d'un rodet de prova a partir d'una comanda de 15 m. de pel·licula de 4cm (127) dins de la campanya ULF de la propia Ilford.
www.ilfordphoto.com/the-18th-ilford-photo-ulf-campaign-wi...
Sempre ha d'haver-hi desgraciats que cremen els contenidors d'escombraries? Els ho haurien de fer pagar tot.
======================================
Picture taken with a Vest Pocket Kodak, made c.1914; Ilford HP5 400 in 127 format; stand developed with rodinal.
This was in fact a trial roll of a 15 m. long 4cm roll of HP5 film I bought through the 2023 Ilford ULF Campaing.
www.ilfordphoto.com/the-18th-ilford-photo-ulf-campaign-wi...
Must there always be idiots burning garbage containers? They should pay for all the damage. And it's not tiny...
A portable tube radio made in Japan by National / Matsushita Electric Industrial Co. Ltd., probably in the early 1950s, just before transistors took over. Case made of Cellulose Acetate and handle made of Polyethylene plastics. 19,5cm long.
These bangles were lathed and carved from Bakelite tubes with great craftsmanship in the 30s or 40s, possibly in USA.
This amazing object is a redesign of the original, less streamlined, from 1931. The blades were made of grosgrain or elastic ribbons, working perfectly and making the usual wire cage dispensable. Made in USA by Singer Sewing Machine Company, it was molded of Bakelite. This one was found in great shape and in perfect working condition, but unfortunately the original grosgrain blades had to be replaced by elastic ones.
It is 34 cm high, including the blades.
Update in July 2010:
The book DESIGN by Chiara Olivetti e Giovana Uzzani, published by Scala Group from Italy, attributes this design to W. O. Langille. MOMA was the source of the info, and it adds he was American, born in 1895.
A decorative object by brazilian artist Abraham Palatnik, dedicated to Knetic and Op Art since the 1950s. This object, typical of his production of the 1970s, is made of Polyester resin with two parallel inclusions of silkscreened patterns that create a moiré effect and change as we move about the owl. The patterns also interfere with screen resolution, making the image a bit noisy.
Made in USA in 1946 by Fada Radio & Electric Co. This material, one of the two kinds of Bakelite (aka Catalin), was used from the 1920s to the late 1940s, when new materials and technics made it obsolete. It is considered the gemstone of plastics and radios like this are very prized.
A miniature transistor radio made in Japan by Marvel in the early 1960s. It's case is made of injected Polystyrene plastic with metal trims. It came complete with original battery and display box.
It is 9cm high.
These frames were hand cut from stock sheet of Cellulose Acetate plastic, and not injection molded. They are VERY similar to the design architect Le Corbusier made famous in the 1930s and 40s. He can be seen here in 1938.
Unmarked, sadly.
Cast Polyester resin bangles, made using varied casting, machining and dyeing techniques. Made in Brazil by unknown makers.
Before WWII, knitting needles could be made of metal or Galalith plastic, like these. They had to be machined from stock material, since Galalith could not be injection molded. The red pair is of higher quality than the others. Galalith is a plastic made from the cow's milk protein casein. Possibly made in Brazil.
Note: other less interesting plastics were used to mold knitting needles as well.
The red ones are 37cm long.
This striking streamlined radio was made by Belmont in USA, but its Bakelite cabinet was not exclusive; small radio makers would buy ready-made cabinets from molders to fit their electronics, so you can find this same design used by other brands. Accordingly, the logo is not molded, but a decal. The cabinet is pressure molded brown Bakelite sprayed cream. This was a cheap way of producing colored radios since Plaskon, the alternative colored plastic at hand those days, was more expensive. There are other plastics present here: Celluloid for the dial scale and lens, Cellulose Acetate for the push buttons and small knob (darkened) and Plaskon for the big tuning knob.
It is 30cm wide.