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Model "US Truck T1 MkII" is build with LEGO® in scale 1:17,5 and motorized using LEGO® Power Functions. It is not build after a specific brand or type of truck. This build represents the more aerodynamic US truck models like for example the Freightliner Cascadia.
The truck features: solid axle suspension on all axles, PF powered driving with power transmitted independently to both rear axles, Ackerman geometry on steering axle, Servo powered steering, fully functional fifth wheel, modeled engine, detailed cabin interior and 3 light units.
Also can you build it yourself. To do so you can buy the building instructions and check the inventory/parts lists!.
The original build of this model is in Red, but maybe you prefer to build it in a different colors. So here are the different colors this model could be build in. Please feel free to change even more if you want to, but be aware of availability of the needed parts. I checked these color schemes and parts can be found as easy as with the original Red color scheme.
The LEGO® Power Functions® Servo is used to enable the steering. Aligned with the trucks chassis the Servo is sitting inside of the cabin right behind the modeled engine in between both seats. With a 90 degrees conversion the motion of the Servo is transferred to the steering axle.
This truck model is powered by a CAT® CT15 which is revealed with the hood opened and its yellow color makes is an eye catcher. This power source is an inline 6 cylinder engine with a displacement of 15.21L. With a horsepower range from 450 up to 550 HP and this engine has a torque range from 1550 to 1850 lb-ft. (1202 - 2508 Nm) at 1200 rpm peak torque.
The modeled engine is a small object that really improves the realism of this model. The engine is very nice to build and to give it those realistic looks a total number of about 120 parts is used. Engine is detailed with for example engine oil dipstick, fan, fan belt, pulleys, hoses, oil filters including by-pass oil filter, turbo, exhaust manifold and so on. Together with much more engine bay details which are added the looks are phenomenal. These include break fluid reservoir, windshield washer container, internal air cleaner system and steering shaft.
A lot of detail is added to the cabin's interior as well in the colors Tan and Dark Bluish Gray. By opening this model’s doors one can access the cabin. Openable doors give the model very realistic looks and makes the detailed interior visible. The interior's colors really standout because of the rather dark color scheme of the truck's body work.
Dark Bluish Gray is used for both the interior and the exterior in order to link both color palettes. For the driver's comfort the interior has gauges, switches, speakers, cup holders, comfortable seats. Other details are a glove compartment, more compartments in both doors, angled dash and gauge panel, a steering wheel and a gear shift.
African Wood Sculptures
wooden figures African sculptures ,African Wood Sculptures
African Candleholders - Stools - Carvings
5-Head Unity Stand - This interlocking unity stand was carved from a single block of wood by talented artisans using centuries-old techniques. It is one of the most popular pieces of carving to originate from Ghana. This piece features enlarged legs and heads to make it sturdier and to create a bold look as stand alone or a glass top table. It's an exotic piece that speaks volumes in foyers, living rooms, or virtually any place in your home. 22"H
Fanti Cone candleholder - This handsomely carved candleholder with well appointed Fanti Face accent will bring a warm touch to your home. The color contrast is simply stunning. Made of Sese wood. Fanti face on opposite side. 30"H. Candle not included.
Mother & Child - From a mother to a child or vice versa, a true craving that reflects the special love between a mother and child. A treasure forever.
Love Connection table - A romantic and functional piece of art. Sleek and contemporary form that symbolizes love between two people. Perfect as an accent table in any room of the house. 22"H x 15"diameter. Handmade in Ghana of cidrella wood.
Fatima candleholder - This candleholder is named after the talented female carver, Fatima, who made this exclusively piece. Her work is shapely with very clean lines. The textured finish adds elegance. Looks perfect on a mantle or dining table. 12"H. Finish color may vary. Candle not included. These unique coaster sets always generate conversation at get-togethers. Wow your friends with any of these seven-piece coaster set hand-crafted in Ghana. A special coating was applied to the plates to make them moisture resistant. Set includes coaster body and six plates.
Praying Angel (14 inch)- A symbol of God's love for each of us. Praying position reflects a state of quiet reflection, humility and supplication. A perfect love gift for any occasion. Choose from earth tone, mottle, or black finish. Made in Ghana of sese wood. 14"H.
Kneeling Angel - A symbol of God's love for each of us. A state of quiet reflection, humility and reflection. A perfect love gift for any occasion. Choose from black or mottle finish. Made in Ghana of sese wood. 21"H
Praying Angel (21 inch)- A symbol of God's love for each of us. Praying position reflects a state of quiet reflection, humility and supplication. A perfect love gift for any occasion. Choose from earth tone, mottle, or black finish. Made in Ghana of sese wood. 14"H.
African Wood Carvings
aise Me Up: A great gift for a mentor, a parent, or a role model to signify the difference they have made in a younger person's life. Two-tone finish. Handmade of in Ghana sese wood. 26"H
My Best Friend: A love gift from the heart. A handmade piece to signify an indelible bond between two people. Made of sese wood in Ghana. 21"H
Always & Forever: A carving of a kissing couple over a heart-shaped base. Appropriately titled to show the extraordinary relationship between lovers that endures forever. 21"H
My Love For You: An exquisite gift to express a deep love from one partner to another. A love dance that speaks volumes. Great two-tone finish. A great wedding or valentine gift. 20"H
A Part of Me: Signifies the special bond between two people; a great gift to express the bond within family and between lovers. Two-tone finish. Handmade of cedar wood. 24"H
African Bowls, Boxes and Magazine Racks
Curved Face Bowl - You will love this crafty and stunning bowl from our skilled in-house artisans. The curves are impossible to ignore. Lift the lid to reveal an elongated bowl for candy, jewelry and many other applications. Your choice of multi-colored (left) or brown (right). 18”L.
Nefertiti Head unity stand - This rare Nefertiti unity piece was carved by master craftsman, Yaw Osafo, one of the original creators of the interlocking unity heads in Ghana. His skill is unmatched and has a knack for creating life-like sculptors. This piece involved a meticulous hand-carving process that lasted a month. Limited edition. Display as a stand-alone or a glass top table.
African Bowls -- Stools -- Vases -- Paper Towel Holders
Majestic Pedestal Stool - Your creative mind will give you lots of possibilities with this piece. The 15" wide seat makes it a perfect bar stool. But wait, with the 28" height you can use it as a pedestal for a telephone or to display art. Very sturdy construction with bold and eye-catching mask legs.
Heart to Heart - Feel the closeness, Feel the love. See the detailed craftsmanship. A great wall hanging for your loved one. Made of sese wood. 22"H
Oheneba Heart Bowl - Put this Oheneba Heart-shaped bowl on your dresser or table and be ready for compliments. Oheneba, a Ghanaian name for Princess, reflects the richness of African culture. Elegant two-tone finish and metal trim.
Mask vase and Abstract vase - One of the best craft shops in Ghana created these unique wooden vases. The colors are simply stunning. The finish is a smooth and textured mix and the mask accent (on three sides) gives it a classy African look. Display by itself or with floral arrangement. Choose from two styles. 15"H x 24" circumference.
African Masks and Carvings
Teku Masks on pedestal - These pieces comes to you from Josephine Forson, a very talented carver in the Central Region of Ghana. She creates the most unusual pieces and incorporates rich, warm colors in her finishes. The result is this Teku mask that will be stunning on a mantle, book shelf, or highly visible corner of your home. Set of two. 19"H.
Joined Partners - Express your true feelings to your partner with this loving piece carved in Ghana of cedar wood. It symbolizes an enduring and life-long commitment to each another. The textured two-tone finish adds a graceful touch. A perfect wedding or valentine's gift. 19"H
Fulani Mask (male or female) - Bold colors and artistic use of metal accentuate this Fulani mask to a level all its own. Designed and crafted by Amani in Ghana to give you a choice of display as a wall decor or a standing piece. Either way, you surely have a conversation starter in any room. Choice of male or female. Each piece 36"H.
Wisdom Mask - Masks reflects the history and traditions of the people who carve them. Nana Kwame, is an old, revered chief in Akwapim Region of Ghana. He was the subject of several carved images because of the respect he commands and the wisdom he gave to people who sought advise from him. This piece is a carved representation of his face and a symbol of the wisdom he is known for. 7"L x 13"H.
African Stools
Highly skilled artisans create these stunning Ashanti Stools. They select premium wood from fallen logs to ensure the craftsmanship is superb to the eye and touch. The meticulous detail will get lots of compliments wherever you place it. The unique nature of hand-carving means no two stools are exactly alike. Each piece is one of a kind, slightly different from another.
Unity Stool - The interlocking circles on both sides of the stool symbolize unity of mind and spirit.
Fanti Bow Stool - Fanti accents near the base elevate this classic design to a whole new level. Sitting height is a comfortable 18". Add this to your collection and create that unique, eclectic theme you always wanted.
Fanti Drum Stool - A must have for those who crave more unique pieces for their home. The talented carver, Kweku Forson, worked tirelessly to create this drum stool. He produced this piece with a comfortable 17" sitting height and embellished it with cowrie shells and a Fanti face to match. A bold, conversation piece for any room.
Crocodile stool - The symbol of two crossed alligators with one stomach represents unity in diversity; a message that we share a common destiny in spite of our differences.
Gye Nyame stool - The Gye Nyame symbol on both sides of the stool signify the power of God to make all things equal.
African Stools
Parent & Child Table - A unique accent table for your favorite spot at home. Use as a plant stand, telephone table. Signifies the special bond between parent and child. Handmade in Ghana of cedar wood. 19"H x 12" diameter.
Lovers Table - Intertwined lovers forever. An unbreakable bond between two people. A companion table at bedside or your favorite room at home. Handmade in Ghana of cidrella wood, known for its durability and attractive finish.22"H x 15" diameter.
Fang Face Table - A conversation piece you will cherish for a long time. This table was created by Forson, one of Ghana's foremost craftsmen. His handwork and use of colors is simply stunning. Picture it in a showy corner of your room. 24"H. Top measures 14" x 19".
Elephant Trunk Table - This elephant table will surely liven the decor in your foyer or living room. Notice the hand-finished detail and the rich, colorful finish. Place it by itself or as a stand to display an exquisite piece of art. Hand-carved in Ghana. 30"H x 17" diameter. Quantities limited.
Fanti Accent Table - Treat yourself to this uniquely designed Fanti accent table from Ghana. It will make a perfect corner piece for a floral arrangement or to show off another piece of art. Fanti face on opposite side. The finish on each table may vary slightly. 24"H x 15" diameter.
African Tables and Stands
Fanti Table: Half-Round - This table was crafted by an award-winning artist, Kweku Forson, in Ghana. Some of his work has been displayed in exhibitions in Europe. The semi-circular design was his attempt to expand his repertoire and the fanti face legs are precision-crafted to add culture and symbolism to his work. A great addition to your decor. The finish on this table is one of a kind. 23"L x 14"W x 30"H.
Unity Stand - Seven Head --This interlocking unity piece was hand-crafted from one block of wood by talented artisans using century-old techniques. It is one of the most popular pieces of carving to come from Ghana. The idea originated from the council of village elders mobilizing an entire village to achieve community goals. The new generation of unity stands have extended legs to elevate the height to a more user-friendly level. Now you can add a more exotic conversation piece to your home decor. Use it as a stand-alone display, with a glass as a table top, or with a floral arrangement,. 32"H x 47" circumference.
Octagon Mask Table - Set your home apart from your friends with this Octagon Mask table crafted exclusively for African Heritage Collection by master carver J. Forson of Ghana. Nicely finished and textured in warm colors. The 30" height gives it a bold look. The decorating possibilities are endless. Place it in your favorite corner and count the compliments. 30"H x 19" diameter. Handmade in Ghana.
Zebra accent table - great addition to your eclectic collection of home decor. This zebra will light up any room in your home. The craftsmanship is superb. Offers lots of decorating possibilities- use it to hold a telephone, as a plant stand or a corner table. Hand-finished in Ghana of cidrella wood. 22"H x 15"diameter.
Bow Mask table - You'll get lots of compliments with this as a plant stand in a visible location at home. The unique design and contrasting finish grab attention. 18"H x 10.5" diameter.
African Drums
Bogolabo Drum - This drum was expertly crafted from one solid piece of Tweneboa wood by professional drummers who also make and tune their own drums. The Bogolabo drum is used to support the djembe drum in a drum ensemble. The drum face is made of hand-shaved dried goat skin. It has a rich tone and is strung tightly with very durable rope for a long-lasting sound. Made in Ghana. 8" Face x 18"H.
Djembe & Bongo Drums - The drums are made of Tweneboa wood, which is a kind of Cedar wood and a favorite wood of drum makers because of its durability and attractive finish. The wood is named after a skilled master drummer, Tweneboa Kodua, who during his lifetime was the chosen drum maker of many local chiefs. The drum face is made of hand-shaved dried goat skin. It has a rich tone and features double iron ring head construction. Our drums are strung tightly with very durable rope and a double weave around the rim. This ensures that the drum stays well-tuned with long lasting superior sound quality. Excellent sound! Due to the hand-crafted nature of the drum, you can expect some nuances in measurements and color, especially the goat skin. This is the unique characteristic of hand-carving; no two pieces are exactly alike.
African Wood Inlay Portraits
These fine art wood inlays will bring an eclectic feel and beauty to your home. Wood Inlays are fine strips of African hardwood ingeniously mounted to form an image. Each piece is an original, finished slightly different by the artist as a unique showpiece. Mounting bracket included. Handmade in Ghana.
Kwanzaa Kinara's - Wood Carvings
These Kwanzaa Kinara sets will come to you beautifully shrink-wrapped with all the key supplies to celebrate Kwanzaa. Each set includes a Traditional Kinara from Ghana, seven tapered 12" candles, straw mat, unity cup, and an information sheet on how to celebrate Kwanzaa. Pattern on cloth trim may vary.
Fanti Trio statue - Quality craftsmanship with a whimsical flair. Carved of Sese wood, the three figures holding hands symbolize the playful nature of children and the bonding that endures within a family.
African Mirrors - Wall Plaques
Adinkra mirror - Colorful patterns add warmth and class to this African craftsmanship. Crafted of Sese wood, this Adinkra mirror will reflect your lifestyle and taste, not to mention the drama it will create on the wall. 15"L x 18"H. Also available in Medium (17"L x 24"H),
Double Fanti mirror - Add character to your wall space with this attractive Double Fanti Face mirror. Excellent craftsmanship with bold African designs. 15"x18". Also available in Medium (17"L x 24"H)
Kneeling Angel shadow box - A hallowed framed piece to wake up your walls. A hand carved Kneeling Angel beautifully framed for your loved one. Made in Ghana. 15"H x 12"L
Ode To Parents Ashanti Stool Plaque - Words of appreciation and love for your parents. The plaque was crafted in the shape of an Ashanti Stool that symbolizes support and strength. The Gye Nyame symbols portray the power of God to make all things possible. Mansonia wood. 13.5"L x 9"H.
Jabez Prayer plaque - A popular Bible verse on a superbly crafted open Bible plaque. Words hand-written on plaque. 9"L x 12"H. Same words available on an African Hut style plaque. African Wooden Wall Plaques
Commerce House, 3rd Floor , Suite 311
Moi Avenue,
Nairobi, Kenya info@culturegallery.net +254-734-939308 +254-20-229781 +254-722 - 761587 www.culturegallery.net Skype: steven-gordon Skype: steven.apollo
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
New York's subway system is vast, complex, functional and efficient. It can also be bewildering, fascinating, and scary to some.
A collection of sleek metallic containers is arranged in a contemporary setting. Each container features a simple design and shines brightly under ambient light, showcasing their elegance.
canon ae-1 program +
canon fd 50mm f1.8 s.c. +
fujifilm superia 200 (expired - 1 year)
no post processing or cropping, just as scanned.
taken at shutter priority mode.
makinenin fonksiyonlarını test etmek amacıyla hızlıca çektiğim fotoğraflardan biri.
herhangi bir oynama veya kırpma yok, tarayıcıdan ne çıktıysa o.
enstantane öncelikli modda çekildi.
My third alternative build for the Corvette ZR1 42093 set. I used the bricks included in the set to build a Kei Car.
• Features
Fake V4 engine
HoG steering
Functional Hood
Foldable seats
• Free PDF instructions:
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
The colorful lifeguard towers of Miami Beach are famous. They contribute beautifully to the overall aesthetic of the scenery
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Functional art quilt.
Measures 17.5 x 17.5.
Colors inspired from the retro color combo of Avocado Green and Harvest Gold.
Meant to either hang on the wall or displayed on a table.
Made from 100% cotton fabrics from Robert Kaufman's Kona collection.
Trendy? Or too early for boots?
Doll: MS Roller Skate(?) Chelsea (?)
Outfit: SIS Pasrty Kara 2 Wave(?)
Shoes: MS random(?)
The all-new 2014 Chevrolet Corvette Stingrayâ??s provocative exterior styling is as functional as it is elegant; every line, vent, inlet and surface has been optimized to enhance the car's overall performance.
From the first rolls testing out an Olympus SPn with some dust in the lens.
Camera: Olympus 35 SPn
Lens: Fixed 42mm f1.7 G.Zukio
Film: Delta 100
Developer: Xtol
Scanner: Epson V600
This double row of white metal fences is designed to keep animals, cars, and people off the tracks as Amtrak trains zoom through the tiny village of Galien, Michigan, several times a day. The building in the background is currently the home of the storefront Galien Missionary Church. When I was growing up in the 50s & 60s it housed the Swem General Store. The store was on the first floor and the proprieters, Encell and Violet Swem, lived on the second floor.
“Draw your chair up close to the edge of the precipice and I’ll tell you a story.”
― F. Scott Fitzgerald
An old chair and wood pallets, in an industrial area of White City, in southern Oregon.
Taken with my Sigma 30mm "Art" lens on my Lumix GX7.
The Ural 4350 is used primarily as a transport truck, but the Eurusian Army also uses a number of other versions – including a recovery version and a multiple-rocket launcher platform. The 4350 can also be seen in civilian use, most commonly as a fire truck, garbage truck or logging truck.
Credit goes to Otto for the idea of using inverted ladders on the truckbed.
For Halloween 2011, I made a fully-functional Nikon DSLR costume, complete with a built-in flash, shutter-release button and remote, and LCD screen. Also capable of trigging my Alienbees strobes with my Paul C. Buff Cyber Commander, and capable of winning any costume contest with the push of a button.
To see it work:
To see how it's made and see it in action:
A fully functional Launch Abort System (LAS) with a test version of Orion attached, soars upward on NASA’s Ascent Abort-2 (AA-2) flight test atop a Northrop Grumman provided booster on July 2, 2019, after launching at 7 a.m. EDT, from Launch Pad 46 at Cape Canaveral Air Force Station in Florida. During AA-2, the booster will send the LAS and Orion to an altitude of 31,000 feet, traveling at Mach 1.15 (more than 1,000 mph). The LAS’ three motors will work together to pull the crew module away from the booster and prepare it for splashdown in the Atlantic Ocean. The flight test will prove that the abort system can pull crew to safety in the unlikely event of an emergency during ascent. Photo credit: NASA/Frankie Martin
Tutorial on Instructables: www.instructables.com/id/Functional-LEGO-Nutcrackers/
With a simple pull of the lever, these decorative figures can open and close their jaws like authentic nutcrackers!
Both of these models were built in the recent weeks leading up to Christmas. The design was pretty straightforward, but two major issues were making the faces look good, and finally getting the hats right. In fact, the green nutcracker's crown took the longest to figure out, and was finally made with hinge plates.
As mentioned in the tutorial, although these can in fact function as real nutcrackers, they're somewhat rickety and best suited for holiday decorations.
GONE - This rack is functional and attractive, and it can also be picked up and folded almost flat. The light, maple-colored wood lets it play well with mid-century furniture, much of which uses this tone.
Whilst it would never win prizes for looks, tamping machines in all their derivations play a vital role. Volker Rail DR73946 is seen just east of Castle Donington whilst tamping the new connection for the EMG sidings.
Stoneware with a celadon glaze by Anne Byrne of B's Pottery Studio on Saltspring Island. Purchased at the Saltspring Summer Market in 2010.
"The Romanesque heritage of Vall de Boí is exceptional due to the existence of a large number of churches of the same architectural style concentrated in such a small area. Until well into the last century the valley remained quite isolated, which prevented the arrival of builders, artists, architects or priests willing to make changes to the original works. Thanks to this fact, these churches have been preserved over time with only minor alterations, meaning that their original conception has hardly changed.
Vall de Boí’s Romanesque ensemble is made up of the churches of Sant Climent and Santa Maria in Taüll, Sant Joan in Boí, Santa Eulàlia in Erill la Vall, Sant Feliu in Barruera, La Nativitat in Durro, Santa Maria in Cardet, L’Assumpció in Cóll, and Sant Quirc Hermitage also in Durro.
One of the main characteristics of this ensemble is the common architectural style. The temples were all built during the 11th and 12th centuries, following a model imported from northern Italy, the Lombard Romanesque, characterised by its functional buildings, skilled stonework, thin bell-towers and the external decoration of rounded arcading and pilaster strips.
The Romanesque churches of Vall de Boí are the artistic reflection of a society which was structured around the hierarchies of feudalism and clergy, in this case personified in the Lords of Erill and the bishopric of Roda de Isábena, the promoters of these temples. In this medieval society, not only did the Church serve a religious function, but it also played an important social role as a place for people to meet and seek refuge. In the case of Vall de Boí, this social function of churches was further underlined by the use of the thin bell-towers as a means of communication and protection.
An important highlight are the murals that used to be located in the churches of Sant Climent and Santa Maria in Taüll and in Sant Joan in Boí, and which are currently kept at the National Museum of Catalan Art (MNAC) in Barcelona. Also worthy of mention are the carvings produced by the Erill’s Workshop, particularly the Descent in the church of Santa Eulàlia in Erill la Vall "
First roll of Kodak Gold 200 through my Olympus Trip 35 to see how it performs. Also marks my return to film photography after an absence of 25 years.
The Olympus Trip 35 compact camera was introduced in 1967 and discontinued, after a lengthy production run, in 1984. The Trip name was a reference to its intended market – people who wanted a compact, functional camera for holidays. During the 1970s it was the subject of an advertising campaign that featured popular British photographer David Bailey. Over ten million units were sold.
The Trip 35 was a point and shoot model with a 40mm f2.8 lens, solar-powered selenium light meter, and just two shutter speeds. In 'A' mode, the camera operated as a Program automatic, choosing either 1/40th sec or 1/200th sec. The camera could also sync with flash, and had a range of aperture settings, from f2.8 to f22. In flash sync mode the shutter was set at 1/40. Apart from a simple four-position zone focus system, and an ISO setting from 25–400, the camera had no other photographic controls. The camera had a Prontor-Compur sync connector and a hot shoe. Its lens was a coated Zuiko 40mm f/2.8, with four elements in three groups.
The camera had an ISO range of "only" 25–400, but this was acceptable, as films faster than 400 were uncommon and not of high image quality. 25 speed allowed the use of Kodachrome, while 400 speed allowed use of Tri-X and similar fast materials under low light.
The four-element Tessar lens, still impressive today, gave high-quality images. If used with modern film emulsions, the results can be very good.
The use of a selenium photocell to select the shutter speeds and aperture let novices use the camera as a "point & shoot", with good results obtained most of the time. And no battery was needed to power the camera, an important consideration when travelling where batteries might not be available.
The lack of more than two shutter speeds was not a problem. At 1/200 and f:22 with 400-speed film, the camera could deliver correct exposure in full sunlight, while at 1/40 and f:2.8, correct exposure could be obtained under bright fluorescent light, without a flash.
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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.