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Project Architect : Sunil Yadav - ARB (UK) - Msc Advanced Architecture, Bsc (Hons) Architecture,
(Main Designer) PG Dip International Planning & Sustainable Development
Design Team Manager : Anil Yadav - COA (INDIA) - B.Arch
Design Team : Sahil Batra, Sanjay Kumar
lIlustration : Tikendrajeet Wahengbam Singh, Potsangbam Anandibala
3d Rendering : Rahul Kumar - B.Arch , Josue Romero
National Museum of World Writing
The proposed Museum of World Writing is located at Central park of Songdo International Business District known as 'ubiquitous city'. Since this city of 1500 acres is build from the scratch on reclaimed land from Sea, the proposed form respect and consider this aspect as well as the actual site within which the building will sit.
The site is of odd geometry where essentially three geometrical shapes fuse together to form a shape with eight edges.
The proposed building form reciprocate these aspects and harmonize not only to the site within the site (Central Park) but the whole built environment at vicinity, the new Songdo City, its port (second busiest in Korea) and to the countries' busiest airport as the site is situated parallel to the city's main access to the airport.
The museum is sitting on a podium shape which is influenced by site's geometry as well as waterfront and the various direct and secondary access routes to the central park.
Since public spaces are most essential element of any city, which not only influence the lives of individual but society as a whole. This museum is intended to be belonged to everyone and design incorporates these essential and practical aspects delivering a truly functional pragmatic museum.
Design Concept - in Continuation
A museum is the symbol of regeneration, preservation and continuation and this has been the essence of our proposed design process.
The design for the National Museum of World Writing is based on intuitive and sympathetic approach to the context, nature of site and Songdo city as a whole. The vast scale of site , the central park , the reclaimed land from sea, the location of Songdo within Incheon City, the high rise office towers in surrounding and the purpose of museum itself assists to provide the clues for design concept.
The design is intended to enhance , create, reinvent the missing or existing key pedestrian link, built mass and other open spaces of the central park and its immediate built urban environment. The idea is to have a museum building which is welcoming and friendly to public and appropriately embraces site surrounding and context without dominating it.
The museum building is sitting on an elevated plinth / podium. The plinth consists of basement which is housing the parking, services, the storage , special exhibition gallery, and a central atrium with cafe. Two connecting entries are introduced for visitors to improve the connectivity at this level and eventually to the building as whole.
Design Concept - Abstract
The discovery of first metal by man becomes his first step towards modernization and arguably the invention of script is 'first step to the path leading to civilization'. The invention of written script is what may have distinguished and established human's superiority over animals. Therefore it won't be an over statement to make that 'Written script invention is probably the greatest invention of human's during Bronze-age to Iron- age.''
The first discovery of metal was Copper followed by bronze and ultimately Iron. The continuity of this period is displayed by using and exhibiting the COR-TEN Steel as main cladding material. These facade's cladding will have ancient language symbols and scripted and cut-through them. The similar pattern of Language Scripts engraved in concrete and also displayed on the translucent glass - the emitting light in night will exhibit and remind the city of relevance of this invaluable treasure.
The building also consists of eight Large columns which are intentionally designed as little disproportionate to the form. The idea behind is to represent the 'known eight direction' across the globe - of which this museum belongs to. The columns are inclined to have an origin beneath the earth - somewhere below the museum itself - The torch light from them to the sky - will be represent the infinity - a tribute to all the lost and undocumented world scripts - which took centuries to evolve and then lost forever - without a trace..
Building layout and form
The proposed building layout is simple and symmetrical, the architecture in center is open and raw resulting in a public building which is clean, efficient and visually and functionally legible. The building is non imposing in terms of shape and size - giving freedom to the visitors as how to use it.
The museum building by its compact 'Zero' inverted shape and variation in height helps to retain the integrity of the central park and surrounding by respecting the open character of park and area around. Main public functions are easily accessed with a clear separation of private and service functional spaces. The building shapes doesn't have any sharp edges thus retaining the continuity on the external skin of building - avoiding essentially any rear or front and thus keeping the balance of visitors moment from all side .
The museum makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of the central park.
The corridors and the projected balconies around the central atrium will encourages people to flow within this public building uninterruptedly. The delicately assembled fragmented volumes will create logical passages in between, which will allow the visitors to break from long corridors and also offers the flexibility about use of space. The proposed design promotes openness and boost public engagement. Visitors will be able to enjoy and appreciate the exhibits and the building itself while walking through these simple magnificent but generous corridors.
The lavish passage in-between the exhibition galleries will be a complementary open space. The comfortable atmosphere creating an contradictory feeling of being social and familiar.
Gracing the Park and waterfront
The distinctive yet elegantly 'sculptured -like' appearance sitting majestically on podium provides a charismatic addition to the park and city skyline. Clearly visible by its distinctive yet fitting shape and size in cluster of akin high rise buildings. The museum building taking advantage of spectacular setting of park and waterfront will leave a remarkable imprint on the visitors arriving either by land , sea (part) or air (airport).
The Museum Building - with circulation Strategy
Once in Museum the central staircase is the primary vertical circulation. It is split on either side of exhibition galleries and public spaces. A linear straight stair reaches directly to the second floor's Education area and Library.
The functional spaces are also connected through two ramps - parallel to each other. The internal ramp and the roof of internal ramp is denoted as external ramp - The internal ramps connects the Ground floor to First and Second floor and ascends within the void along with longitudinal southern side of the building offering a majestic view of the park. The external ramp (roof of the internal ramp will have uninterrupted access to top terrace to the public from outside the museum. On the North East side. The external stairs takes visitors to the lower terrace and there will be provision for the Museum staff to access the First floor office from these stairs.
Materials
COR-TEN Steel
The use of Cor-ten Steel as facade cladding pay homage to 'Copper to Iron Age" during which the various language scripture were evolved and developed from Copper-age to Bronze-age and then throughout Iron Age. The material as a facade skin will also be easy to maintain and with adequate paint coating protection will face the Sea's salt wind in desired and natural process - as the World's language scripts have been through.
Translucent Glass
The museum will makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of this park.
Conclusion
The proposed 'National Museum of World Writing' will ultimately be a unique, conveniently accessible and a very public building. It will be effectively a new addition to destination's of Songdo city along with waterfront and Central park.
This monumental yet elegant and imposing building will not only be an addition to Incheon but a tribute to the "all known and undiscovered , documented and unrecorded, prevailing and forgotten' World Scripts.
This timeless and priceless treasured collection of humanity which continuously and constantly evolved from 'Stone-Age' through Iron-age to present 21st Century needs equally commensurate building - if not less.
The proposed building is designed to meet most of these aspects and design requirements - if not all.
Project Architect : Sunil Yadav - ARB (UK) - Msc Advanced Architecture, Bsc (Hons) Architecture,
(Main Designer) PG Dip International Planning & Sustainable Development
Design Team Manager : Anil Yadav - COA (INDIA) - B.Arch
Design Team : Sahil Batra, Sanjay Kumar
lIlustration : Tikendrajeet Wahengbam Singh, Potsangbam Anandibala
3d Rendering : Rahul Kumar - B.Arch , Josue Romero
National Museum of World Writing
The proposed Museum of World Writing is located at Central park of Songdo International Business District known as 'ubiquitous city'. Since this city of 1500 acres is build from the scratch on reclaimed land from Sea, the proposed form respect and consider this aspect as well as the actual site within which the building will sit.
The site is of odd geometry where essentially three geometrical shapes fuse together to form a shape with eight edges.
The proposed building form reciprocate these aspects and harmonize not only to the site within the site (Central Park) but the whole built environment at vicinity, the new Songdo City, its port (second busiest in Korea) and to the countries' busiest airport as the site is situated parallel to the city's main access to the airport.
The museum is sitting on a podium shape which is influenced by site's geometry as well as waterfront and the various direct and secondary access routes to the central park.
Since public spaces are most essential element of any city, which not only influence the lives of individual but society as a whole. This museum is intended to be belonged to everyone and design incorporates these essential and practical aspects delivering a truly functional pragmatic museum.
Design Concept - in Continuation
A museum is the symbol of regeneration, preservation and continuation and this has been the essence of our proposed design process.
The design for the National Museum of World Writing is based on intuitive and sympathetic approach to the context, nature of site and Songdo city as a whole. The vast scale of site , the central park , the reclaimed land from sea, the location of Songdo within Incheon City, the high rise office towers in surrounding and the purpose of museum itself assists to provide the clues for design concept.
The design is intended to enhance , create, reinvent the missing or existing key pedestrian link, built mass and other open spaces of the central park and its immediate built urban environment. The idea is to have a museum building which is welcoming and friendly to public and appropriately embraces site surrounding and context without dominating it.
The museum building is sitting on an elevated plinth / podium. The plinth consists of basement which is housing the parking, services, the storage , special exhibition gallery, and a central atrium with cafe. Two connecting entries are introduced for visitors to improve the connectivity at this level and eventually to the building as whole.
Design Concept - Abstract
The discovery of first metal by man becomes his first step towards modernization and arguably the invention of script is 'first step to the path leading to civilization'. The invention of written script is what may have distinguished and established human's superiority over animals. Therefore it won't be an over statement to make that 'Written script invention is probably the greatest invention of human's during Bronze-age to Iron- age.''
The first discovery of metal was Copper followed by bronze and ultimately Iron. The continuity of this period is displayed by using and exhibiting the COR-TEN Steel as main cladding material. These facade's cladding will have ancient language symbols and scripted and cut-through them. The similar pattern of Language Scripts engraved in concrete and also displayed on the translucent glass - the emitting light in night will exhibit and remind the city of relevance of this invaluable treasure.
The building also consists of eight Large columns which are intentionally designed as little disproportionate to the form. The idea behind is to represent the 'known eight direction' across the globe - of which this museum belongs to. The columns are inclined to have an origin beneath the earth - somewhere below the museum itself - The torch light from them to the sky - will be represent the infinity - a tribute to all the lost and undocumented world scripts - which took centuries to evolve and then lost forever - without a trace..
Building layout and form
The proposed building layout is simple and symmetrical, the architecture in center is open and raw resulting in a public building which is clean, efficient and visually and functionally legible. The building is non imposing in terms of shape and size - giving freedom to the visitors as how to use it.
The museum building by its compact 'Zero' inverted shape and variation in height helps to retain the integrity of the central park and surrounding by respecting the open character of park and area around. Main public functions are easily accessed with a clear separation of private and service functional spaces. The building shapes doesn't have any sharp edges thus retaining the continuity on the external skin of building - avoiding essentially any rear or front and thus keeping the balance of visitors moment from all side .
The museum makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of the central park.
The corridors and the projected balconies around the central atrium will encourages people to flow within this public building uninterruptedly. The delicately assembled fragmented volumes will create logical passages in between, which will allow the visitors to break from long corridors and also offers the flexibility about use of space. The proposed design promotes openness and boost public engagement. Visitors will be able to enjoy and appreciate the exhibits and the building itself while walking through these simple magnificent but generous corridors.
The lavish passage in-between the exhibition galleries will be a complementary open space. The comfortable atmosphere creating an contradictory feeling of being social and familiar.
Gracing the Park and waterfront
The distinctive yet elegantly 'sculptured -like' appearance sitting majestically on podium provides a charismatic addition to the park and city skyline. Clearly visible by its distinctive yet fitting shape and size in cluster of akin high rise buildings. The museum building taking advantage of spectacular setting of park and waterfront will leave a remarkable imprint on the visitors arriving either by land , sea (part) or air (airport).
The Museum Building - with circulation Strategy
Once in Museum the central staircase is the primary vertical circulation. It is split on either side of exhibition galleries and public spaces. A linear straight stair reaches directly to the second floor's Education area and Library.
The functional spaces are also connected through two ramps - parallel to each other. The internal ramp and the roof of internal ramp is denoted as external ramp - The internal ramps connects the Ground floor to First and Second floor and ascends within the void along with longitudinal southern side of the building offering a majestic view of the park. The external ramp (roof of the internal ramp will have uninterrupted access to top terrace to the public from outside the museum. On the North East side. The external stairs takes visitors to the lower terrace and there will be provision for the Museum staff to access the First floor office from these stairs.
Materials
COR-TEN Steel
The use of Cor-ten Steel as facade cladding pay homage to 'Copper to Iron Age" during which the various language scripture were evolved and developed from Copper-age to Bronze-age and then throughout Iron Age. The material as a facade skin will also be easy to maintain and with adequate paint coating protection will face the Sea's salt wind in desired and natural process - as the World's language scripts have been through.
Translucent Glass
The museum will makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of this park.
Conclusion
The proposed 'National Museum of World Writing' will ultimately be a unique, conveniently accessible and a very public building. It will be effectively a new addition to destination's of Songdo city along with waterfront and Central park.
This monumental yet elegant and imposing building will not only be an addition to Incheon but a tribute to the "all known and undiscovered , documented and unrecorded, prevailing and forgotten' World Scripts.
This timeless and priceless treasured collection of humanity which continuously and constantly evolved from 'Stone-Age' through Iron-age to present 21st Century needs equally commensurate building - if not less.
The proposed building is designed to meet most of these aspects and design requirements - if not all.
Regional Consultation Workshop towards implementation of harmonized seed regulation in West Africa and the Sahel in Dakar on 11-12 June 2019. Photo by TAAT/Atayi OPALUWAH
Description on back of card: Ohio State Office Building and Le Veque-Lincoln Tower, Columbus, Ohio
State office building located on Scioto River-front and harmonizes with buildings comprising the Civic Center Group. It is directly opposite 45-story Le Veque-Lincoln Tower, also shown on this card. City Hall is shown at extreme left.
Estimated date:1945-1960 (based on buildings and use of the name "Le Veque-Lincoln")
Era: Chrome Era
Condition: Unused.
Publisher: W.E. Ayres, 1049 Livingston Ave., Columbus, Ohio / Natural color reproduction-Curteichcolor Art-creation
Publisher Note:
W.E. Ayres had a variety store at 1047-1049 Livingston Avenue in Columbus, Ohio.
Curt Teich emigrated to Chicago in 1895. He had worked as a lithographer in Lobenstein, Germany.
He founded the Curt Teich Company in 1898, concentrating on newspaper and magazine printing. He was an early publisher of postcards, but he didn't begin printing them himself until 1908.
According to MetroPostcard.com, "As his competition dwindled, his sales expanded and his American factories would eventually turn out more postcards than any other in the United States. "
The company was best known for its wide range of advertising and postcards of North America. By the 1920s, it was producing so many postcards with borders that they became recognized as a type dubbed "White Border Cards," creating an "era."
Curt Teich started using offset presses in 1907, but it took a number of years before he had offset presses made to his satisfaction and many more years for him to perfect the method.
His innovations in this printing technique directly led to the production of what we now call "linens" by the early 1930s.
The company aided the war effort during the second world war by also printing many military maps.
Curt Teich eventually turned management of the company over to his son, but he remained active in company operations throughout its history.
Curt Teich died in 1974 and the family business was sold to Regensteiner Publishers who continued to print postcards at the Chicago plant until 1978 when the rights to the company name and processes were sold to the Irish company, John Hinde Ltd. Their California subsidiary now prints postcards under the name John Hinde Curteich, Inc.
Source:
Family that routinely sings by the Bethesda Fountain in New York's Central Park. Here they were on Christmas day. Beautiful harmonizing.
A month ago I received my personal iPhone 7 - I got my business use iPhone 7+ today. Both iPhone 7 models deliver enhancements over Apple's iPhone 6/6s (which are the top selling smartphones in the world): a newly harmonized Home button and 3D Touch haptic user interface paired with an enhanced Taptic Engine actuator; Wide Color Retina HD Display; a significantly improved A10 Fusion Application Processor providing enhanced speed and efficiency, paired with 2GB (iPhone 7) or 3GB (iPhone 7+)of RAM and larger batteries (largest in the iPhone 7+) for an extra hour, two or three of use; new rear and FaceTime cameras and lenses with Optical Image Stabilization (in both cameras) for more detailed low light photos and smoother video; louder and crisper stereo speakers paired with Lightning and wireless audio connectivity that supports faster, feature-enhanced LTE Advanced mobile and MIMO WiFi; and new iP67 dust and liquid intrusion resistance.
A lot of work has gone into making 3D Touch smart, useful but unobtrusively inconspicuous. Apple has also enhanced the visible characteristics of its iPhone 7 Retina HD displays. Both iPhone 7 and 7+ feature radically enhanced displays with very high contrast ratios, very low reflectance and peak brightness levels above 700 nits. DisplayMate rated the new iPhone 7 Retina HD panels as "most color accurate display that we have ever measured." The displays on both models - as well as their cameras - also now support Wide Color as defined by the Digital Cinema Initiatives P3 color gamut specification. This extra color information isn't visible on most of today's PCs, notebooks, tablets or phones, but is of course displayed by iPhone 7 and 7 Plus (as well as my 27” iMac 5k and 9.7" iPad Pro).
Apple doesn't sell any laptops with support for P3 Wide Color - yet. What is interesting (especially for me as a professional photographer) is that until you experience Wide Color on a screen - you don't know what you’re not seeing. I am sure that in the future Wide Color will come to HDTVs and all Macs and iPads, so capturing images with your iPhone 7/7+ in 2016 with this expanded color palette capability means you'll see more vibrant memories of your kids, sunsets, travel photos and whatever else you like to take pictures of. By the way - Wide Color Gamut is part of what TV vendors are branding as "High Dynamic Range" - a well known “brand” for most serious photographers.
In this blog, I have posted some images of both my iPhone 7 and iPhone 7+, and my very first set of images captured with the iPhone 7+ that just arrived on my doorstep. Let me know what you think of the image quality produced with this device.
Just 4 2day -
Greg
The Davenport Projex
Title: "The Universal Church of the Future - From the Present Religious Outlook," Puck Magazine, January 10, 1883.
Description: "The times change, and we change with them. When this cartoon was designed, the popular theological fad was the harmonization of science and religion, and the immediate cause of its appearance was some utterance, now forgotten, but at the time considered highly audacious, of the Reverened Heber Newton. It was, we believe, the introduction of the practice of 'slumming' which changed the current of clerical taste."
Scanned from H.C. Bunner, ed. and J. Keppler, A Selection of Cartoons from Puck Magazine (New York: Keppler and Schwarzmann, 1893), 35.
Puck was sort of an American version of Punch Magazine.
A unique project—Jacob Collier’s first-ever college residency—brought together the MIT Festival Jazz Ensemble, MIT’s Ben Bloomberg and other members of the MIT music community.
Collier’s music combines elements of jazz, a cappella, world, contemporary classical, pop, gospel, R&B and soul. He is well known for his viral YouTube videos, which have turned numerous legendary artists into fans, including Herbie Hancock, Chick Corea, Pat Metheny, David Crosby, Jamie Cullum, Take 6 and Quincy Jones—now his manager/mentor.
In 2014, he began working with MIT’s Ben Bloomberg (a graduate student at the MIT Media Lab) who helped transform Collier’s video productions into live one-man-show performances. Bloomberg also designed and created a custom unique Vocal Harmonizer, which has provided Collier a vehicle to simultaneously combine his vocal and keyboard talents live.
Collier’s December residency at MIT—culminating with a major concert in Kresge Auditorium on December 10—involved several first-time elements. Collier and the MIT Festival Jazz Ensemble (FJE) with additional musicians presented the premiere of an experimental piece crafted by Collier. Several new big band arrangements of Collier’s music were also featured, two of which crafted by MIT alumnus Jamshied Sharifi and one by Collier himself. The concert included Collier performing some jazz standards with the FJE as well as some solo performances.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
State Historical Museum
The huge red brick building that closes Red Square makes it truly "red". Two elongated towers harmonize with the Kremlin and GUM, and the abundance of kokoshniks, architraves, shirinkas, and tents give the building the appearance of a terem.
However, it is not as ancient as it seems.
The northern part of Red Square has been home to the Zemsky Prikaz since the 16th century, for which a two-story stone building with a tower and architraves in the Naryshkin Baroque style was built in 1699. Later, part of the premises came under the jurisdiction of the Main Pharmacy, and in 1755, Moscow University opened here, moving to the building on Mokhovaya only in 1793. Then, the city government offices were located in the old building of the Zemsky Prikaz. In 1874, the Moscow Duma allocated this site for the construction of the Historical Museum; this idea was put forward in 1872 during the Polytechnic Exhibition dedicated to the 200th anniversary of the birth of Peter I. Its historical exposition, dedicated to the Crimean War, became the core around which the museum collection began to form.
Project Architect : Sunil Yadav - ARB (UK) - Msc Advanced Architecture, Bsc (Hons) Architecture,
(Main Designer) PG Dip International Planning & Sustainable Development
Design Team Manager : Anil Yadav - COA (INDIA) - B.Arch
Design Team : Sahil Batra, Sanjay Kumar
lIlustration : Tikendrajeet Wahengbam Singh, Potsangbam Anandibala
3d Rendering : Rahul Kumar - B.Arch , Josue Romero
National Museum of World Writing
The proposed Museum of World Writing is located at Central park of Songdo International Business District known as 'ubiquitous city'. Since this city of 1500 acres is build from the scratch on reclaimed land from Sea, the proposed form respect and consider this aspect as well as the actual site within which the building will sit.
The site is of odd geometry where essentially three geometrical shapes fuse together to form a shape with eight edges.
The proposed building form reciprocate these aspects and harmonize not only to the site within the site (Central Park) but the whole built environment at vicinity, the new Songdo City, its port (second busiest in Korea) and to the countries' busiest airport as the site is situated parallel to the city's main access to the airport.
The museum is sitting on a podium shape which is influenced by site's geometry as well as waterfront and the various direct and secondary access routes to the central park.
Since public spaces are most essential element of any city, which not only influence the lives of individual but society as a whole. This museum is intended to be belonged to everyone and design incorporates these essential and practical aspects delivering a truly functional pragmatic museum.
Design Concept - in Continuation
A museum is the symbol of regeneration, preservation and continuation and this has been the essence of our proposed design process.
The design for the National Museum of World Writing is based on intuitive and sympathetic approach to the context, nature of site and Songdo city as a whole. The vast scale of site , the central park , the reclaimed land from sea, the location of Songdo within Incheon City, the high rise office towers in surrounding and the purpose of museum itself assists to provide the clues for design concept.
The design is intended to enhance , create, reinvent the missing or existing key pedestrian link, built mass and other open spaces of the central park and its immediate built urban environment. The idea is to have a museum building which is welcoming and friendly to public and appropriately embraces site surrounding and context without dominating it.
The museum building is sitting on an elevated plinth / podium. The plinth consists of basement which is housing the parking, services, the storage , special exhibition gallery, and a central atrium with cafe. Two connecting entries are introduced for visitors to improve the connectivity at this level and eventually to the building as whole.
Design Concept - Abstract
The discovery of first metal by man becomes his first step towards modernization and arguably the invention of script is 'first step to the path leading to civilization'. The invention of written script is what may have distinguished and established human's superiority over animals. Therefore it won't be an over statement to make that 'Written script invention is probably the greatest invention of human's during Bronze-age to Iron- age.''
The first discovery of metal was Copper followed by bronze and ultimately Iron. The continuity of this period is displayed by using and exhibiting the COR-TEN Steel as main cladding material. These facade's cladding will have ancient language symbols and scripted and cut-through them. The similar pattern of Language Scripts engraved in concrete and also displayed on the translucent glass - the emitting light in night will exhibit and remind the city of relevance of this invaluable treasure.
The building also consists of eight Large columns which are intentionally designed as little disproportionate to the form. The idea behind is to represent the 'known eight direction' across the globe - of which this museum belongs to. The columns are inclined to have an origin beneath the earth - somewhere below the museum itself - The torch light from them to the sky - will be represent the infinity - a tribute to all the lost and undocumented world scripts - which took centuries to evolve and then lost forever - without a trace..
Building layout and form
The proposed building layout is simple and symmetrical, the architecture in center is open and raw resulting in a public building which is clean, efficient and visually and functionally legible. The building is non imposing in terms of shape and size - giving freedom to the visitors as how to use it.
The museum building by its compact 'Zero' inverted shape and variation in height helps to retain the integrity of the central park and surrounding by respecting the open character of park and area around. Main public functions are easily accessed with a clear separation of private and service functional spaces. The building shapes doesn't have any sharp edges thus retaining the continuity on the external skin of building - avoiding essentially any rear or front and thus keeping the balance of visitors moment from all side .
The museum makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of the central park.
The corridors and the projected balconies around the central atrium will encourages people to flow within this public building uninterruptedly. The delicately assembled fragmented volumes will create logical passages in between, which will allow the visitors to break from long corridors and also offers the flexibility about use of space. The proposed design promotes openness and boost public engagement. Visitors will be able to enjoy and appreciate the exhibits and the building itself while walking through these simple magnificent but generous corridors.
The lavish passage in-between the exhibition galleries will be a complementary open space. The comfortable atmosphere creating an contradictory feeling of being social and familiar.
Gracing the Park and waterfront
The distinctive yet elegantly 'sculptured -like' appearance sitting majestically on podium provides a charismatic addition to the park and city skyline. Clearly visible by its distinctive yet fitting shape and size in cluster of akin high rise buildings. The museum building taking advantage of spectacular setting of park and waterfront will leave a remarkable imprint on the visitors arriving either by land , sea (part) or air (airport).
The Museum Building - with circulation Strategy
Once in Museum the central staircase is the primary vertical circulation. It is split on either side of exhibition galleries and public spaces. A linear straight stair reaches directly to the second floor's Education area and Library.
The functional spaces are also connected through two ramps - parallel to each other. The internal ramp and the roof of internal ramp is denoted as external ramp - The internal ramps connects the Ground floor to First and Second floor and ascends within the void along with longitudinal southern side of the building offering a majestic view of the park. The external ramp (roof of the internal ramp will have uninterrupted access to top terrace to the public from outside the museum. On the North East side. The external stairs takes visitors to the lower terrace and there will be provision for the Museum staff to access the First floor office from these stairs.
Materials
COR-TEN Steel
The use of Cor-ten Steel as facade cladding pay homage to 'Copper to Iron Age" during which the various language scripture were evolved and developed from Copper-age to Bronze-age and then throughout Iron Age. The material as a facade skin will also be easy to maintain and with adequate paint coating protection will face the Sea's salt wind in desired and natural process - as the World's language scripts have been through.
Translucent Glass
The museum will makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of this park.
Conclusion
The proposed 'National Museum of World Writing' will ultimately be a unique, conveniently accessible and a very public building. It will be effectively a new addition to destination's of Songdo city along with waterfront and Central park.
This monumental yet elegant and imposing building will not only be an addition to Incheon but a tribute to the "all known and undiscovered , documented and unrecorded, prevailing and forgotten' World Scripts.
This timeless and priceless treasured collection of humanity which continuously and constantly evolved from 'Stone-Age' through Iron-age to present 21st Century needs equally commensurate building - if not less.
The proposed building is designed to meet most of these aspects and design requirements - if not all.
"The harmonization of technologically extending oneself consciousness, artificial intelligence and machine learning will reverse the failures of genetic predisposition & #limitation"- James Scott
#Harmony #AI #BigData #InternetOfThings #ML #tech #fintech #DataScience
Delicious Grapefruit harmonizes with delectable berries, showing us why Ambrosia was truly the Food of the Gods.
Khat–La / Basic Pulse Harmonizer
The artifact is intended for the treatment of profound disorders and disharmonies at the base frequency level. He dresses on a hand with three, five or six fingers.
A unique project—Jacob Collier’s first-ever college residency—brought together the MIT Festival Jazz Ensemble, MIT’s Ben Bloomberg and other members of the MIT music community.
Collier’s music combines elements of jazz, a cappella, world, contemporary classical, pop, gospel, R&B and soul. He is well known for his viral YouTube videos, which have turned numerous legendary artists into fans, including Herbie Hancock, Chick Corea, Pat Metheny, David Crosby, Jamie Cullum, Take 6 and Quincy Jones—now his manager/mentor.
In 2014, he began working with MIT’s Ben Bloomberg (a graduate student at the MIT Media Lab) who helped transform Collier’s video productions into live one-man-show performances. Bloomberg also designed and created a custom unique Vocal Harmonizer, which has provided Collier a vehicle to simultaneously combine his vocal and keyboard talents live.
Collier’s December residency at MIT—culminating with a major concert in Kresge Auditorium on December 10—involved several first-time elements. Collier and the MIT Festival Jazz Ensemble (FJE) with additional musicians presented the premiere of an experimental piece crafted by Collier. Several new big band arrangements of Collier’s music were also featured, two of which crafted by MIT alumnus Jamshied Sharifi and one by Collier himself. The concert included Collier performing some jazz standards with the FJE as well as some solo performances.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Hatred paralyzes life; love releases it. Hatred confuses life; love harmonizes it. Hatred darkens life; love illuminates it
Martin Luther King Jr
It may be true that the law cannot make a man love me, but it can stop him from lynching me, and I think that's pretty important
Martin Luther King Jr
We must learn to live together as brothers or perish together as fools
Martin Luther King Jr
Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity.
Martin Luther King Jr
Injustice anywhere is a threat to justice everywhere.
Martin Luther King Jr.,
Like an unchecked cancer, hate corrodes the personality and eats away its vital unity. Hate destroys a man's sense of values and his objectivity. It causes him to describe the beautiful as ugly and the ugly as beautiful, and to confuse the true with the false and the false with the true.
Martin Luther King Jr
A racist fascist poet
On the stalk a mugger on the move
Brown skinned Brother Beware
His knuckles bare his fists
His weapons of hate hardware
On the unholy bible
Of the Klu Klux Klan he will swear
The fabric of human integration he will tear
His rancid vapid hate
for the nigger for the Hispanic
For the raghead
for the Indian gollywog
Will never outwear
Backed by the powers in high places
He gets away a sucked system to dare
To show the last remnants
of human honor threadbare
words of his poem to mock
colored souls with his brethren
down under to share
a circle of cybernetic cultural chaos
at the mercy of a square
he trapped the wrong Indian beaver
this time in his multi colored snare
to his dogmatic dish washed despair
I have nothing believe me
A fractured genius a few words in my sling
to declare to a fact I make you aware
Why did you provoke me racist poet
to poke your white washed
Ass into my personal affair
A rope trick man tricking the grizzly bear
Thank you for all your tender loving care
Cybernetic wires Internet
A poet waking on air ..
A stalker
Sodomized by words in a leopards lair
Welcome to a Multicolored Vanity Fair
Jesus Christ Holy Father Son and the Holy Ghost
Your followers who crucified you once
As they crucified Red Indians Dead Indians
Dead Walking Poets
each time they offered you a prayer
a soliloquy from my heart
to you as a solitaire
Stitched panoramic screenshot
- uncropped raw resolution: 11857 x 6404
- resolution of archived cropped backup: 9513 x 5252
- screenshots used for pano stitching: 123 images
- camera tools: ingame photo mode, MSI Afterburner
- post-processing tools: Autopano Giga, Photoshop
- pc specs: i7 7700k, 16GB ram, gtx 1080
- archive id: doom_Urdak003
my somewhat oldfashioned "full" guitar livelooping setup as of November 2007. The setup looked like this on my little England tour - my Norwich concert is at the beginning of this record:
veloopity.bandcamp.com/album/live-veloopity
I rarely used the complete setup as it was too heavy to transport (and I'm too old for this) - the rack without cables already weighs 20kg. In most cases I only used the GT-5 and maybe the DL-4.
For those who are interested, the signal route was:
guitar --> GT-5
guitar midi --> Axon --> Vintage Keys --> Sampler Volume
GT-5 and Sampler Volume --> DL-4 --> Nanoverb --> G612 Mixer
in the mixer, the two signals (guitar and sampler) can access two effects: the livelooping delays. The can then be modified by the Vortex and the harmonizer.
Making music with this setup meant lots of fun but I eventually (in 2009) replaced most of it with one laptop. Much better for my back, and even more fun.
Project Architect : Sunil Yadav - ARB (UK) - Msc Advanced Architecture, Bsc (Hons) Architecture,
(Main Designer) PG Dip International Planning & Sustainable Development
Design Team Manager : Anil Yadav - COA (INDIA) - B.Arch
Design Team : Sahil Batra, Sanjay Kumar
lIlustration : Tikendrajeet Wahengbam Singh, Potsangbam Anandibala
3d Rendering : Rahul Kumar - B.Arch , Josue Romero
National Museum of World Writing
The proposed Museum of World Writing is located at Central park of Songdo International Business District known as 'ubiquitous city'. Since this city of 1500 acres is build from the scratch on reclaimed land from Sea, the proposed form respect and consider this aspect as well as the actual site within which the building will sit.
The site is of odd geometry where essentially three geometrical shapes fuse together to form a shape with eight edges.
The proposed building form reciprocate these aspects and harmonize not only to the site within the site (Central Park) but the whole built environment at vicinity, the new Songdo City, its port (second busiest in Korea) and to the countries' busiest airport as the site is situated parallel to the city's main access to the airport.
The museum is sitting on a podium shape which is influenced by site's geometry as well as waterfront and the various direct and secondary access routes to the central park.
Since public spaces are most essential element of any city, which not only influence the lives of individual but society as a whole. This museum is intended to be belonged to everyone and design incorporates these essential and practical aspects delivering a truly functional pragmatic museum.
Design Concept - in Continuation
A museum is the symbol of regeneration, preservation and continuation and this has been the essence of our proposed design process.
The design for the National Museum of World Writing is based on intuitive and sympathetic approach to the context, nature of site and Songdo city as a whole. The vast scale of site , the central park , the reclaimed land from sea, the location of Songdo within Incheon City, the high rise office towers in surrounding and the purpose of museum itself assists to provide the clues for design concept.
The design is intended to enhance , create, reinvent the missing or existing key pedestrian link, built mass and other open spaces of the central park and its immediate built urban environment. The idea is to have a museum building which is welcoming and friendly to public and appropriately embraces site surrounding and context without dominating it.
The museum building is sitting on an elevated plinth / podium. The plinth consists of basement which is housing the parking, services, the storage , special exhibition gallery, and a central atrium with cafe. Two connecting entries are introduced for visitors to improve the connectivity at this level and eventually to the building as whole.
Design Concept - Abstract
The discovery of first metal by man becomes his first step towards modernization and arguably the invention of script is 'first step to the path leading to civilization'. The invention of written script is what may have distinguished and established human's superiority over animals. Therefore it won't be an over statement to make that 'Written script invention is probably the greatest invention of human's during Bronze-age to Iron- age.''
The first discovery of metal was Copper followed by bronze and ultimately Iron. The continuity of this period is displayed by using and exhibiting the COR-TEN Steel as main cladding material. These facade's cladding will have ancient language symbols and scripted and cut-through them. The similar pattern of Language Scripts engraved in concrete and also displayed on the translucent glass - the emitting light in night will exhibit and remind the city of relevance of this invaluable treasure.
The building also consists of eight Large columns which are intentionally designed as little disproportionate to the form. The idea behind is to represent the 'known eight direction' across the globe - of which this museum belongs to. The columns are inclined to have an origin beneath the earth - somewhere below the museum itself - The torch light from them to the sky - will be represent the infinity - a tribute to all the lost and undocumented world scripts - which took centuries to evolve and then lost forever - without a trace..
Building layout and form
The proposed building layout is simple and symmetrical, the architecture in center is open and raw resulting in a public building which is clean, efficient and visually and functionally legible. The building is non imposing in terms of shape and size - giving freedom to the visitors as how to use it.
The museum building by its compact 'Zero' inverted shape and variation in height helps to retain the integrity of the central park and surrounding by respecting the open character of park and area around. Main public functions are easily accessed with a clear separation of private and service functional spaces. The building shapes doesn't have any sharp edges thus retaining the continuity on the external skin of building - avoiding essentially any rear or front and thus keeping the balance of visitors moment from all side .
The museum makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of the central park.
The corridors and the projected balconies around the central atrium will encourages people to flow within this public building uninterruptedly. The delicately assembled fragmented volumes will create logical passages in between, which will allow the visitors to break from long corridors and also offers the flexibility about use of space. The proposed design promotes openness and boost public engagement. Visitors will be able to enjoy and appreciate the exhibits and the building itself while walking through these simple magnificent but generous corridors.
The lavish passage in-between the exhibition galleries will be a complementary open space. The comfortable atmosphere creating an contradictory feeling of being social and familiar.
Gracing the Park and waterfront
The distinctive yet elegantly 'sculptured -like' appearance sitting majestically on podium provides a charismatic addition to the park and city skyline. Clearly visible by its distinctive yet fitting shape and size in cluster of akin high rise buildings. The museum building taking advantage of spectacular setting of park and waterfront will leave a remarkable imprint on the visitors arriving either by land , sea (part) or air (airport).
The Museum Building - with circulation Strategy
Once in Museum the central staircase is the primary vertical circulation. It is split on either side of exhibition galleries and public spaces. A linear straight stair reaches directly to the second floor's Education area and Library.
The functional spaces are also connected through two ramps - parallel to each other. The internal ramp and the roof of internal ramp is denoted as external ramp - The internal ramps connects the Ground floor to First and Second floor and ascends within the void along with longitudinal southern side of the building offering a majestic view of the park. The external ramp (roof of the internal ramp will have uninterrupted access to top terrace to the public from outside the museum. On the North East side. The external stairs takes visitors to the lower terrace and there will be provision for the Museum staff to access the First floor office from these stairs.
Materials
COR-TEN Steel
The use of Cor-ten Steel as facade cladding pay homage to 'Copper to Iron Age" during which the various language scripture were evolved and developed from Copper-age to Bronze-age and then throughout Iron Age. The material as a facade skin will also be easy to maintain and with adequate paint coating protection will face the Sea's salt wind in desired and natural process - as the World's language scripts have been through.
Translucent Glass
The museum will makes best use of its ellipse shape with continuous ring of translucent glass & clear glass - which in day time create an atmosphere of transparency and of welcoming feeling and at night the multi-layer facade of translucent and clear glass diffuse and reflects the internal light making the museum as a lamp / lantern of this park.
Conclusion
The proposed 'National Museum of World Writing' will ultimately be a unique, conveniently accessible and a very public building. It will be effectively a new addition to destination's of Songdo city along with waterfront and Central park.
This monumental yet elegant and imposing building will not only be an addition to Incheon but a tribute to the "all known and undiscovered , documented and unrecorded, prevailing and forgotten' World Scripts.
This timeless and priceless treasured collection of humanity which continuously and constantly evolved from 'Stone-Age' through Iron-age to present 21st Century needs equally commensurate building - if not less.
The proposed building is designed to meet most of these aspects and design requirements - if not all.
A unique project—Jacob Collier’s first-ever college residency—brought together the MIT Festival Jazz Ensemble, MIT’s Ben Bloomberg and other members of the MIT music community.
Collier’s music combines elements of jazz, a cappella, world, contemporary classical, pop, gospel, R&B and soul. He is well known for his viral YouTube videos, which have turned numerous legendary artists into fans, including Herbie Hancock, Chick Corea, Pat Metheny, David Crosby, Jamie Cullum, Take 6 and Quincy Jones—now his manager/mentor.
In 2014, he began working with MIT’s Ben Bloomberg (a graduate student at the MIT Media Lab) who helped transform Collier’s video productions into live one-man-show performances. Bloomberg also designed and created a custom unique Vocal Harmonizer, which has provided Collier a vehicle to simultaneously combine his vocal and keyboard talents live.
Collier’s December residency at MIT—culminating with a major concert in Kresge Auditorium on December 10—involved several first-time elements. Collier and the MIT Festival Jazz Ensemble (FJE) with additional musicians presented the premiere of an experimental piece crafted by Collier. Several new big band arrangements of Collier’s music were also featured, two of which crafted by MIT alumnus Jamshied Sharifi and one by Collier himself. The concert included Collier performing some jazz standards with the FJE as well as some solo performances.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
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Snowy Alpine Heights the Theatres of Fighting.
THESE ITALIAN TROOPS, MARCHING OVER THE SNOW IN INDIAN FILE, ARE CLOTHED IN WHITE SO THAT THEIR GARB WILL HARMONIZE WITH THE SNOW AND MAKE IT EASY FOR THEM TO GET CLOSE TO THE ENEMY LINES BEFORE BEING DETECTED.
ITALIAN ALPINE TROOPS MOVING OVER THE SNOW AND ICE OF THE MOUNTAINS ON THEIR WAY TO VARIOUS STRATEGIC POSITIONS ON THE FRONT IN THE MONTE GRAPPA REGION.
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The war of the nations: portfolio in rotogravure etchings: compiled from the Mid-week pictorial. New York: New York Times, Co, 1919. Book.
Retrieved from the Library of Congress, www.loc.gov/item/19013740/. (Accessed November 08, 2016.)
Images from "The War of the Nations : Portfolio in Rotogravure Etchings : Compiled from the Mid-Week Pictorial" (New York : New York Times, Co., 1919)
Notes: Selected from "The War of the Nations: Portfolio in Rotogravure Etchings," published by the New York Times shortly after the 1919 armistice. This portfolio compiled selected images from their "Mid-Week Pictorial" newspaper supplements of 1914-19. 528 p. : chiefly ill. ; 42 cm.; hdl.loc.gov/loc.gdc/collgdc.gc000037
Subjects: World War, 1914-1918 --Pictorial works.
New York--New York
Format: Rotogravures --1910-1920.
Rights Info: No known restrictions on reproduction
Repository: Library of Congress, Serials and Government Publications Division, Washington, D.C. 20540
Part Of: Newspaper Pictorials: World War I Rotogravures, 1914-1919 (DLC) sgpwar 19191231
General information about the Newspaper Pictorials: World War I Rotogravures, 1914-1919 digital collection is available at hdl.loc.gov/loc.gdc/collgdc.gc000037
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Close your eyes and listen. The rush of water harmonizes with the rustling leaves and the distant calls of birds. It's a symphony composed by nature–a melody that resonates deep within your soul. As you follow the stream, you'll encounter mini waterfalls, their spray catching the sunlight like a thousand diamonds.
Fujigawachi Valley receives water from Mount Natsuki, a 1,386-meter-high mountain situated on the border of Oita and Miyazaki prefectures. The journey begins at Kannon Falls and extends for approximately eight kilometers.
For photographers, Fujigawachi Valley is a dream. Capture the play of light on water, the reflections in still pools, and the interplay of shadows and sunbeams. Whether you wield a professional camera or a humble smartphone, every frame here is a masterpiece waiting to be framed.
I'm preggers in this picture, although you can't really see it ;)
I had a little contest on my podcast, hence the words on the picture. Contest if now over, oh well. I know I'll be having some more soon though!
This episode's class is a Level 1 Yoga Class
"...Hatred confuses life; love harmonizes it. Hatred darkens life; love illuminates it."
Martin Luther King Jr.
A month ago I received my personal iPhone 7 - I got my business use iPhone 7+ today. Both iPhone 7 models deliver enhancements over Apple's iPhone 6/6s (which are the top selling smartphones in the world): a newly harmonized Home button and 3D Touch haptic user interface paired with an enhanced Taptic Engine actuator; Wide Color Retina HD Display; a significantly improved A10 Fusion Application Processor providing enhanced speed and efficiency, paired with 2GB (iPhone 7) or 3GB (iPhone 7+)of RAM and larger batteries (largest in the iPhone 7+) for an extra hour, two or three of use; new rear and FaceTime cameras and lenses with Optical Image Stabilization (in both cameras) for more detailed low light photos and smoother video; louder and crisper stereo speakers paired with Lightning and wireless audio connectivity that supports faster, feature-enhanced LTE Advanced mobile and MIMO WiFi; and new iP67 dust and liquid intrusion resistance.
A lot of work has gone into making 3D Touch smart, useful but unobtrusively inconspicuous. Apple has also enhanced the visible characteristics of its iPhone 7 Retina HD displays. Both iPhone 7 and 7+ feature radically enhanced displays with very high contrast ratios, very low reflectance and peak brightness levels above 700 nits. DisplayMate rated the new iPhone 7 Retina HD panels as "most color accurate display that we have ever measured." The displays on both models - as well as their cameras - also now support Wide Color as defined by the Digital Cinema Initiatives P3 color gamut specification. This extra color information isn't visible on most of today's PCs, notebooks, tablets or phones, but is of course displayed by iPhone 7 and 7 Plus (as well as my 27” iMac 5k and 9.7" iPad Pro).
Apple doesn't sell any laptops with support for P3 Wide Color - yet. What is interesting (especially for me as a professional photographer) is that until you experience Wide Color on a screen - you don't know what you’re not seeing. I am sure that in the future Wide Color will come to HDTVs and all Macs and iPads, so capturing images with your iPhone 7/7+ in 2016 with this expanded color palette capability means you'll see more vibrant memories of your kids, sunsets, travel photos and whatever else you like to take pictures of. By the way - Wide Color Gamut is part of what TV vendors are branding as "High Dynamic Range" - a well known “brand” for most serious photographers.
In this blog, I have posted some images of both my iPhone 7 and iPhone 7+, and my very first set of images captured with the iPhone 7+ that just arrived on my doorstep. Let me know what you think of the image quality produced with this device.
Just 4 2day -
Greg
The Davenport Projex
sometimes all the flaws and weaknesses harmonize.
went out for a walk. had a long lens, and it was pretty much dark, and this was backlit, and they were kinda scraggly flowers. this was handheld at about 4 seconds or so.
but yeah: everything conspired to make a really lovely picture, right out of the box.
thanks.
quasi. SUZUKI Ignis III,
2020 ff. specs
facelift 4/2020 ff.
Nano SUV for life
Micro-SUV
Trunk / Boot capacity
260-1097 L / - cu-ft
einziger SUV der Kleinstwagenklasse
Powertrain facelift:
European-spec Ignis received a brand new 1.2-litre dual VVT mild hybrid engine called K12D Dualjet and become standard engine.
The battery capacity for mild hybrid system is also enlarged to 10Ah.
SUB, B-Segment
1.2 Dualjet (83 PS) Mild-Hybrid
Vierzylinder
Weight/Power Output Ratio : 11.2 kg/hp - kg pro PS
Modern Powertrain by Suzuki and Toyota optimated
-
NEFZ - old compare
Fuel Consumption - Economy Combined: 3.9 L/100 km
72 MPG UK
60 MPG US
Fuel Consumption -
Economy - Open road (Landstraße): 3.8 L/100 km
74 MPG UK
62 MPG US
www.ultimatespecs.com/car-specs/Suzuki/119393/Suzuki-Igni...
Generation : Ignis 3 (MF) - 2020 Facelift
Body : Hatchback
Num. of Doors : 5 doors
Seats: 4
Fuel System : Multipoint Injection
Number of valves : 16 Valves
Aspiration :- natural
Compression Ratio : 13.0
Das neue WLTP-Verfahren war im September 2018 für neu zugelassene Fahrzeuge eingeführt worden.
Es sorgt sowohl bei den Schadstoffemissionen als auch beim Verbrauch für realistischere Messwerte
...
Worldwide harmonized Light vehicles Test Procedure: WLTP
Fuel Consumption - Economy Combined
WLTP: 5.1 L/100 km
55 MPG UK
46 MPG US
Innengeräusch 100 km/h
70 dB(A) (5.Gang)
Innengeräusch 130 km/h
74 dB(A) (5.Gang)
Kraftstoffverbrauch Suzuki Ignis 1.2 DUALJET HYBRID:
kombinierter Testzyklus 4,9 l - 5.1 l / 100km;
Unter 4° Grad steigt der Hybrid E-Boost im Winter aus.
Verbrauch steigt auf
5,5 l / 100 km bis 6,5 l /100, wenn es sehr kalt wird.
================================================
Mild-Hybrid: E-Boost
35-50 Nm, 3.1 hp
System-power max. 120 NM.
cummulativ only: 142 NM -
Full Lithium Battery,
helps on smart acceleration between ~ 2.000 and 3.900 rpm in every gear!
in the 5th gear up to 140 km/h
0-100 km/h:
11:68 Second
15" alloy, tyres
0- 100 about 11.8 s ( Suzuki says 12.5s)
0-80 about 8.3 s other tests: 7.9s
0-60 about 5.8 s
This car sounds like a sports car.
Motor muss gut warm sein!
Drehfreudig:
4000 rpm
bis über 5500 rpm* hochdrehen, dann geht noch mehr!
Mildhybrid, Batterie voll!
ps
kleinere Räder:
15 " ist besser für die Beschleunigung
als 16"
Mehrverbrauch, wenn die Felgen und Reifen
größer werden.
bei 16" oder mehr,
aber schneller am Ziel!
(ps. Focus Puma Datenblatt zeigt das deutlich)
E-Boost min. 35Nm
Vmax 170 km/h gps
11.3 s -- 0-100 km/h CVT
10.2 s -- 0-100 km/h 5 Gang Hybrid System (full pull start)
Was bedeutet das Wort Pull?
„pull“: noun
Ziehen, Zerren Zug, Ruck
Drehzahl schon hoch beim Start.
....
at full rpm
*Das automatische Getriebe (CVT) geht auch bis 6.000 rpm,
meist 5.500 rpm, bevor hoch geschalten wird.
Luftdruck: Winterreifen bis 2,7 Atü
how You squeeze the 83 ps to its limits.
dashboard km/h
1. Gang - bis 40 km/h
2. Gang - bis 80 km/h
3. Gang - bis 120 km/h
4. Gang - bis 165 km/h
5. Gang - bis fast 180 Tachometer
GPS bereinigt, ja nach 15" oder 16 " Felgen
8 km/h bzw. 4 km/h abzüglich
Vmax: 172 km/h er GPS abgesichert, 15" Zoll Felgen!
Vmax: 176 km/h er GPS abgesichert, 16" Zoll Felgen!
Tacho geht nicht umsonst bis 200 km/h
CO₂-Ausstoß: kombinierter Testzyklus 110 g/km.
Bild oben
Türen öffnen fast 90° Grad an den Seiten
Kofferraum:
Und über 185 cm hoch, hinten zum drunter stehen
Perspektive gestrecht
13mm Weitwinkel zugeschnitten und korrigiert
Suzuki - Ignis - IGNIS 1.2L DUALJET HYBRID
Plug-in-Hybrid Benzin, BJ 2021, 61 kW (83 PS),
Schaltgetriebe
1.2 Dualjet (83 PS) Mild-Hybrid 16V
Define:
VVT-i - dual-Jet
Valve timing is most valuable thing which effects on engine performance !
Variable valve timing explained
Variable Ventilsteuerung mit Intelligenz ist eine von Toyota entwickelte Technologie zur variablen Ventilsteuerung in Kraftfahrzeugen.
VVTI ist das Beste in Bezug auf den Kraftstoffverbrauch und die Leistung bei niedrigen und hohen Geschwindigkeiten und ist sehr leise.
VVTI es el mejor mejor consumo y potencia en vajas y altas y es muy silencioso
Die Ventilsteuerung ist der wichtigste Faktor, der sich auf die Motorleistung auswirkt!
Alfa Romeo was the first manufacturer to use a variable valve timing system in production cars (US Patent 4,231,330). The 1980 Alfa Romeo Spider 2.0 L.
The system was first used in 1999 Toyota Celica with 2ZZ-GE.
Variable Valve Timing with intelligence (VVT-i ), is an automobile variable valve timing technology developed by Toyota.
Mehrpunkteinspritzung
DOHC - Double Overhead Camshaft =>
Hubkolben-Viertaktmotors bei dem die Ventile von zwei oben liegenden Nockenwellen je Zylinderbank gesteuert werden.
K12D
"Flame Orange Pearl Metallic /
Super Black Pearl Roof /
1.2 DUALJET engine
Ignis-1.2-dualjet-engine
1.2 DUALJET engine offers both powerful response and high fuel efficiency.
16V
This high-level balance is made possible by a number of advances including an electric intake VVT (variable valve timing), a variable displacement oil pump and electric piston cooling jets (PCJ).
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2019,2020, 2021, 2022,2023,2024,
6 Liter Verbrauch auf 100 km, sportliche Fahrweise!
www.adac.de/rund-ums-fahrzeug/autokatalog/marken-modelle/...
ADAC Test 5,6l / 100 km
ADAC Urteil Autotest (Noten)
2,9 - 3+
Autokosten
1,3 - 1-
"phosphere" is an exploratory harmonization of two distinct spaces—a dance stage and an installation component—into one performative spatial whole. By processing in real-time all the elemental movements throughout the entire performance space with motion capture, it is possible to trace the movement of a dancer’s hand, for example, and instantaneously convert that movement into three-dimensional video. In turn, this technology unlocks a new realm of creative possibility, and enables a groundbreakingly minute interplay between dance and video elements. In the pivotal culmination of this spatial interplay, objects are reduced to light, and the human body is restored to the transcendently ephemeral.
☝️ Brown University Watson Institute presentation -- China and Russia: An Unlikely Brotherhood, featuring Prof (Emeritus) Lanxin Xiang from the International History and Politics at the Graduate Institute of International and Development Studies, Geneva. A very informative talk. Prof Xiang had met with Russian President Putin numerous times before the Ukraine War.
eng.globalaffairs.ru/articles/the-peak-moment-for-china-r...
BEIJING AND MOSCOW BUILD A NEW MODEL OF GREAT-POWER RELATIONS
Observers in the West tend to underestimate the solid foundation of the current Chinese-Russian relationship. The intimacy between Beijing and Moscow is often referred to as a “marriage of convenience.” Both Beijing and Moscow, however, rank their ties as the “peak” in mutual history. We can look at this unprecedented phenomenon through two analytical frameworks: the conceptual framework of converging visions of the future world order and the effective operational framework of harmonized national interests.
EQUALITY IN PLACE OF HEGEMONY
In the conceptual framework, Russia and China share a strategic vision against the unipolar world: both see the United States in relative decline and the world already becoming multipolar. In the process of mismanaging its decline, the U.S. suffers from a psychological problem that is often labeled as Post-imperial Time Lag Syndrome (PITLES) and is manifest in the unfounded fear of rising powers. Moreover, both Beijing and Moscow consider their countries to be on the path of national restoration, hence a declining U.S. that is oversensitive to any sign of power challenge from potential rivals and poses a major obstacle to their objectives. The world is changing and the world order must be revamped. Pax Americana is over and Washington must adjust to the new world. Chinese culture is fundamentally anti-hegemonic, and its implication for global governance leads inevitably to competing interpretations of what is the global “moral center.”
If a morally corrupted system does not undergo serious reform, it will not be able to sustain itself for long. Looking from whatever perspective, Beijing’s external policies have raised the specter of a meaningful alternative to Western models of international order, for the first time in three centuries.
But the debates over whether China is going to comply with established (Western) rules of the international system miss the point and encounter at least two cognitive problems. The first problem is the intellectual habit, both in moral and practical sense, of applying Western standards for assessing the “proper” international behavior of a non-Western actor. Here the insurmountable difficulty is for the West to recognize the legitimacy of any alternative model of conducting global affairs based on an entirely different system of domestic governance.
There is no “order versus chaos” mental paradigm which is predominant in mainstream Western IR theories. Naturally, this Western paradigm always focuses upon the international power distribution, hence the need for establishing and maintaining a kind of mechanical power hierarchy in order to keep stability, defined either by hegemony or “balance of power.” In Chinese conception, permanent existence of hegemonic power in any political system cannot be sustained, as the hegemon will inevitably start to misbehave morally. But the new order is not recreated by another pattern of power distribution such as “balance of power” or war, but rather maintained by leaders whose behavior is morally correct. Beijing’s rapidly increasing economic and political power demonstrates that a non-Western actor is equally skilled, powerful and willing to perform on the global stage. In this respect, the acknowledgment of China’s legitimate role as an international actor implies, above all, the treatment of Beijing as an equal partner in the West-dominated international society.
Another cognitive problem is the lack of analytical tools or indeed the right language to explain this new development in international order as a result of China’s “rise.” To begin with, China does not consider itself to be on the “rise,” but in a historic process of national “restoration.” That means, as Henry Kissinger stated in his recent book On China, “the Chinese DNA has reasserted itself,” which explains why so much interest has been accorded to Beijing’s foreign policies, “confronting the new challenges of the twenty-first century, and in a world where Leninism has collapsed, Hu [Jintao] and Wen [Jiabao] turned to traditional wisdom.” The cognitive challenges to analyzing China’s foreign relations have left Western observers frustrated and they have to elicit allegories of animals to help interpret China’s external behavior, ranging from a cute and cuddling “panda” to a terrifying, fire-emitting “dragon.” In the Unites States, for example, pro-Beijing policymakers are labeled “Panda Huggers,” while those opposing China’s foreign policy are known as “Dragon Slayers.” These allegorical images do not clarify but obfuscate the understanding of China’s foreign relations. Such animal allegories confirm that IR theories seem to gravitate easily towards the realms of fiction and fantasy.
Coincidentally, the Chinese view on the world order at this historical juncture is shared and dovetailed by Putin’s Russia. Both sides hold the view that Washington’s alienation from both Beijing and Moscow is reflected by the deeply rooted fear of the U.S. losing hegemonic status as the “only indispensable superpower” (Madeleine Albright). The indications of the U.S. fear are plenty. From Beijing’s point of view, the U.S. decision to restart a Cold War containment machine with the pivot or “rebalancing strategy” in Asia was driven by misguided fear. From Moscow’s perspective, due to the blind American triumphalism over the Cold War, Washington has deliberately ignored the crucial contribution from the USSR to the ending of the Cold War. As a result, the Western alliance took the advantage of post-Soviet chaos to push the Western sphere of influence towards the Russian border.
In sharp contrast to mutual suspicion and deteriorating relationship between Washington and Beijing, the Chinese-Russian tie has proved to be a stable strategic partnership and by no means a marriage of convenience. It is built on mutual understanding, respect and national interests. Dramatic changes in international relations since the end of the Cold War have brought the two countries closer together. Nevertheless, neither side has interest in a formal alliance, because it is unnecessary. Since the end of the Cold War, the two sides have successfully resolved most of the historical obstacles such as thousands of border disputes and initiated and succeeded in building the first multilateral regional institution of the Shanghai Cooperation Organization, which is hardly an anti-U.S. or anti-Western bloc. Rather, it provides a safe environment for the two countries and their central Asian partners to support each other through active cooperation. China even hopes this type of cooperation led by two major powers may offer a model for managing the great power relations, especially concerning the U.S.-China relations. The Chinese have offered the concept of “New Type of Great Power Relations” to Washington, but so far it has not been accepted by the American side.
HARMONIZING INTERESTS
On the operational level, the China-Russia ties have been evolving at a rapid pace in the past twenty years. Over this period bilateral trade and investment have expanded on a massive scale. In 2011, China became Russia’s largest trading partner. In 2014 alone, China’s investment in Russia grew by 80 percent—and the trend towards more investment remains strong. In the early 1990s, annual bilateral trade between China and Russia amounted to around $5 billion; by 2014, it came close to $100 billion. That year, Beijing and Moscow signed a landmark agreement to construct a pipeline that, by 2018, will bring as much as 38 billion cubic meters of Russian natural gas to China every year. The two countries are also planning significant deals involving nuclear power generation, aerospace manufacturing, high-speed rail, and infrastructure development. Moreover, they are cooperating on newly created multinational financial institutions, such as the Asian Infrastructure Investment Bank, the New Development Bank BRICS, and the BRICS foreign exchange reserve pool. The One Belt One Road Initiative, disliked by Russia at first, is now linked to Moscow’s favorite project of the Eurasian Union.
Meanwhile, China has become one of the largest importers of Russian arms, and the two countries are discussing a number of joint arms research-and-development projects. Extensive Chinese-Russian defense cooperation involves regular exchange and consultations between high-level military personnel and joint training and exercises, including more than a dozen joint counterterrorism exercises during the past decade or so, carried out either bilaterally or under the auspices of the Shanghai Cooperation Organization. As economic and military links have strengthened, political ties are getting ever closer. Since 2013, Xi and Putin have met 12 times.
Of course, China’s rise has been viewed worrisome among some in Russia. There is still talk in Russia of “the China threat,” Russia’s public opinion poll showed that around 60 percent of Russians were concerned that Chinese migration to Far Eastern border areas would threaten Russia’s territorial integrity; 41 percent believed that a stronger China would harm Russia’s interests. However, these concerns do not support the speculation in the West that Beijing and Moscow are alienated from each other. The crises in Syria and Ukraine indicate that China and Russia can effectively manage their partnership under difficult conditions. China did not take any side but expressed sympathy with Russia’s historical sensitivity to the Ukraine crisis. Chinese leaders are unambiguous about what led to the crisis, including the series of Western-supported “color revolutions” in post-Soviet states and the pressure on Russia that resulted from NATO’s eastward expansion.
On Syria, Beijing supports Russia’s claim that its military intervention at the request of the Syrian government is aimed at combating terrorist forces. China hopes that talks among parties concerned may help resolve the conflict.
* * *
China-Russia ties are at their best since the time of Catherine the Great. They are built on a solid foundation and will remain stable for a long time. Meanwhile, the Sino-American relationship will increasingly run into trouble. As no one seems able to persuade the American leaders to give up their hegemonic fantasies and policy, the strategic partnership between Beijing and Moscow will remain a healthy check on Washington’s “unipolar folly.”