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This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

via WordPress bit.ly/2vyXSFO

 

ĐỒNG HỒ ĐO ÁP SUẤT ANHUI TIANKANG-ANHUI TIANKANG VIỆT NAM

 

Home–Áp Suất–Đồng hồ áp suất Anhui TianKang

 

Mục lục

 

Contents

 

ĐỒNG HỒ ĐO ÁP SUẤT ANHUI TIANKANG-ANHUI TIANKANG VIỆT NAM… 1

 

Mục lục. 1

 

1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE). 1

 

2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES). 2

 

3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES). 3

 

4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE). 3

 

5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE). 4

 

6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE). 5

 

7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE). 6

 

8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE). 6

 

9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE). 7

 

10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE). 7

 

11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE). 8

 

12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE). 9

 

13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE). 10

   

1.ĐỒNG HỒ ĐO ÁP YBF/YBFN (STAINLESS STEEL PRESSURE GAUGE)

 

Đồng hồ đo áp suất YB series

 

Mô tả:

 

Vật liệu: Thép không gỉ và hợp kim chống ăn mòn cho vỏ đồng hồ và các phụ tùng bên trong.

 

Ứng dụng: đồng hồ đo áp được sử dụng rộng rãi trong các ngành công nghiệp dầu khí, hóa chất, luyện kim, khai thác mỏ, máy móc, điện và thực phẩm.

 

Lưu chất : khí ga, hóa chất lỏng có tính ăn mòn cao

 

Oder code:

 

Mã đồng hồ áp suất + Đường kính mặt đồng hồ

 

Mã đồng hồ áp suất

 

–

 

Đường kính mặt đồng hồ

 

YBF: Stainless steel pressure

 

60: φ60

 

YBFN: Stainless steel Shock-proof pressure

 

100: φ100

 

150: φ`150

 

Thông số kỹ thật:

 

Nominal Diameter: φ100

 

Structure: direct radial mounting

 

Connection Thread: M20 X 1.5

 

Accuracy: 1.5; 2.5

 

Measuring Range: -0.1~0MPa; -0.1~0.15 to -0.1~2.4MPa;0~0.1 to 0~60MPa

 

Environment Condition: Temperature -40~70; Relative

 

Humidity ≤85%

 

Shock-proof Class：· H· 3for YBF type V H 4for YBFN type

 

Material: 0Cr18Ni9Ti 1Cr18Ni9Ti 316L, etc.

 

2.ĐỒNG HỒ ĐO ÁP Y-M SERIES (DIAPHRAGM PRESSURE GAUGES)

 

Đồng hồ đo áp suất YML series Anhui TianKang

 

Mô tả:

 

Vật liệu: thép không gỉ, hợp kim chống ăn mòn.

 

Ứng dụng: đồng hồ đo áp suất dạng màng được sử dụng rộng rãi trong các ngành công nghiệp dàu mỏ, hóa chất, y học, thực phẩm, sản xuất giấy.

 

Lưu chất: chất lỏng có độ ăn mòn mạnh, độ nhớt cao, dễ kết tinh hoặc dạng rắn.

 

Oder code:

 

Mã đồng hồ áp suất + Kiểu kết nối + Đường kính mặt đồng hồ

 

Mã đồng hồ áp suất

 

–

 

Kiểu kết nối

 

–

 

Đường kính mặt đồng hồ

 

YM: Spacer type pressure gauge

 

L: thread connection

 

100: φ100

 

YMN: Shock-proof Spacer type

pressure gauge

 

F: Flange connection

 

150: φ150

 

Thông số kỹ thuật:

 

Type

   

YML-100/

YML-150

 

YMNL-100/

YMNL-150

 

YMF-100/

YMF-150

 

YMNF-100/

YMNF-150

 

Connection Way

   

Thread Connection

M20 X 1.5

 

Flange Connection

(as GB9113-88)

 

Accuracy

   

1.5 ; 2.5

 

Measuring Range (MPa)

   

0~0.1; 0~0.16; 0~0.25; 0~0.4; 0~0.6;

0~1; 0~1.6; 0~2.5; 0~4; 0~6;

 

Environment Condition Temperature

   

Temperature -40~70 ; Relative Humidity 85%

 

Shock-Proof Class

 

V .H. 3

 

V. H.4

 

V.H.3

 

V. H.4

 

Gauge Head

 

Nominal Diameter (mm)

 

φ100; φ150

 

Type

 

General

 

Shock-proof

 

General

 

Shock-proof

 

Accuracy

 

1.5;2.5

 

Diaphragm

Separation Device

 

Flange Material

 

1Cr18Ni9Ti

 

Spacer Material

 

Stainless Steel, H Alloy, M Alloy, etc.

 

Filling Liquid

 

Methyl Silica Oil, Glycerin, etc.

   

3.ĐỒNG HỒ ĐO ÁP Y-M SERIES (HYGIENIC DIAPHRAGM PRESSURE GAUGES)

 

Đồng hồ đo áp suất Y-M series

 

Mô tả:

 

Vật liệu đồng hô đo: thép không gỉ.

 

Vật liệu màng ngăn: 316, 316L

 

Vật liệu sealing ring (vòng đệm): silicon rubber, Teflon

 

Ứng dụng: đo áp suất cho công nghiệp sản xuất thuốc, thực phẩm, nước giải khát, xử lý nước…

 

Lưu chất: Glycerol, Propylene glycol, Vegetable oil .

 

Thông số kỹ thuật

 

Model

 

Form

 

Top limit of the measurement (MPa)

 

Mix Shock-proof pressure gauge

 

Mix Stainless Steel Pressure Gauge

 

0.6~2.5 ( flange 1 1/2 ” )

 

YN-60/MC

 

Y-60B/Z/MC

 

MC

 

Clamp-on

 

0.4~2.5

( flange 2 ” )

 

YN-100/MC

 

Y-100B/Z/MC

 

YN-100/MN

 

Y-100B/Z/MN

 

MN

 

nut

 

0.4~2.5

 

YN-100/MH

 

Y-100B/Z/MH

 

MC

 

Rectangular Flange

( homogenizer use )

 

10~60

   

Sealing liquid

 

Temperature Range of the compression zone℃

 

Specific gravity

 

Volume expansion

 

Glycerol Aqueous Solution

 

– 5~100

 

1-27

 

0.61×10 -3

 

Propylene glycol

 

-30~160

 

1.04

 

0.70×10 -3

 

Vegetable oil

 

-5~100

 

0.93

 

1.03×10 -3

   

4.ĐỒNG HỒ ĐO ÁP YPF SERIES (SPACER TYPE PRESSURE GAUGE)

 

Đồng hồ đo áp suất YPF series

 

Mô tả:

 

Vật liệu: thép không gỉ

 

Lưu chất: chất lỏng ăn mòn và chất kết dính mà không bị kết tinh và hóa rắn

 

Thông số kỹ thuật:

 

Model

 

Measuring Range

 

Size of Pressure Equipment D1

 

YPF-100A

 

0.~0.06 , 0~0.1 ,0~0.16 ,0~0.25 ,0~0.4 ,0~0.6 ,0~1 ,0~1.6 ,0~2.5 ,-0.1~0 ,-0.1~0.06 , -0.1~0.15 ,-0.1~0.3 ,-0.1~0.5 ,-0.1~0.9 ,0.1~1.5 ,-0.1~2.4MPa

 

φ 85

 

YPF-100B

 

φ 115

 

YPF-100B-F

 

YPF-150A

 

φ 85

 

YPF-150B

 

φ 115

 

YPF-150B-F

 

YPF-100B

 

0~1.6 , 0~2.5 ,0~4 ,0~6 ,0~10 、 0~16 ,0~25 ,0~40* -1.6~0 ,-2.5~0 ,-4~0 ,-6~0 ,-10~0 ,-16~0 ,-25~0, -40~0*-0.8~0.8 ,-1.2~1.2 ,-2~2 ,-3~3 ,-5~5 ,-8~8 -12~12 ,20~20*kPa

 

φ 160

 

YPF-100B-F

 

YPF-150B

 

φ 160

 

YPF-150B-F

   

5.ĐỒNG HỒ ĐO ÁP YXC SERIES (MAGNETIC ELECTRIC CONTACT PRESSURE GAUGE)

 

Đồng hồ đo áp suất điện từ YXC series

 

Mô tả

 

Ứng dụng: thiết bị được sử dụng rộng rãi trong các nhà máy dầu khí, hóa chất, điện, luyện kim và các ngành công nghiệp khác

 

Ưu điểm:

 

-Đo áp suất của chất lỏng mà không gây nguy hiểm cháy nổ, kết tinh hoặc ăn mòn trên hợp kim

 

-Có hệ thống tự động cảnh báo theo mức áp suất được cài đặt trước.

 

-Thiết bị có thể tùy ý đặt áp suất điều khiển mức max và min.

 

-Loại bỏ được các vấn đề gây hại cho cơ cấu đo như: hồ quang, rung động, sự thay đổi đột ngột của áp suất đo.

 

Thông số kỹ thuật:

 

Model

 

Measuring Range

(Mpa)

 

Accuracy

 

Temperature of Environment Condition

 

Relative Humidity

 

Shock-proof Class:

 

YXC-00(1)

 

0~0.1;0.16;0.25;0.4;0.6;1

1.6;2.5;4;6;10;16;25;40; 60 ,

-0.1~0,0.1~0.06;0.15; 0.3;0.5; 0.9;1.5;2.4

 

indicate

 

set value

 

-40~70 ℃

 

≤

85%

 

V · H · 3

 

YXC-100(2)

 

on

 

off

 

YXC-100(1)ZT

 

1.5

 

1.5

 

4

 

YXC-100(2)ZT

 

YXC-150(1)

 

YXC-150(2)

 

YXC-150(1)ZT

 

YXC-150(2)ZT

   

6.ĐỒNG HỒ ĐO ÁP YXC SERIES (SPECIAL MAGNETIC ELECTRIC-CONTACT PRESSURE GAUGE)

 

Đồng hồ đo áp suất dạng màng YXC series

 

Mô tả:

 

Ứng dụng: được sử dụng rộng rãi trong các ngành công nghiệp như dầu khí, công nghiệp hóa chất, nhà máy điện và luyện kim…

 

Ưu điểm:

 

-Kiểm tra áp suất của môi trường chất lỏng mà không gây nguy hiểm trong trường hợp xấu và yêu cầu chống ăn mòn.

 

-Đồng hồ đo có tích hợp hệ thống báo động theo mức đã được cài đặt trước.

 

Thông số kỹ thuật:

 

Type

 

Model

 

Product Name

 

Scale Range

(Mpa)

 

Accuracy Class

 

Indicate

 

Set Value

 

Connect

 

Cut

 

Special

 

YXCA

 

Magnetic Electric contact Ammonia Pressure Gauge

 

0~0.16 to 60

-0.1~0.06 to 2.4

 

2.5

 

2.5

 

4

 

Shock Proof

 

YXC-Z

 

Shock Proof Electric contact Pressure Gaug

 

0~0.6 to 60

-0.1-0.5 to 2.4

 

1.5

 

1.5

 

5

 

Corrosion Resistant

 

YXC-B-F

 

Corrosion Resistant Electric contact Pressure Gauge

 

0~0.6 to 60

-0.1~0.06 to 2.4

 

1.5

 

1.5

 

4

 

Corrosion and shock Resistant

 

YXC-B-FZ

 

Corrosion and shock Resistant Electric contact Pressure Gauge

 

0~0.6 to 60

-0.1~0.5 to 2.4

 

1.5

 

1.5

 

5

 

Diaphragm Common

 

YXC-/M

 

Diaphragm Corrosion and shock Resistant

 

0~0.1 6 to 60

-0.1~0.06 to 2.4

 

1.5

 

1.5

 

4

 

Diaphragm and Corrosion Resistant

 

YXC-B-F/M

 

Diaphragm and Shock Proof

 

YXC-Z/M

 

0~0.6 to 60

-0.1~0.5 to 2.4

 

1.5

 

1.5

 

5

 

Diaphragm,Corrosion Resistant and Shock Proof

 

YXC-FZ/M

   

7.ĐỒNG HỒ ĐO ÁP YTZ-150 SERIES (RESISTIVE REMOTE TRANSMITTING PRESSURE GAUGE)

 

Đồng hồ đo áp suất YTZ-150

 

Resistive remote transmitting pressure gauge is suitable for measuring the pressure of liquid,steam and gas medium which donot have corrosive impact on copper or copper alloy. Meanwhile, it can transmit the electric quantity data to the secondary meter over long distance for achieving the result of centralized test and control over long distance. It can also indicate on the spot which will facilitate technical check.

 

Structure Principle

The gauge is made of a common bourdon spring pressure gauge and a set of sliding resistance-type transmitter. When the pressure of the medium changes, the end of bourdon spring will be in displacement. Such displacement will push the indicator to indicate the relative pressure date on the plate through the transmission gear. As the sliding resistance-type transmitter is setted on the fan-shaped gear of the transmission gear, it will bring slide arm brush to slide when the transmission gear deviates. The changes of pressure data will be transformed to resistance changes and transmit to the secondary meter to display.

 

Using Condition:-40~70℃, relative humidity less than 85% and the shock and strong pulse vibration have no obvious impact on the normal work of the meter.

 

Temperature Impact: When using temperature deviates 20±5℃, the additional temperature error is less than 0.4%/10℃。

 

Measuring Range

 

Measuring Range MPa

 

0~0.1;0~0.16;0~0.25;0~0.4;0~0.6;0~1;0~1.6;

0~2.5;0~4;0~6;0~1 0;0~1 6;0~25;0~40;0~60

 

-0.1~0;-0.1~0.06;-0.1~0.15;-0.1~0.3;

-0.1~0.5;-0.1-0.9;-0.1~1.5;-0.1~2.4

 

8.ĐỒNG HỒ ĐO ÁP YN/YN-B SERIES (SHOCK-PROOF PRESSURE GAUGE)

 

Đồng hồ đo áp suất YN series

 

The shock-proof gauge is mainly used in the pressure measuring in the industrial sector of metallurgy, electricity, chemical industry, light industry, machinery etc. The pressure gauge has excellent shock-proof function by the measures of interior filling of damping oil and assorted shock mitigation device. It is suitable for the occasions where the pressure of medium has strong pulse changes or pressure shock or pressure unload suddenly in the production process and environment shock is strongly. The gauge can measure the average data of the fluctuating pressure of gas and liquid for overcoming the damage to the gauge by the strong medium pulse and environment shock and ensuring the accuracy of the indication.

 

The case of shock-proof pressure gauge is made of stainless material (semisteel) which can be worked in bad circumstances such as corrosion or strong vibration. The observation window is made of high intensity engineer plastics. The gauge indicates clearly and works safely and reliably.

 

Type

 

Structure

 

Scale Range Mpa

 

Accuracy Class

 

YN-60

 

Radial

 

0~0.1;0~0.16;0~0.25;0~0.4 0~0.6;0~1;0~1 6;0~2.5;0~4

0~6;0~10~;0~16;0~25

 

1.5

 

YN-60ZT

 

Axial with edge

 

YN-60B

 

Radial

 

YN-63B

 

Axial with edge

 

YN-100

 

Radial

 

0~0.1;0~0.16;0~0.25;0~0.4;

0~0.6;0-1;0~1.6;0~2.5;0~4;

0~6;0~1 0;0~1 6;0~25;0~40;

0~60

 

2.5

 

YN-100ZT

 

Axial with edge

 

YN-100B

 

Radial

 

YN-103B

 

Axial with edge

 

YN-150

 

Radial

 

0~0.1;0~0 1 6;0~0.25;0~0.4;

0~0.6;0~1;0~1.6;0~2.5;0~4;

0~6;0~10;0~16;0~25;0~40;

0~60;0~100

 

YN-150ZT

 

Axial with edge

 

YN-150B

 

Radial

 

YN-153B

 

Axial with edge

   

9.ĐỒNG HỒ ĐO ÁP YE-100B SERIES (STAINLESS DIAPHRAGM PRESSURE GAUGE)

 

Đồng hồ đo áp suất YE-100B

 

Stainless Diaphragm Pressure Gauge is a measuring meter for testing tiny pressure which is designed according to common diaphragm pressure gauge with corrosion resistant. The pressure transmitting system and outer casing are made of stainless material which is applied in the technical process with high requirement of corrosion resistant. It can measure the tiny and negative pressure of all kinds of gas which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices. It is ideal subordinate product amond the similar products which adopts abroad advanced technics and equipments which can be produced domestically.

 

Structure Principle

The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing.The pressure transmitting system and outer casing are made of stainless material with closed structure for protecting the incursion of dirty things. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.

 

Main Technical Specification

Scale Range and Accuracy Class

 

Type

 

Scale Range kPa

 

Accuracy Class

 

Positive

 

Negative

 

Positive and Negative

 

YE-100B

 

0~4

 

-4~0

 

-2~+2

 

2.5

 

0~6

 

-6~0

 

-3~+3

 

0~10

 

-10~0

 

-5~+5

 

0~16

 

-16~0

 

-8~+8

 

0~25

 

-25~0

 

-12~+12

 

0~40

 

-40~0

 

-20~+20

 

0~60

       

10.ĐỒNG HỒ ĐO ÁP YE-100,YE-150 SERIES (DIAPHRAGM PRESSURE GAUGE)

 

Đồng hồ đo áp suất YE-100 và YE-150

 

Diaphragm Pressure Gauge adopts diaphragm as the sensitive component for testing tiny pressure. It can measure the tiny and negative pressure of gas with no corrosion to copper alloy and no explosion danger which is widely used in stove ventilation, gas pipes, burning equipment and other similar devices.

 

Structure Principle

The gauge is consisted of measuring system(including connector and diaphragm etc.), transmission gear, indicator device and outer casing. When the pressure of media effects on the diaphragm, the free end will emerge elastic deformation—displacement. After the driving of driving rod and the amplifying of transmission gear, the measured pressure will be indicated on the plate of the meter by the indicator device.

 

Main Technical Specification

Scale Range and Accuracy Class

 

Type

 

Scale Range kPa

 

Accuracy Class

 

Weight

kg

 

Positive

 

Negative

 

Positive and Negative

 

YE-100

YE-150

 

0~1.6

 

-1.6~0

 

-0.8~+0.8

 

2.5

 

0.5

 

0~2.5

 

-2.5~0

 

-2.4

 

0~4

 

-4~0

 

-4

 

0~6

 

-6~0

 

-3~+3

 

0~10

 

-10~0

 

-5~+5

 

0~16

 

-16~0

 

-8~+8

 

0~25

 

-25~0

 

-12~+12

 

0~40

 

-40~0

 

-20~+20

   

11.ĐỒNG HỒ ĐO ÁP YT SERIES (SPECIAL PRESSURE GAUGE)

 

Đồng hồ đo áp suất YT series

 

YTS-100, YTS-150 Acid Resistant Pressure Gauge

Y-100FR, Y-150FR Corrosion Resistant and High Temperature Resistant Gauge

YTU-100S, YTU-150S Sulfur Resistant Gauge

Special Pressure Gauge is suitable for the situation which has special requirement on the pressure meters during the production process of industrial sector. The whole parts of the Acid Resistant pressure gauge adopts stainless materials. It has strong corrosion resistant performance and is suitable for testing the pressure of corrosion medium in the abominable external corrosive circumstance. They are used widely in the industrial enterprises of oil, chemistry and agricultural chemicals,etc.

 

The whole parts of corrosion resistant and high temperature resistant gauge adopts stainless materials and the system of pressure transmitting adopts special welding technology. It has excellent corrosion resistant function and is suitable for testing the pressure of corrosion medium or mediums which cannot use tin brazing technology or in the high temperature circumstance. They are used widely in the industrial enterprises of oil, chemistry, agricultural chemicals and rubber,etc.

 

The testing system of sulfur resisting gauge adopts special stainless materials with sulfur resistant performance. It is suitable for testing the pressure of sulfureted hydrogen and natural gas medium. They are used widely in the industrial enterprises of oil, natural gas, chemical industry and chemical fiber,etc.

 

Main Technical Specification

Scale Range and Accuracy Class

 

Type

 

MPa

 

Accuracy Class

 

YTS-100

YTS-150

 

0~0.1;0~0.1 6;0~0.25;0~0.

0~6;0~1;0~1 6;0~2 5;0~4;0~6;

0~10;0~16;0~25;0~40;0~60; -0.1~0;-0.1~0.06;-0.1~0.15;

-0.1~0.3;-0.1~0.5;-0.1~0.9;

-0.1~1.5;-0.1~2.4

 

1.5

 

YTU-100S

YTU-150S

 

Y-100FR

Y-150FR

   

12.ĐỒNG HỒ ĐO ÁP YA SERIES (SPECIAL PRESSURE GAUGE)

 

Đồng hồ đo áp suất YA series

 

Ammonia pressure gauge is used for measuring the non-crystalline and concretionary media, which have no corroding effect on tin lead alloy brazing solder and the stainless steel, such as, plain carbon steel, alloy construction steel and austenite stainless steel.

 

Configuration Principle

The instrument is composed of pressure leading system (including joint, spring tubes, etc.), driving mechanism, indicating device and the shell.

When the measured medium acts on the spring tube, the corresponding elastic deformation – displacement, occurs on the tube end. And the measured pressure will be indicated on the dial of the indicating device after the amplification of driving mechanism.

 

Technical Specifications

Scale Range

 

MODEL

 

MPa

 

YA-100

YA-150

 

0~0.16;0~0.25;0~0.4;0~0.6;0-1;

0~1.6;0~2.5;0~4;0~6;

-0.1~0.06;-0.1~0.15;-0.1~0.3;

+0.1~0 ;-0.1~0.9 ：

-0.1~1.5;-0.1~2.4

 

YA-150

 

0~10;0~16;0~25;0~40;0~60

   

Accuracy class：2.5;1.5

Working temperature: -40~70℃; relative humidity less than 90%

Temperature Effect：less than 0.4%/1 0℃(Working temperature deviating from 20±5℃)

Weight：0.6kg(YA-100) 0.9kg(YA-100)

 

13.ĐỒNG HỒ ĐO ÁP Y SERIES (GENERAL PRESSURE GAUGE)

 

Đồng hồ đo áp suất Y series

 

Description:

The series of pressure gauges are widely used to measure the pressure of liquid, gas and vapor without explosion danger, crystallization, solidification, or corrosion on alloy in container and pipe transporting gas, liquid. The gauges have many advantages such as small volume, high reliability and safety, explicit display, etc

 

Main Technical Parameters:

Measuring Range & Accuracy

 

Type

 

Y-40

 

Y-60

 

Y-100 Y-150

 

Y-200

   

Y-60Z

 

Y-100T Y-150T

 

Y-250

   

Y-60T

 

Y-100ZT Y-150ZT

   

Y-40Z

 

Y-60ZT

     

Accuracy

 

2.5

 

1.5

 

MPa

   

0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6

 

0~0.6,1 ，

 

0~10,16,25,40

 

0~10,1 6,25,40,60,100

 

1.6,2.5,4,6

 

-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4

   

Type

 

Y-40

 

Y-60

 

Y-100 Y-150

 

Y-200

   

Y-60Z

 

Y-100T Y-150T

 

Y-250

   

Y-60T

 

Y-100ZT Y-150ZT

   

Y-40Z

 

Y-60ZT

     

Accuracy

 

2.5

 

1.5

 

MPa

   

0~0.1,0 16,0.25,0.4,0.6,1,1.6,2.5,4,6

 

0~0.6,1 ，

 

0~10,16,25,40

 

0~10,1 6,25,40,60,100

 

1.6,2.5,4,6

 

-0.1~0.06,0.15,0.3,0.5,0.9,1.5,2.4

     

Environment Condition：-40~70℃，Relative Humidity ≤85%

Temperature：-40~70℃

   

(illustration from a structured discussion on reclaiming the commons) Meeting participant Maymay talked about patterns he has found in researching how oppression is carried out. Examining many different revolutionary and cultural struggles has shown a tactical pattern used over and over again by repressive governments and other dominant groups. The dominant group is not a majority but they work to keep the rest of society from uniting against them. The tactics they use, time and again, are :

Divide & Conquer – Infiltrators often provoke infighting, divisiveness, and discord within communities as part of their efforts to derail the momentum of revolutionary movements.

Obscure & Homogenize – The state uses and encourages artificial categorization to obscure the diverse and infinitely subtle possibilities of human existence. The media divides the organic spectrum of the population into segments, and within each segment creates an archetype or sketched-in models of how we are all supposed to be. These manufactured ideal images create hurdles within communities for members who do not fit the idealized definition.

(Further Reading - www.ribbonfarm.com/2010/07/26/a-big-little-idea-called-le...)

 

Proven resistance strategy starts with identifying the specific tactics an opponent or organization uses, and encourages loose networks of allied groups to unify around countering a specific tactic. The tactics used by the state to repress us are the pillars of support for the system itself. When we are choosing actions, we can use this to help us decide how to focus our energies.

What strategies can we make to counteract these acts of repression against us?

-Four counter strategies are suggested: Transparency, Access, Equality, Diversity

-These boil down to a fundamental strategic and philosophical statement: unity through diversity. This is how we can reclaim the commons.

 

Unity through Diversity!

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

America has been historically called melting pot of different nationalities, ethnicity and culture, where the blending of heterogeneous influences have in effect produced a new race of mankind. Nineteenth century writers hailed this homogenization as a wondrous work of God, and a marvelous new creation. While many cultural entities try to maintain their separate but equal status in America, the reality is, our culture encourages people to marry for love, which in itself facilitates the breakdown of cultural barriers.

 

While I personally like brown beans, white beans, green beans, black eyed peas, and probably any other kind of bean that doesn't produce and explosion of intestinal fuel, my favorite bean soup is a mixture of 15 varieties of beans, combined with an elaborate mix of spices, vegetables, some ham, and cooked for hours. Mmmm...

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

“I suspect we are all recipients of cosmic love notes. Messages, omens, voices, cries, revelations, and appeals are homogenized into each day’s events. If only we knew how to listen, to read the signs.”—Sam Kenn, “The Passionate Life”, quoted in “100 Ways to Keep Your Soul Alive”, edited by “Frederic & Mary Ann Brussat”

   

U.S. Senator Martin Heinrich (D-N.M.) continued his Local Food Tour at De Smet Dairy in Bosque Farms, New Mexico’s only Grade A dairy farm and bottling facility for raw milk and pasteurized, non-homogenized milk and yogurt. Heinrich explored the family history behind the dairy and how their dairy cows are free grazing and grass-fed year-round, in addition to being free of hormones, antibiotics, and GMOs.

Pinestrip Timber Sale, Umpqua National Forest. Oregon. Boise Cascade cut it.

This tree was over 300 years old when cut. Old Growth forests are irreplaceable, because once cut, they are replaced with young tree-plantations, and are never again allowed to become old. Though this is a public, national forest, the timber industry insists it is best to clearcut all old growth, because it is "decadent". However, wildlife has evolved to live in the diverse, native forests, and can't live in homogenized tree-plantations, so they are going extinct.

Manufacturer & Exporter of Dry Compaction, Tablet Press, High Speed Rotary Tablet Press, Single Sided Rotary Tablet Press, Double Sided Rotary Tablet Press

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Real scale model of the Maison Domino of Le Corbusier at the Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation

 

original picture © Mike Dumlao; thanks for allowing to use it.

 

Digital Image Manipulation by rpeschetz:

* removed lens distortion (grid rectangular)

* homogenized tile colour (replaced darker tiles)

* aligned floor and wall tiles

* removed plastic bag in pedestrian's right hand

* removed water sockets in wall

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

06.06.2015

"Industrialna monumentalność"

 

Kolejna fotografia z rejonu pieców obrotowych Cementowni Warta II. Na fotografii jest zauważalny, znajdujący się u podstawy wieży wymienników ciepła pieca obrotowego nr 5, punkt rozładunku opon stanowiących paliwo alternatywne w procesie wypału klinkieru. Wysoka temperatura panująca w piecu obrotowym i kalcynatorze w połączeniu z wymaganych czasem przebywania w niej materiałów pozwala na przyjazną dla środowiska utylizację tych odpadów. Spalanie w niniejszych warunkach pozwala na rozkład szkodliwych związków. Zdjęcie ukazuje efekty proekologicznej modernizacji Zakładu na przestrzeni ostatnich lat, których przejawem jest chociażby zieleń rosnąca w w bezpośrednim sąsiedztwie niegdyś najbardziej uciążliwych instalacji.

Milking Barn Tour by Jana McClelland. Jana is a partner in McCelland’s dairy with her mom and dad, Dora and George. She has a degree in Ag Business from Cal Poly. Jana manages the daily milking operation, sales and marketing for the butter, and sales and media for the u-pick pumpkin operation.

 

FILED NOTES:

• The milking barn is a twelve by twelve set up that allows 24 cows to be milked at a time.

• The cows are milked twice a day, every twelve hours and produce about 7,000 gallons of milk per day.

• The average cow takes about five minutes to milk.

• The milk moves quickly moving from the cows to be cooled to 37 degrees in a holding tank.

• Organic Valley milk goes through 62 quality checks from cow to shelf. This ensures our superior products reach your table tasting as fresh as can be.

• The parlor runs with vacuum and pulsation (squeezing and letting go of the teat- it does not hurt the cow), and has an automatic take off.

• Machines are rinsed between every other group of cows.

• The utters are pre dipped with iodine solution to disinfect, primed to check quality and milk let down and then post dip- to seal milk canal- prevent infection.

• Organic Valley rewards farmers with quality premiums for paying close attention to cow udder health, efficient cooling of the milk and the cleanliness of their systems.

 

Organic Valley offers several types of organic milk including:

• Whole Grassmilk that is non-homogenized, 100% grass-fed, no grains, no added vitamins.

• Whole Milk: Homogenized, Vitamin A and D added.

• Pasture-Raised Milk from cows that receive a significant portion of their nutrition from organically managed pasture and stored dried forages. They may receive supplemental organic grains, both during grazing season and into winter months. min of 210 days on pasture during grazing season, outdoor access to pasture year round.

• 2% Chocolate Milk is made with Fair Trade Cocoa and cane sugar.

 

• The McClelland's are selecting their herd for A2A2 milk.

The Farm Discovery Tour: ov.coop/farmdiscovery

 

The McClelland Farm: www.mcclellandsdairy.com/FarmTours.htm

  

060615 OV McClelland Farm Discovery Tour HERO

3950

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Castle Rock milk is vat pasteurized, non-homogenized grass fed milk from a small family farm in Wisconsin. In non-homogenized milk (unlike 99% of the milk found in supermarkets in the US), the cream truly rises to the top and has a different texture than the rest of the milk (cream is much thicker than milk of course). Non-homogenized milk is much easier for our bodies to digest as it is still in its natural state (instead of forcing the fat and sugar molecules together during homogenization). You can spoon this rich cream off the top and stir into your coffee or you can shake it up into the milk and enjoy the little bit of cream you get with each glass. It’s the healthiest milk product available in retail and it’s delicious to boot!

 

BNSF Train S LPCLBA3 25A slams west on Main 1, as the Z LACNYC7 23A sits stopped on 2 behind a bare table in front of them. To the left is the 1913 Santa Fe depot, which was torn down in December 2017, homogenizing yet another another section of the BNSF Marceline Sub.

 

Locomotives: BNSF 4623, BNSF 5427, BNSF 7868, BNSF 8328, BNSF 8239, BNSF 7052, BNSF 5023

 

6-27-15

Henrietta, MO

At the launch of the wonderful book "Facing the Cold", Philip McMaster congratulated China Daily, Wang Wenlan, all the people involved in the production of the book, the Chinese Military for thier rapid and compassionate help in the crisis, and the Chinese People for their courage and cooperation in the face of disaster.

 

Philip McMaster is from Montreal Canada, (the same city where Dr. Norman Bethune was educated and developed many innovations in Medicine) where he particpated as Director of Volunteer Coordination with "Cool to be Canadian" during two major disasters caused by Global Warming in 1997 and 1998. (see links below for details)

 

Presented with complimentary copies of the "Face the Cold" book, in gratitude Mr. McMaster shared the new Chinese Sustainability Symbol (3 fingers) with many of the key dignitaries, noting that he had developed the symbol in China, when teaching MBA students at the Chinese University of Hong Kong. This "made in China" symbol, researched and developed by the McMaster Institute for Sustainable Development of Commerce, is designed to become an ATTITUDE that the Chinese people will practice first for the Olympics, (balancing Society, Environment and Economy) and then export as China's gift of sustainability to the world.

  

Today Philip McMaster is Principal Researcher with the McMaster Institute for Sustainable Development of Commerce www.SustainabilitySymbol.com and Eco-Entrepreneurship Coach with www.Dragonpreneur.com , www.Dragonpreneur.com/blog

 

a description of the research and development of the Sustainability Symbol and programs for Chinese students of business and entrepreneurs can be found at the following websites: www.Dragonpreneur.com, www.DragonThink.com,

 

************************************

National Emergencies where Philip McMaster has assisted citizens:

 

Flooding

 

In 1997, Philip McMaster was leader of "Cool to be Canadian" ( www.CooltobeCanadian.ca )crews helping the military build dams to protect the city from floods - www.cool.ca/cool_en/fld_action.htm

 

Ice Storm

 

In 1998, Philip McMaster was leader of "Cool to be Canadian" crews protecting Canadians from the ICE STORM covering Eastern Canada www.cool.ca/cool_en/icestorm_album.htm

 

Jan 13, 2000 - Philip McMaster cooperates with China Daily on Environment Book

www.ecotaskforce.com/conu/

 

Stop homogenization to protect tourism

By: Philip McMaster in Beijing

 

www.ecotaskforce.com/chinadaily/protect/

 

04/17/99 Philip McMaster - Sustainable Adventure in Hong Kong

www.ecotaskforce.com/chinadaily/HKnature/

 

******************************************************

Photos of the "Facing the Cold" event can be found on Flickr at the following address: www.flickr.com/photos/dragonpreneur/sets/72157604040544560/

  

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

As was alluded to even towards the end of Maurice W Graham's book "Tales of the iron road" the annual hobo convention in Britt, IA has long been hijacked and homogenized as the town celebration event as opposed to a hobo and tramp celebration event. It took a somewhat close inspection of the town's MILW boxcar to find truth.

Prompt: dystopia

 

I don't even know how to describe how I got to this final product... I think this all came to be after a disorganized brainstorming session during which I thought of each terrible thing that would be represented in a dying culture. So I depicted a cruel and unusual death penalty, destruction of the female form and the objectification of a woman before an audience, book burning, a grey landscape, and a homogenized general populous. The onlookers are some sort of amalgamation of gas masks, the dress of fundamentalist religions*, and the (random) mental image of the Death Eaters from Harry Potter.

 

The books in the background symbolize the practice of shelving "banned" books and remind the viewer of all the famous possible dystopian universes. Titles included are The Handmaid's Tale by Margaret Atwood, V for Vendetta by Alan Moore & David Lloyd (title hidden), Atlas Shrugged by Ayn Rand, Children of Men by P.D. James, 1984 by George Orwell, The Road by Cormac McCarthy, Fahrenheit 451 by Ray Bradbury, A Clockwork Orange by Anthony Burgess, The Trial by Franz Kafka, Do Androids Dream of Electric Sheep? by Philip K. Dick, and A Brave New World by Aldous Huxley.

 

*N.B. Though I was inspired by the hijab, a garment traditionally worn by Muslim women, I do not intend to give any particular commentary on whether or not I find the hijab to be a symbol of the oppression of women. I do not have a specific belief regarding the continued practice of Muslim women covering their heads in public. I thought of the garment because it has been so controversially thought of as a symbol of oppression and fundamentalism.

 

PrismaColor pencils, Sharpie, mechanical pencil.

Milking Barn Tour by Jana McClelland. Jana is a partner in McCelland’s dairy with her mom and dad, Dora and George. She has a degree in Ag Business from Cal Poly. Jana manages the daily milking operation, sales and marketing for the butter, and sales and media for the u-pick pumpkin operation.

 

FIELD NOTES:

• The milking barn is a twelve by twelve set up that allows 24 cows to be milked at a time.

• The cows are milked twice a day, every twelve hours and produce about 7,000 gallons of milk per day.

• The average cow takes about five minutes to milk.

• The milk moves quickly moving from the cows to be cooled to 37 degrees in a holding tank.

• Organic Valley milk goes through 62 quality checks from cow to shelf. This ensures our superior products reach your table tasting as fresh as can be.

• The parlor runs with vacuum and pulsation (squeezing and letting go of the teat- it does not hurt the cow), and has an automatic take off.

• Machines are rinsed between every other group of cows.

• The utters are pre dipped with iodine solution to disinfect, primed to check quality and milk let down and then post dip- to seal milk canal- prevent infection.

• Organic Valley rewards farmers with quality premiums for paying close attention to cow udder health, efficient cooling of the milk and the cleanliness of their systems.

 

Organic Valley offers several types of organic milk including:

• Whole Grassmilk that is non-homogenized, 100% grass-fed, no grains, no added vitamins.

• Whole Milk: Homogenized, Vitamin A and D added.

• Pasture-Raised Milk from cows that receive a significant portion of their nutrition from organically managed pasture and stored dried forages. They may receive supplemental organic grains, both during grazing season and into winter months. min of 210 days on pasture during grazing season, outdoor access to pasture year round.

• 2% Chocolate Milk is made with Fair Trade Cocoa and cane sugar.

 

• The McClelland's are selecting their herd for A2A2 milk.

The Farm Discovery Tour: ov.coop/farmdiscovery

 

The McClelland Farm: www.mcclellandsdairy.com/FarmTours.htm

 

060615 OV McClelland Farm Discovery Tour HERO

3951

Italien / Trentino - Gardasee

 

seen from Sentiero Panoramico Busatte Tempesta

 

gesehen vom Sentiero Panoramico Busatte Tempesta

 

Lake Garda (Italian: Lago di Garda [ˈlaːɡo di ˈɡarda] or (Lago) Benaco [beˈnaːko]; Eastern Lombard: Lach de Garda; Venetian: Ƚago de Garda; Latin: Benacus; Ancient Greek: Βήνακος) is the largest lake in Italy. It is a popular holiday location in northern Italy, about halfway between Brescia and Verona, and between Venice and Milan on the edge of the Dolomites. Glaciers formed this alpine region at the end of the last Ice Age. The lake and its shoreline are divided between the provinces of Verona (to the south-east), Brescia (south-west), and Trentino (north). The name Garda, which the lake has been referred to in documents dating to the 8th century, comes from the town of the same name. It is evolved from the Germanic word warda, meaning "place of guard", "place of observation" or "place of safety".

 

Geography

 

The northern part of the lake is narrower, surrounded by mountains, the majority of which belong to the Gruppo del Baldo. The shape is typical of a moraine valley, probably having been formed under the action of a Paleolithic glacier. Although traces of the glacier's actions are evident today, in more recent years it has been hypothesised that the glacier occupied a previously existing depression, created by stream erosion 5 to 6 million years ago.

 

The lake has numerous small islands and five main ones, the largest being Isola del Garda, where, in 1220 St. Francis of Assisi founded a monastery. In its place now stands a 19th-century building in the Venetian Gothic style. Nearby to the south is Isola San Biagio, also known as the Isola dei Conigli ("Island of the Rabbits"). Both are offshore of San Felice del Benaco, on the lake's western side. The three other main islands are Isola dell'Olivo, Isola di Sogno, and Isola di Trimelone, all farther north near the eastern side. The main tributary is the Sarca River, others include the Ponale River (fed by Lago di Ledro), the Varone/Magnone River (via the Cascate del Varone) and various streams from both mountainsides, while the only outlet is the Mincio River (79 metres (259 ft), at Peschiera). The subdivision is created by the presence of a fault submerged between Sirmione and Punta San Vigilio which is almost a natural barrier that hampers the homogenization between the water of the two zones.

 

If the water level of the Adige river is excessive, water is diverted to the lake through the Mori-Torbole tunnel.

 

History

 

Battle of Lake Benacus, in which Roman forces defeated the Alamanni on the shores of Lake Garda, in the year 268.

Battle between Milan and Venetian Republic in 1438 following the military engineering feat of galeas per montes.

Battle of Rivoli, in 1797 during the French campaign of Napoleon I in Italy against Austria.

Battle of Solferino in 1859, during the Italian Risorgimento. The terrible aftermath of this battle led to the Geneva Convention and the formation of the Red Cross.

The lake was the site of naval battles in 1866 between Italy and Austria.

As persuaded by the Nazis, Benito Mussolini established the capital of his Italian Social Republic in late 1943 in a villa in the town of Salò on its shores. It served as a nexus for military operations and communications for German troops who occupied northern Italy in late 1943 during World War II.

 

Mythology

 

According to the Greco-Roman mythology, the River Mincius was the child of the Lake Benacus.

 

(Wikipedia)

 

Lake Garda panorama path from Busatte to Tempesta

 

This easy panoramic hiking trail Busatte Tempesta follows the east shores of the upper Lake Garda towards south.

 

We start our hiking tour, which offers great panoramic views on Lake Garda, in the small locality of Busatte above the village of Torbole. The “Sentiero panoramico“ starts at the adventure park of Busatte and runs at the foot of Mount Baldo about 120 metres above the water surface of the lake (approx. 200 metres a.s.l.). Several information panels describe the flora and fauna of the region as well as the views on the opposite lake shore. The panorama of the upper Lake Garda is just great: we see the villages of Riva and Torbole, the surrounding mountain ranges and of course many surfers and sailing boats.

 

The trail leads across an impressive moraine landscape and includes two sections with stairs and railings bolted onto the rocks. At the fork after the first stairs section we turn left to reach a forest road above the trail, which we follow to the locality of Tempesta. Arrived in Tempesta, we take the real panoramic trail back to Busatte. Alternatively, there is also the possibility to take the bus from Tempesta back to Torbole.

 

Please note: we recommend to do this hiking tour in spring or autumn and not on hot summer days.

 

(trentino.com)

 

Der Gardasee (italienisch Lago di Garda oder Bènaco), einer der oberitalienischen Seen, ist der größte See Italiens, benannt nach der Gemeinde Garda am Ostufer. Sein antiker Name lautete von etwa 200 v. Chr. bis 800 n. Chr. Lacus benacus. Der Name soll von einer alten Gottheit namens Benacus abstammen. Der Gardasee wurde in der vergangenen Eiszeit durch einen Seitenast des Etschgletschers geformt, dessen Spuren man noch heute verfolgen kann, insbesondere durch die Endmoränen um das Südufer z. B. bei Lonato del Garda, Solferino, Valeggio sul Mincio und Custoza. Erste Besiedlungen des Seeufers datieren um das Jahr 2000 v. Chr.

 

Geographie

 

Lage

 

Der Gardasee liegt zwischen den Alpen im Norden und der Po-Ebene im Süden und ist daher ein Alpenrandsee. Der Norden des Sees gehört zur Region Trentino-Südtirol, der Westen zur Lombardei und der Osten zu Venetien. Damit teilen sich die drei Provinzen Trient (Norden), Verona (Osten) und Brescia (Westen) die Verwaltung.

 

Das nördliche Ufer des Sees ist von Zweitausendern der Gardaseeberge wie dem Monte Baldo umsäumt; das südliche Ufer liegt bereits in der norditalienischen Tiefebene.

 

In der Nähe des Sees befinden sich bekannte Weinbaugebiete:

 

Südlich von Desenzano del Garda liegt das Lugana-Gebiet

Östlich vom Gardasee finden sich die Gebiete des Bardolino- und des Soave-Weins

Ebenfalls östlich (zwischen dem Gardasee und Verona) liegt das Valpolicella-Gebiet

 

Zu- und Abflüsse

 

Der Gardasee wird hauptsächlich durch den Fluss Sarca gespeist. Dieser fließt am Nordende bei Torbole in den See. Als Mincio verlässt der Fluss bei Peschiera del Garda den Gardasee und fließt später in den Po. Neben den insgesamt 25 Zuflüssen gibt es noch einen künstlichen Zufluss in Form des 1959 fertiggestellten Etsch-Gardasee-Tunnels, dessen Tunnelausgang am südlichen Ortsausgang von Torbole liegt und der im Falle einer stark Hochwasser führenden Etsch geöffnet wird.

 

Pegel

 

Der Pegelnullpunkt liegt bei Peschiera del Garda bei 64,027 m s.l.m. Er unterliegt zum Teil starken saisonalen Schwankungen, da das Wasser des Gardasees über seinen Abfluss Mincio zur Bewässerung der intensiv landwirtschaftlich genutzten Flächen zwischen Verona und Mantua genutzt wird. Zum anderen sind die Schwankungen auch durch die Wasserentnahme für die Stromerzeugung im Oberlauf der Sarca bedingt.

 

Der Pegeltiefstand wurde in den Jahren 2003 und 2007 mit jeweils 8 cm unter Pegelnull erreicht, der Höchststand lag am 2. Juli 1879 bei 216 cm über Pegelnull. 1960 stand der Pegel bei 212 cm aufgrund der Öffnung des Etsch-Gardasee-Tunnels. Nicht festlegen lässt sich der Pegel von 1673 und 1746, als der Ort Desenzano del Garda überschwemmt wurde. Außer in Peschiera wird der Pegelstand auch in Riva del Garda und Torri del Benaco gemessen.

 

Inseln

 

Im See befinden sich fünf Inseln, die größte, Isola del Garda mit der Villa Borghese, liegt in der Nähe von Salò. Etwa zwei Kilometer südlich davon, ebenfalls in der Bucht von Manerba und San Felice, liegt die Isola San Biagio auch als „i Conigli“ (deutsch: die Kaninchen) bezeichnet. San Biagio ist ein beliebtes Ausflugsziel, das mit dem Boot oder zu Fuß vom Festland (je nach Wasserstand hüfttief oder trockenen Fußes) erreicht werden kann. Vor Assenza (zwischen Porto di Brenzone und Malcesine) liegt die Isola di Trimelone, diese ist allerdings militärisches Sperrgebiet. Etwas weiter nördlich von Trimelone liegt bei Malcesine im Val di Sogno die Isola del Sogno und nördlich davon die Isola dell’Olivo.

 

Geschichte

 

Aus der Bronzezeit stammen zahlreiche Pfahlbautensiedlungen, die direkt am Seeufer oder im unmittelbaren Hinterland des Gardasees errichtet wurden und seit 2011 zum UNESCO-Weltkulturerbe zählen.

 

Die Schlacht am Lacus Benacus (lateinisch für Gardasee) wurde im November des Jahres 268 an den Ufern des Gardasees in Norditalien zwischen Alamannen und Römern unter Kaiser Claudius Gothicus ausgetragen.

 

Unter den Signorie fiel der Gardasee zwischen dem 13. und 14. Jahrhundert unter den Einflussbereich der Scaliger, die zahlreiche Burgen insbesondere an den östlichen und südlichen Uferorten (Malcesine, Torri del Benaco, Lazise und Sirmione) errichteten. Im 15. Jahrhundert wurde der See und seine Uferorte zum Schauplatz im Kampf um die Vorherrschaft in Oberitalien zwischen dem Herzogtum Mailand unter den Viscontis und der Republik Venedig. Als militärische Glanzleistung zählte hierbei der Transport einer venezianischen Flotte vom Etschtal über die Berge nach Torbole im Jahr 1439, ein von der Republik Venedig als Galeas per montes bezeichnetes Unternehmen. Mit der im Frieden von Lodi 1454 festgelegten Grenze am Fluss Adda fiel der Gardasee endgültig unter den Einflussbereich der Dogenrepublik. Letztere baute insbesondere Peschiera am strategisch wichtigen Abfluss des Mincio zur Festung aus, die 2017 von der UNESCO zum Weltkulturerbe erklärt wurde.

 

Während des Spanischen Erbfolgekrieges zu Beginn des 18. Jahrhunderts versuchte General Vendôme mit seinen Truppen über das Nordufer in Richtung Norden vorzustoßen und hinterließ eine Spur der Verwüstung. Dabei wurden zahlreiche Burgen von den Franzosen zerstört, wie Castel Penede in Nago, die Burg von Arco oder Castel Drena, die als Ruinen erhalten sind. Am 19. April 1706 schlug Vendôme in der Schlacht bei Calcinato am Südufer des Sees die kaiserlichen Truppen unter dem Oberbefehl von Christian Detlev von Reventlow.

 

Die Schlacht bei Rivoli, die im Ersten Koalitionskrieg im Januar 1797 in der Nähe des Ortes Rivoli (südöstlich von Garda) stattfand, war ein Schlüsselerfolg der französischen Armee unter Napoleon Bonaparte im Italienfeldzug über ein zahlenmäßig überlegenes habsburgisches Heer unter Feldmarschall Alvinczy. Aufgrund des Vertrages von Pressburg vom 26. Dezember 1805, mit dem die Grafschaft Tirol zu Bayern fiel, gehörte die Nordspitze des Gardasees von Anfang 1806 bis Anfang 1810 als sogenannter Etschkreis zum Königreich Bayern und anschließend, wie der übrige See auch, zum Königreich Italien. Nach dem Wiener Kongress 1815 fiel der gesamte See dem Kaisertum Österreich zu und war Bestandteil des Königreichs Lombardo-Venetien.

 

Die Schlacht von Solferino am Südufer war die Entscheidungsschlacht im Sardinischen Krieg zwischen dem Kaisertum Österreich und dem Königreich Sardinien und dessen Verbündetem Frankreich unter Napoléon III. Durch die Niederlage der Österreicher bei Solferino am 24. Juni 1859 wurde der Weg zur Einigung Italiens frei gemacht. Die Grausamkeit der Schlacht und die Hilflosigkeit der verwundeten Soldaten veranlassten Henry Dunant (1828–1910) zur Gründung des Roten Kreuzes und führten zur Vereinbarung der Genfer Konvention von 1864.

 

Nach dem Verlust der Lombardei und dem dazugehörigen Westufer des Gardasees 1859, verlor Österreich 1866 nach dem Dritten Italienischen Unabhängigkeitskrieg mit Venetien auch das Ostufer, nur die Nordspitze, mit Riva del Garda, verblieb bis 1918 bei Österreich-Ungarn. Der See wurde in dieser Zeit auch „Gartsee“ genannt. Während des Ersten Weltkrieges verlief die Front direkt am Nordufer des Sees entlang, an dem zahlreiche Festungsanlagen errichtet worden waren.

 

Nach dem Sturz Mussolinis 1943 wurde auf Forderung der deutschen, nationalsozialistischen Regierung in Nord- und Mittelitalien die Marionettenregierung der faschistischen Italienischen Sozialrepublik (Repubblica Sociale Italiana, auch: Republik von Salò) unter Mussolinis Führung als Gegenregierung installiert, die im gleichnamigen Ort am Westufer des Gardasees ihren Regierungssitz hatte. Der Staat bestand zwischen dem 23. September 1943 und dem 25. April 1945. Am 30. April 1945 endete mit der Befreiung von Torbole und Riva durch die 10. US-Gebirgsdivision der Zweite Weltkrieg am Gardasee.

 

Tourismus

 

Der Gardasee ist ein beliebtes Reiseziel. Rund um den See gibt es Hotels, Pensionen, Ferienwohnungen und Campingplätze. Ein Großteil der Ferienunterkünfte ist von Ende März bis Anfang Oktober geöffnet. Die Hauptsaison ist Juli und speziell der August. In den Wintermonaten sind die meisten Hotels, Cafés und Restaurants geschlossen. 2018 gab es am Ufer 24 Millionen Übernachtungen.

 

Am Südufer des Sees befinden sich zahlreiche Freizeitparks wie das Gardaland oder das Canevaworld. Das Nordufer ist vor allem bei Kletterern, Mountainbikern und Surfern beliebt.

 

(Wikipedia)

 

Gardasee-Panoramaweg von Busatte nach Tempesta

 

Der gemütliche Sentiero Panoramico Busatte Tempesta folgt dem Ostufer des nördlichen Gardasees von Torbole nach Süden.

 

Ausgangspunkt der Spazierwanderung mit Panoramablick auf den Gardasee ist die Ortschaft Busatte, die oberhalb von Torbole liegt. Vom Parkplatz bei den Olivenbäumen geht es zum Abenteuerpark Busatte - dort beginnt der Sentiero panoramico. Er verläuft mit geringen Steigungen, am Berghang des Monte Baldo auf etwa 120 m über dem Wasserspiegel des Sees (rund 200 m Meershöhe). Verschiedene Schautafeln erklären die Flora und Fauna und die Aussichten auf die gegenüberliegende Seeseite. Man hat eine grandiose Aussicht auf den nördlichen Gardasee: Riva, Torbole, die Segelschiffe und Surfer, die Berge des Umlandes...

 

Über die Moränenlandschaft der Marocche, die aus Ablagerungen des eiszeitlichen Gletscherschliffes besteht, geht es auch zweimal über Felswände, die durch aufwändige Metalltreppen sicher überwunden werden. Die Geländer sind sehr stabil, trotzdem ist Schwindelfreiheit von Vorteil. An einer Kreuzungsstelle nach der ersten Treppenanlage kann man links abbiegen und eine höher gelegene Forststraße erreichen und auf dieser in Richtung Tempesta wandern - später trifft diese den eigentlichen Panoramaweg wieder und man kann auf diesem zurück gehen, ohne somit den gesamten Panoramaweg zweimal zu gehen. Wer hingegen nicht so fit ist, der kann auch bei Tempesta zum See absteigen und dort mit dem Linienbus nach Torbole zurückfahren.

 

Hinweis: Ideal für Frühling und Herbst, sollte diese Route an heißen Sommertagen vermieden werden.

 

(trentino.com)

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Today, I attended a lecture by Nobel Peace Prize winner Rigoberta Menchu Tum in Kingsbury Hall on campus. Rigoberta disgussed primarily the continuing problem of discrimination in lieu of MLK day on Monday. The lecture was about what I expected it would be. Rigoberta placed particular emphasis on education as being one of our primary avenues toward greater homogenization as a human race, toward departure from the ignorant attitudes of discrimination and prejudice toward others which would inevitably result in a greater sense of connection amongst ourselves. But the thing that most won me over was when, at the end of her lecture, she advised all us parents out there to always read the books we give our children before we have them read them themselves. Because it is important that we know what stories and what beliefs and attitudes we are extending to those who will continue to perpetuate them after we are long gone.

 

An explanation for the style of the photo: I wanted to make it look like a flier you might pick up for a lecture or like a poster you would see on the wall advertising it.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

The girls are indulging in the goodies of nature. Raw milk sale is fully legal in Montenegro and we get it moments after it has been milked. One of mom's neighbours has four goats and the other one has a cow.

Vacuum Homogenizer Mixer, Ointment Manufacturing Plant, Cream Manufacturing Plant, Tooth Paste Manufacturing Plant, Gel Manufacturing Plant

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Homogenizing,Mixing/Dispersing Unit,Homogenizer Mixing Tank,Mixing Emulation and Homogenizing Solution for Emulsions,Inline Homogenizer,Fermentation vessels,Liquid Syrup Preparation vessels,Liquid oral section,Colloid Mill-Prism Pharma Machinery,Ahmedabad,Gujarat,India.

  

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Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation

 

ice magazine

Contemporary Istanbul art fair 2013

Guardians of Time by Manfred Kielnhofer page 41-45

Toplumsal Sanat ve Güncel Dinamikleri

İstanbul bir Laboratuvar mı?

Hasan Bülent Kahraman

 

Social Art and

 

Its Contemporary Dynamics

 

Is Istanbul a Laboratory?

 

Hasan Bülent Kahraman

 

The transition from the twentieth to twenty-first century did not only

refer

 

to a temporal continuity and it wasn't happening by nature. Continuity

 

of time was going to bring us to the twenty-first century anyway. On the

 

other hand, the twenty-first century was also bringing us to the concept

 

of "millennium," which had an importance in Western metaphysics.

 

Since human relationships are based on transforming nature on a cultural

 

platform through intellectual effort, and humanity struggles to overcome

 

and restrain the nature on these levels, the twentieth century gives way to

 

the twenty-first century on the verge to a profound intellectual break.

 

During the transition to the twenty-first century, the most important issue

 

was the great criticism against the idea of modernity and the grand split

 

it undergoes. During the twentieth century, using different methods, all

 

nations agreed on the notion of modernization that was in some sense

 

developed as the homogenization of humanity and can be summarized

 

as installing Western metaphysics into 'outsider' societies but the result

 

was the same: a systematic formation that prioritizes and is led by the

 

government. This transformation would be based on two big pillars:

 

refusal of the past, along with the complete cultural baggage if necessary,

 

and the reconstruction of the subjects, the human beings towards the

 

guidance of the government.

 

This method, which can be described as the abolition of the subject,

 

made it natural for the great totalitarian regimes to appear. The twentieth

 

century means millions of people abolished by those regimes.

 

During the evolution towards the twenty-first century, the first

 

protestations were against the hegemony of the radical rationality

 

that had built this system. Because, post-Weber bureaucracy with a

 

government and organon was the concentration point of rationality. In

 

the end, the Cartesian radical rationality was the imprisonment of human

 

consciousness in the human consciousness itself. With this appreciation,

 

science as a tool to control nature had turned into a superior category

 

that left no space for the subjectivity of the individual.

 

The re-emergence of the subject, and its desire to bring forward the sum

 

of values hidden inside it is a problem of identity. Of course, politics of

 

memory and space can be added to that. The Proust-esque memory as

 

'remembering today' and the coincidences and spontaneities that makes

 

it work was replaced by a remembering policy that offered multiple

 

choices and multiple consciousnesses. A Bergsonian integrity of time

 

was no longer needed either.

 

Within this new appreciation, subjects were the individuals who would

 

build their own existence with their own willpower.

 

Such an assent did not only drive back the notion of state, but it also

 

brought forward the notion of publicum, the sense of community. This

 

innovation begins with the replacement of the notion of society with

 

societies. We can also call these communities. Once the communities

 

emerged, spatial politics changed firstly. The vertical depth of the space

 

that contained the homogeneous and uniform humans now was going

 

to be replaced with a horizontal span that meant varieties living together.

 

These varieties living together in a narrow area without conflicting but

 

"rubbing" to each other created the new forms of social space.

 

On the other hand the space the communities have been created is now

 

only topological, it's not a notion that directly belongs to the "ground."

 

The twenty-first century has unexpectedly found itself in an almost scary

 

virtuality with the innovations electronic media has created. The "crowd"

 

Plato heavily criticized in the context of "theatricality" in his last

dialogue

 

Nomo, is not only in the amphitheatre or agora anymore. It is everywhere.

 

Furthermore, what's produced now is not "common thoughts" anymore;

 

it is the "uncommon" thoughts.

 

What does art represent in this structure?

 

The answer is hidden in two points. First, this stadium is a matter

 

of democracy. A pluralist democracy that is based on varieties and

 

nourished by interaction is not a utopia but a reality for the twenty-first

 

century. Secondly, if we can talk about this kind of democracy, then the

 

relationship between art and community will also turn into another phase.

 

The new phase of the relationship between art and community makes

 

the visibility of art inevitable. As a form of production that is pluralist

 

and based on varieties, art is the reference point of this new sense

 

of community. This new sense of community cannot evolve naturally

 

by itself. It needs to important devices to align and direct. Intellectual

 

production and its alignments and directions are the constative powers of

 

artistic expression. The new democracy has to be inspired by democratic

 

theory and though on every step. Similarly the dynamic and constantly

 

changing texture of art is necessary for the formation of an astatic

 

democratic platform. This pursuit emerging within the new urban texture

 

is a matter in itself.

 

The new global capital is building new cities. This is a new urban texture

 

that allows the inner movement and liquidity of the capital. The most

 

important aspect of the new city is that it is gentrified. This is not a

choice

 

but a need in terms of the new capital, because the new city is also the

 

realization of a certain aesthetic visuality.

 

Performing gentrification through new artistic institutions is a wise

choice.

 

The income produced by new museums, art spaces and galleries is a

 

planned and systematic application. This means that art creates a new

 

policy of circulation on the grounds of the city. This art that meets the

 

expectations of upper classes still has its own critical, social identity.

 

More importantly, art should interrelate with large communities. That

 

kind of art will have the real critical power. That kind of art is a field

of

 

resistance itself. With this aspect, it is sure that the relationship

between

 

art and community will appear as opposition and resistance. A "real"

 

democracy is only real as long as it gives the opportunity to oppose

 

and resist. This is why the relationship between art and community is a

 

necessity and expectation today, more than ever.

 

Having the characteristics of a metropolis in any aspect, Istanbul

 

is an important laboratory in this sense. The capital it attracts, the

 

transformation it undergoes, and finally the artistic activity and

production

 

articulated to these turns Istanbul into a new focal point that needs to

 

be observed in a new way. It is sure that we are witnessing a phase that

 

the relations between capital and politics are turning into the relations

 

between capital and art. But the real question is, within the

gentrification

 

it undergoes, how much place Istanbul will give to artistic discourse. Will

 

this art form a platform of resistance in the social grounds that remains

 

from the transformation areas with a global architectural language; or

 

will those "new" areas actually open a door for the pluralist, variable,

 

provocative art?

 

A city, which has never been close to the language of social art in any

 

way, even today, is going to determine its character as much as it

 

answers these questions while it globalizes.

 

icemagazine.contemporaryistanbul.com/files/document/ice-1...

 

contemporaryistanbul.com

kundtundhandel.com

licht-*christoph*.at

kielnhofer.com

 

Toplumsal Sanat ve Güncel Dinamikleri

 

İstanbul bir Laboratuvar mı?

 

Hasan Bülent Kahraman

 

20. yüzyıldan 21. yüzyıla geçiş sadece zamansal bir sürekliliğe işaret

 

etmiyor ve bir doğallıkla gerçekleşmiyordu. Zamanın kendi sürekliliği doğal

 

olarak bizi 21. yüzyıla taşıyacaktı. Kaldı ki, 21. yüzyıl aynı zamanda Batı

 

metafiziğinde çok önemli bir yeri olan "bin yıl" kavramına da açılıyordu.

 

İnsan ilişkileri doğallığın kültürel bir platformda ve zihinsel çabalarla

 

dönüştürülmesine dayandığından ve bütün insanlık çabası o doğallığı bu

 

düzlemlerde aşmak, hatta dizginlemek olduğundan 20. yüzyıl yerini 21.

 

yüzyıla çok derin bir düşünsel kırılmanın eşiğinde bıraktı.

 

21. yüzyıla girilirken en önemli olgu modernite düşüncesinin aldığı

 

büyük eleştiri ve yaşadığı büyük parçalanmaydı. Bir manada insanlığı

 

homojenleştirme olarak geliştirilmiş ve Batı metafiziğinin "dışarıdaki"

 

toplumlara yerleştirilmesi olarak özetlenebilecek bu modernleşme

 

anlayışını, her ulus 20. yüzyıl boyunca belki farklı yöntemlerle kabul etti

 

ama sonuç aynıydı: devlet öncelikli ve devlet önderliğinde sistematik bir

 

dönüşüm. Bu dönüşüm iki büyük taşıyıcı üstüne oturacaktı: geçmişin,

 

gerekirse bütün kültürel bagajla birlikte reddi ve öznenin yani insan

tekinin

 

devletin güdümü doğrultusunda yeniden kurgulanması.

 

Öznenin ortadan kaldırılması olarak da adlandırılabilecek bu metot

 

büyük totaliter rejimlerin çıkmasını doğallaştırıyordu. 20. yüzyıl o

rejimler

 

tarafından ortadan kaldırılmış milyonlarca insan demektir.

 

21. yüzyıla evrilirken ilk itiraz bu sistematiği kuran radikal

rasyonalitenin

 

hegemonyasına yönelikti. Çünkü, Weber sonrasında devlet ve organon'u

 

olan bürokrasi rasyonalitenin temerküz noktasıydı. Descartesçı radikal

 

rasyonalite son kertede insan bilincinin, gene insan bilincine tutsak

 

edilmesiydi. Doğayı kontrol aracı olarak öne çıkan bilim bu anlayışta

 

bireyin öznelliğine yer bırakmayan bir üst kategoriye dönüşmüştü.

 

Öznenin yeniden ortaya çıkması ve kendisinde saklı olan değerler

 

bütününü öne almak istemesi bir kimlik problemidir. Buna elbette hafıza

 

ve mekan politikaları eklenebilir. "Bugünde hatırlamak" olan Proustgil

 

hafıza ve onun işlemesine olanak sağlayan tesadüfler, kendiliğindenlikler,

 

yeni anlayışta çok seçmeci ve çok bilinçli bir anımsama politikasıyla terk

 

ediliyordu. Artık Bergsoncu bir zaman bütünlüğüne de gerek yoktu.

 

Özne kendi varlığını kendi iradesiyle kuracak kişiydi yeni algı içinde.

 

Böyle bir kabul sadece devlet kavramının hızla geri itilmesine yol açmakla

 

kalmadı. Publicum yani toplumsallık (Türkçedeki yanlış çevirisiyle

 

'kamusallık') olgusunu da yeniden öne itti. Bu yenilenme daha önceki

 

anlayışta tek olan toplum/kamu kavramının yerini toplumlar kavramına

 

bırakmasıyla başlar. toplumlar dediğimiz şeye topluluklar (communities)

 

demek de mümkündür. Topluluklar bir kere ortaya çıktı mı ilk elde mekan

 

politikaları değişecekti. Mekanın homojen ve üniform insanı barındıran

 

dikey derinliği şimdi yerini farklılıkların bir arada bulunması anlamına

gelen

 

bir yatay genişliğe bırakacaktı. Dar bir alanda birbiriyle çatışmayan ama

 

birbiriyle "sürtünen", öylelikle de etkileşen farklılıkların bir arada

bulunması

 

toplumsal alanın yeni formlarını meydana getiriyor şimdi.

 

Buna mukabil toplumsalın oluştuğu mekan artık sadece topolojik,

 

doğrudan doğruya "yere"/zemine ait bir olgu değil. 21. yüzyıl hiç

 

beklemediği bir şekilde kendisini elektronik medyanın sağladığı

yeniliklerle

 

birlikte neredeyse ürküntü veren bir sanallık içinde buldu. Plato'nun

 

"tiyatrosallık" bağlamında, son diyaloğu Nomo'ide şiddetle eleştirdiği

 

"güruh" şimdi sadece amfitiyatroda veya agora'da değil. Her yerde.

 

Sadece tiyatroya gidenler arasında değil iletişim ve ortak düşünce

 

oluşturma yetisi. Her yerde. Üstelik üretilen artık "ortak düşünce" değil

 

"ortak olmayan" düşüncelerdir.

 

Böyle bir yapı içinde sanat ne ifade eder?

 

Sorunun cevabı iki noktada gizli. Birincisi, bu stadium demokrasiyle

 

ilgili bir meseledir. Çoğulcu, farklılıklara dayalı, karşılıklı

etkileşimlerden

 

beslenen bir demokrasi 21. yüzyılın ütopyası değil realitesidir. İkincisi,

 

eğer böyle bir demokratik durumdan söz açılabiliyorsa, o takdirde, sanat-

 

toplumsallık ilişkisi de yeni bir evreye geçecektir.

 

Sanat-toplumsallık ilişkisinin yeni evresi sanatın görünürlüğünü

 

kaçınılmazlaştırıyor. Kendisi çoğulcu, kendi içinde farklılığa dayalı bir

 

üretim olan sanat, bu özellikleriyle, yeni toplumsallığın nirengi

noktasıdır.

 

Yeni toplumsallık kendi kendine, doğal bir şekilde gelişemez. İki önemli

 

hiza ve istikamet aracına ihtiyaç duyar. Zihinsel üretim ve ona bağlı

 

düzeltmeler, yol göstermelerle sanatsal ifadenin saptayıcı gücü. Yani, yeni

 

demokrasi her aşamada demokratik kuram ve düşünceden bazı esinler

 

almak zorundadır. Aynı şekilde sanatın dinamik ve sürekli değişen dokusu

 

statik olmayan bir demokratik platformun oluşması bakımından zaruridir.

 

Böyle bir arayışın yeni kentsel doku içinde can bulması başlı başına bir

 

konu olacaktır.

 

Yeni ve küresel sermaye yeni kentler inşa ediyor. Sermayenin iç hareketini

 

sağlayacak, akışkanlığını sürekli kılacak bir yeni kentsel dokudur bu.

 

Yeni kentin en önemli özelliği mutenalaşmasıdır. Bu bir tercih değil yeni

 

sermaye bakımından ihtiyaçtır. Çünkü, yeni kent aynı zamanda belli bir

 

estetik görselliğin realizasyonudur.

 

Mutenalaşmanın yeni sanatsal kurumlar üstünden yapılması akıllıca bir

 

iştir. Yeni müzelerin, yeni sanat kurumlarının, galerilerin meydana

getirdiği

 

alanların ürettiği rant planlı ve sistematik bir uygulamadır. Bu sanatın

 

kentsel zeminde yeni bir dolaşım politikası yaratmasına tekabül ediyor.

 

Daha üst sınıfların ve daha güçlü sermaye kesiminin beklentilerine yanıt

 

veren bu sanat her şeye rağmen kendisine ait bir eleştirel, toplumsal

 

kimliğe sahiptir.

 

Ama ondan daha önemlisi sanatın geniş toplumsallıklarla ilişki kurmasıdır.

 

Asıl eleştirel güç o sanattın elinde olacaktır. Bu özelliği taşıyan sanatın

 

kendisi bir direniş alanıdır. Böylesi bir özelliğiyle sanat ve toplumsallık

 

ilişkisinin muhalefet ve direniş olarak belireceği muhakkak. "Gerçek" bir

 

demokrasi de muhalefet ve direniş olanağı sağladığı ölçüde hakikattir.

 

Bu bakımdan sanatın toplumsallıkla/kamusallıkla ilişkisi bugün her

 

zamankinden daha ziyade bir ihtiyaç, bir zaruret ve bir beklentidir.

 

Yeni metropol özelliklerini her bakımdan taşıyan İstanbul bu açıdan

 

önemli bir laboratuvar bugün. Bir yandan çektiği sermaye, diğer yandan

 

yaşadığı dönüşüm, nihayet bunlarla eklemlenmiş sanatsal etkinlik ve

 

üretim İstanbul'u ayrı bir gözle bakılması gereken bir odağa dönüştürüyor.

 

Sermaye siyaset ilişkilerinin şimdi sermaye-sanat ilişkilerine dönüştüğü

 

bir evreye tanıklık ettiğimiz muhakkak. Ama asıl soru yaşadığı soylulaşma

 

içinde İstanbul'un kentsel mekan olarak ne ölçüde sanatsal söyleme

 

yer vereceğidir. Küresel bir mimarlık dilinin öne çıktığı büyük dönüşüm

 

alanlarından arta kalan toplumsal zeminde mi bu sanat bir direniş

 

platformu oluşturacaktır; yoksa bizatihi o "yeni" mekanlar da çoğulcu,

 

değişken, tahrik eden bir sanata kapı aralayacak mıdır?

 

Hiçbir biçimde, bugün dahi, toplumsal sanat diline ve gerçeğine yakın

 

durmamış, onu tanımamış bir kent, küreselleşirken bu soruları cevapladığı

 

oranda karakterini tayin edecektir.

Cell culture media is vortexed to ensure proper mixing and homogenization

Greetings from Nebraska: The Form of the Territory by Dan McTavish

 

The United States Land Ordinance organized the land into a system of square townships and 160-acre tracts of privately owned and cultivated land with the intention of organizing social and political utility. The figure of the yeoman farmer embodied the values of agrarian Jeffersonianism, combining the right to property, individualism, and republican values. Today, high-yield mechanized agriculture is synonymous with farm consolidation, depopulating towns, and the reframing of subjectivities from farmer to farm-operator and urban dweller. In 1971, Secretary of Agriculture Earl Butz infamously urged farmers to plant commodity crops “from fencerow to fencerow.” The “Get Big or Get Out” agenda of land consolidation further equates the space of mid-America with a productive landscape, fixed in our spatial imaginaries—a homogenizing space that is simultaneously totalizing and fragmented.

 

Through the case of Nebraska, the state most heavily settled by the 1862 Homestead Act, the thesis proposes differential forms of imagining and settling the territory. Against hegemonic views of space as abstract—empty, quantitative, innocent, or in some way fixed—“Greetings from Nebraska” hypothesizes that the form of the United States territory is in constant reformation, whether consciously or not, whether in the public’s best interest or not, and that architecture as a representational practice, has a role, as Cedric Price affirms, in projecting “desirable conditions and opportunities hitherto thought impossible.”

 

The contradictions between the abstract space of Nebraska and the differential, historical, and everyday spaces in the state are hightened. New multivalent readings of the territory emerge through the juxtaposition of specific past, present, and future spatial conditions within the territory, including historical postcards, quantitative cartography, personal travel documentation, and discrete architectural projects. These projects are characterized by three discrete spatial strategies, Figure, Frame, and Form, which reference existing conditions within the state while challenging the status quo and projecting different desires.

 

- - -

 

During their final year – known as the thesis year – architecture graduate students research a topic that culminates in a design project. The projects are exhibited just prior to graduation and reviewed by a panel of outside and faculty experts. One project from each studio is identified for Honors; these projects are on view over the summer in the College Gallery.

 

2013 Thesis Honors Projects by:

Megha Chandrasekhar, Pooja Dalal, Brittany Nicole Gacsy, Emily Kutil, Christopher Mascari, Dan McTavish, Hans Papke, Ariel Poliner, Nick Safley, Anna Schafferkoetter, and Brandon Vieth

 

Photo by Alex Jacque, Taubman College of Architecture and Urban Planning

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Credo Audio/VPI/EMM Labs room . The system produced Elvis' Fever with a nice seductive quality (though I thought it bettered on the same tune a few rooms later). On the other hand, on a male blues vocal cut with multiple vocalists, I thought the system tended to homogenize the voices a little - not as easy to delineate the voices as I thought should be.

 

Middle Right Rack: Wolf Audio Systems Alpha 3SX Server ($11.1k)

Top Left Rack: EMM Labs NS-1 Streamer ($4.5k)

When the DCH car dealer network expanded its Montclair operations, it built its service department on the site of an auxiliary showroom used by the Imported Motor Car Company. Imported Motors occupied the same real estate on the corner of Valley Road and Bloomfield Avenue in the sixties and seventies as DCH later did. But long before both dealerships were around, the DCH service department site was the location of Brennan Motors, Montclair's Hudson dealer.

 

This was 654 Bloomfield Avenue, that address wiped out by DCH's ill-fated enlargement. Founded in 1909, the Hudson Motor Car Company was named for one of its investors – Joseph L. Hudson, whose namesake Detroit department store became the most colossal and luxurious store in the Midwest and possibly the country. Indeed, it could be said that the Hudson name was more associated with Detroit than New York at one time. Among the Hudson company's achievements were opening European factories – including a British factory that opened four years before GM bought Germany’s Opel – and hiring the first female car designer in Detroit, Betty Thatcher Oros.

 

Hudson merged with Nash to form American Motors in 1954, and three years later AMC chief George Romney – father of Mitt – retired the Hudson and Nash names, thinking they had lost their sales appeal. Romney instead pushed the Rambler name, which was replaced by the corporate AMC name in 1970. By then, the firm had no presence in Montclair. This property became the site of a large apartment building, which opened in 2016.

 

Note: Hudson’s Department Store is also gone, the original Detroit store a victim of the 1967 riot and the fall of the auto industry and its other locations victims of corporate homogenization. I think they’re all Macy’s stores now.

 

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

I tire of the moronic standards that our culture has for good, bad, appropriate, benign, offensive, et cetera. I am constantly being told to watch my mouth. This mouth thing is not just on account of choice of words per se, its also about content. It's weird really. I am sometimes offended that I feel censored by morays and taboos and yet most of them are retarded (1). We are told (some of us) that it is a good thing to be educated, to think out-of-the-box, to blaze new trails of thought. Yet we as a society still get hung up about thinks like breastfeeding, sex education, race, ideology and so on. It seems that we are tongue tied to certain subjects and just plain inept about others. Here are a few examples of my irritants:

 

I am "offensive" if I say "God-Damnit!" even though I don't acknowledge a god or sin. This phrase will be edited out of television because it

is offensive. Yet the use of the word "Bitch" is acceptable (and comedic). I have a wife and three daughters, I don't want them to live in a world where women are degraded. I don't know any gods but I do know many women, I think the payoff of my respect to them is much greater. In spite of this, it is still offensive to say "god-damn!"

 

I am a post civil rights middle class white man. I am not welcome to talk about race openly. It's considered taboo to ask others about their "experience" living in this culture as a non-white. The same thing goes for sexuality. I am welcome to talk to other middle class white people about what it's like to be middle class white people. Which is of course very enlightening for me.

 

Our social class system is taboo. If I write about it, I would be acknowledging that a class system exists which might offend people.

 

Anything anti-American. I don't think very much of this country so If I ever express my views, I am considered "anti-American". If I allowed myself to be homogenized into one of a few groups of thought, I would then be quot;American" then people would think that the things that said were cool. Then they would pat me on the back. Then I would club a baby seal (2) and they would pretend like they didn't see me do it. Then we would talk about the weather.

 

Footnotes

(1) Retarded = not advanced. This is not a slur against the mentally challenged. I have known many challenged people who think on a much higher level than those who we consider intellectual. If you are reading this and you cant fathom this, you are probably retarded.

 

(2) I know, not many people actually club baby seals. It was more of a metaphor for doing something obviously wrong. If you dont get this see footnote 1

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Yankee Hill specializes in brick for restoring historic architecture throughout North America. The pug mill is where the clay is mixed and homogenized. Not the best place to have one's camera out for long!

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.