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Milking Parlor Tour with Melissa, Sophie, Jana McClelland, and Mike. Jana McClelland 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 parlor 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.
• The McClelland's practice excellent milking routines in the parlor. The skill level and motivation and care is clearly visible in this very efficiently milking routine; (teat and udder sanitation, effective stimulation, appropriate prep-lag
times)
• Organic Valley milk goes through 62 quality checks from cow. 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
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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.
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.
Hood 2 is basically the same as Hood 1, except for Big Blue over there, which we use to homogenize large organs
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.
Howard Johnson's is a name of bygone travel experiences that I never had a chance to experience. The company was sold in 1985 to Marriott, who homogenized the hotels into their portfolio and did everything they could do to eliminate the restaurants altogether. Before that, however, the firm had a leading presence in the dining and hospitality industry from coast to coast.
This onetime-Howard Johnson's property in Des Moines, Iowa was built in 1962. The restaurant has been demolished and the motel has been converted to low-rent apartments, but the ground-anchored gate lodge is still almost fully intact.
Us crazy Canadians.
Why? Why not!
- less packaging, less waste
- those plastic bags are STURDY. wash them out and re-use for freezer bags, or sewing patterns that fit inside exactly.
- less open milk at a time, remaining milk stays fresher longer
- you can toss a bag of milk in the freezer if you need to
neolithic-like pottery
The prehistoric pottery in Romania fascinates by its diversity, quality and exquisite sense of beauty. A number of European Neolithic cultures are known all over the world for their extremely valuable pottery production. Each of these cultures can be distinguished according to their specific forms and decors. From the archaeological perspective, pottery is considered to be a “vectorial / leading fossil” helping to identify the human communities that occupied a certain area during a certain past period of time.
The project
The ongoing project entitled “Replica” intends to recreate, in an experimental manner, the clay “adventure” from its starting point as a geologic sediment to its final phase, when it becomes a finite art object. While achieving this complex process, we have minutely tried to rediscover and at the same time apply the prehistoric pottery and statue carving techniques.
The beginning
Basket working was considered to be the first handcrafted recipients. Later on these baskets were covered with clay. This is one of the hypotheses regarding the starting point of pottery making. It is believed that ceramic recipients appeared as a result of some chance basket burning. These recipients had a major peculiarity – water could be boiled into them. Gradually, people ceased using the wickerwork support and started using long clay bands to build the recipient. These bands went upwards, from the basis to the recipient aperture.
The clay
The first step taken in realising the recipient you are holding in this very moment was to discover a resource of high quality raw material. Thus, the clay we have used was found in the proximity of ancient pottery centres situated in the southern regions of Romania. It has been used for centuries in pottery production. The clay needs to be exposed to at least one winter frost in order to acquire the necessary plastic qualities; only afterwards water is added and it gets sufficiently well homogenized to obtain the consistency to mould the recipient.
The technique
The process we use to build the recipients tries to reproduce as close as possible the Neolithic one, called en colombin. The construction of such a recipient starts form the basis, superposing clay bands which are consequently homogenized, from both the interior and exterior, by means of a bone or wooden spatula. Building bigger dimension recipients raises some problems - in this case the technical procedure requires higher attention as well as a longer time for its construction. This technique resembles the one that swallows use to build their nests – while the basis of the recipient begins to dry, the upper part is maintained wet so that the building process could be continued. The recipients’ decoration with incisions or excisions is realised before they are completely dried. After the completion of these first stages, the recipients are stored in a shadowy place since a rapid dehydration could deform or even crack them.
The pigments
Before being burnt, the recipients are painted with mineral pigments, resistant to high temperatures of over 700° Celsius. The pigments’ extraction is realised in a quite resembling manner to the one practiced in prehistory. The red pigment is obtained from sediment containing a high concentration of iron oxide. The white is obtained from a special type of clay brought from an area rich in kaolin deposits, situated in the proximity of Medgidia town. The black colour is obtained by grinding the slag resulted from iron burning.
The kiln
The recipients are burnt in a kiln built after the Neolithic model – it is a bicameral clay kiln in which a high quality oxidising burning can be realised. The recipients are carefully placed into the kiln in a well established order so that the hot air can circulate, realising thus a complete burning. They are positioned in circles; the widest circle comes first. On the pile top, a lid of broken recipients is made.
The burning
At the beginning, the fire is made with soft wood such as poplar, lime tree or willow wood cut in small pieces – 30 cm at most. They have a lesser caloric power and are used for the gradual kiln heating. At this stage, the wood is set at the kiln aperture, as far as possible from the recipients because a high temperature without a preliminary gradual heating would crack them. This stage can last up to three hours. At this point, wood with a higher caloric power such as poplar, lime tree or willow wood is introduced. The best wood that can be used in pottery burning is the fir wood. The wood pieces should be 80 cm long and cut thinly. The burning can last up to twelve hours.
The culture of Cucuteni is known to have appeared around 5000 years ago in the eastern part of Romania, more precisely in the Central and Western parts of a region called Moldavia. It started its existence during the last phase of a Precucutenian culture and undertook some influences from Gumelnita and Petresti cultures. It belongs to the great painted ceramics complex known by the name of Ariuşd – Cucuteni – Tripolie. Further phases – A, A-B, B and C have been stratigraphically and typologically identified to have existed during its long-lasting life of more than 700 years (around 3500 BC – 2900 BC).
Working the land was considered to be the basic occupation of these communities, but they were animal breeders as well. They took great interest in breeding taurines. Haunting was of a secondary importance to them.
Among the countless and outstanding artistic manifestations belonging to the Neo- eneolithic epoch 5000 years ago, and which appeared in both Romania and the rest of Europe, Cucuteni culture stands as the symbol of one of the greatest achievements of the prehistoric man’s genius. As compared to the contemporary cultures, Cucuteni is undoubtly the most impressive of them. The artistic value of its painted pottery is genuine and surpasses the most exquisite manifestations belonging to most of the European cultures of that epoch.
wwwdumitruflorin.eu
We’ve been getting raw milk (also called Real Milk) from a local farm for a few years. Actually I should say that we’ve been getting raw milk from our cow for a few years. The sale of raw milk is illegal in Ohio, so we participate in what’s called a “Herd Share” program. We bought a cow and we pay the farmer’s to take care of it for us. It’s legal to drink raw milk if it comes from your own cow. This milk is as fresh as you can get, we pick it up the day after it’s milked, it’s unpasteurized and unhomogenized. Since it’s not homogenized the cream rises to the top, it’s also called cream line milk. We make butter every week from our raw milk. It's a fun process and it saves me lots of money. I get about a pound and a half of butter each week.
for directions and more info: chiotsrun.com/2010/01/06/make-your-own-butter/
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.
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
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
Brooklyn, NYC
August 20, 2010
It's now a sort of peninsula off the main part of Brooklyn, but Coney Island was once a barrier island like the ones further east on Long Island. It appears on an 1639 Dutch map as "Conyne Eylandt", or "Rabbit Island". Rabbit hunting seems to have been the primary draw of this place until rail and steamboat connections were made with Manhattan after the Civil War. In the late 19th century and early 20th, Coney Island had its heyday as throngs of New Yorkers flocked here to the resorts or for daytrips, escaping the heat of the city. The crowds you see in the old pictures and newsreels are staggering.
With the advent of the automobile and air-conditioning, Coney Island, which had already always had a seedy undercurrent, began to lose its appeal and economic base. It's basically been in decline since the 1950's, and most of the rides, hotels, and attractions which were once the hallmarks of a NYC summer for so many have been torn down and relegated to memory. In recent years there has been much talk about revitalizing the area, and it seems that some measures have worked. Unfortunately, every year more and more disappears- Many of the signs and buildings I've photographed since 2005 no longer exist.
AND- instead of trying to restore what is left, the latest idea is to raze everything and turn much of the area to housing, much of which will be priced beyond the range of the average Coney Island resident. The buildings in the crosshairs of the bulldozer include some classic structures from a century ago- buildings, which, if simply restored, would not only help revitalize the neighborhood, but also preserve the aesthetic and spirit which made Coney Island so well-known throughout the world. The most promising redevelopment efforts have been by those who sought to preserve the history of the neighborhood, while infusing it with new energy and creativity- places like Lola Star's Dreamland Roller Rink (housed in an otherwise vacant classic bank) and the Coney Island Sideshow School. These places have either been shut down, or are under constant pressure.
The redevelopment of Coney Island is one of the most contentious real estate issues in the city today. Unfortunately Big Business seems (as usual in NYC), to have the upper-hand here. And the sad fact is, the percentage of New Yorkers who take advantage of Coney Island is pretty small. It's not the nicest beach in the world, and certainly the neighborhood has a bit of grit, but coming here is not a cookie-cutter experience- an characteristic which should hold some value in an increasingly homogenized world.
People in New York forget that if you're willing to part with $2.25 and read a book on the subway for an hour, you can hang out in the sun and air, on a free beach; and need only to walk a few yards to eat or drink-
We’ve been getting raw milk (also called Real Milk) from a local farm for a few years. Actually I should say that we’ve been getting raw milk from our cow for a few years. The sale of raw milk is illegal in Ohio, so we participate in what’s called a “Herd Share” program. We bought a cow and we pay the farmer’s to take care of it for us. It’s legal to drink raw milk if it comes from your own cow. This milk is as fresh as you can get, we pick it up the day after it’s milked, it’s unpasteurized and unhomogenized. Since it’s not homogenized the cream rises to the top, it’s also called cream line milk. We make butter every week from our raw milk. It's a fun process and it saves me lots of money. I get about a pound and a half of butter each week.
for directions and more info: chiotsrun.com/2010/01/06/make-your-own-butter/
www.keyatwinscrew.com/compounding-system/sk-series-co-rot...
SK series twin screw extruder is the crystallization of more than 30 years'experience in the equipment manufacturing industry, more than 400 kinds of material technology application and thousands of working conditions verification of KY. Screw diameter can be selected from 26 mm to 135 mm.
SK Series double screw extruder adopts the welding and manufacturing process of international leading standards. It provides the best stability and reliability in operation and has successfully succeeded in replacing imported products in China.
e, the system is smaller and equipped with more powerful lubrication and cooling system, which enables users to use extruders safely and quietly.
British BiBBY torque limiter with high sensitivity and reliability can effectively avoid equipment shutdown due to improper operation or accidental overload.
Siemens's global joint insurance ILE0 series inverter motor has the characteristics of high efficiency, energy-saving, safety and so on. It provides technical support and service for localization.
Optimizing Processing Section
The processing section of the SK series double screw extruder can be flexibly configured for transportation, plasticization, mixing, shearing, homogenization, devolatilization and pressure according to the technological requirements of users' materials.
The screw and barrel can be made of HIP powder metallurgy material, which can achieve high wear resistance, high corrosion resistance and other extensive fields of operation.
The involute spline of the German standard (DIN5480) is adopted to meet the requirements of higher torque and higher speed.
Optimized screw size-diameter ratio (D0:D=1.55), reliable inter-model amplification effect
Internet-based New Generation Control System
The control system of SK series twin screw extruder can choose conventional instruments, PLC, PCC, DSC to meet different needs.
Modular design, the touch screen can be compactly installed on the mainframe
Customized programming design is satisfied with the upstream and downstream matching equipment of different mixing projects
Provide formulation, project management functions, process and production data visualization
Integrating computer technology, mobile Internet technology and industrial automation technology to realize real-time data management and control of multi-terminal
Parameter of SK Series Co-rotating Twin Screw Extruder
SK Series Co-rotating Twin Screw Extruder ModelProduction capacity kg/hr (reference value)
Material Process CategoryTypical MaterialSK26SK36SK53SK63SK73SK96SK136
Filling modificationPE, PP, EVA, etc. + calcium carbonate, talcum powder, titanium dioxide5~1045~90150~300300~500600~8001200~15001800~2700
ABS, PC, PS, etc. + aluminum hydroxide, magnesium hydroxide, antimony oxide
PP, PA, ABS, etc. + iron powder, magnetic powder, ceramic powder10~2090~135180~300380~500700~9001300~18001800~3000
blending modificationPP, PE, PS + SBS; PP, PA + epdmpp + NBE; EVA + silicone rubber, etc5~1060~100150~240270~450500~7501000~17001600~3000
PE, PA, PC, CPE + ABS; ABS + TPU; PBT + pet; PP + PE, etc5~1045~90120~240270~380450~6001000~15001200~3000
MasterbatchPE, PP, ABS, EVA, PS, etc. + pigment and other additives3~845~75150~230270~360380~500900~1200900~1800
Functional MasterbatchDegradable masterbatch: PE, PS, etc. + starch, etc3~845~90140~230230~330380~500900~1200900~1800
Flame retardant masterbatch: PP, PA, ABS, PBT, etc. + flame retardant and other auxiliaries3~860~100150~270300~450500~7501200~17001500~2700
Double control masterbatch: PE + antifogging agent, stabilizer, etc.; high insulation masterbatch; cooling masterbatch; rheological modified masterbatch3~845~75100~150270~360420~540900~1200900~1800
Carbon black masterbatch: PE, EVA, ABS, etc. + carbon black3~830~6090~150230~330380~500800~1000900~1500
Glass fiber (carbon fiber) reinforced modificationPP, PBT, ABS, as, PA6, PA66, PC, POM, PPS, pet, etc. + long fiber or short fiber or whisker5~1075~120180~270300~450450~700900~14001500~2400
PP, PBT, ABS, as, PA6, PA66, PC, POM, PPS, pet, etc. + carbon fiber5~1045~90150~240270~330380~500900~12001000~2100
Special materialsEVA hot melt adhesive, polyurethane3~845~9090~140150~230300~380700~800700~1500
Fluororubber, fluoroplastics3~830~6060~120150~230230~300600~750700~1400
Optical cable coating material, acetate fiber, PP cigarette filter material3~845~90150~230300~380450~6001200~15001500~2400
TPR shoe sole3~890~150230~300450~500700~8001300~17001500~3000
Luminescent plastics, antibacterial plastics, UV resistant plastics, PE crosslinkable tube materials3~860~90180~270330~450500~600900~12001000~1800
Various cable materialsHDPE, LDPE, LLDPE, MDPE insulation material and sheath material; PE radiation crosslinking cable material; PE silane crosslinking cable material3~845~90150~230270~380450~600750~10001000~1700
Flame retardant polyolefin cable material, PP cable material3~890~120180~270380~450600~7001100~14001200~1800
Low smoke and low halogen flame retardant PVC cable material5~1030~60120~180230~300380~500800~1000900~1500
Reactive extrusionPolyamide polycondensation, polyester melt polymerization, polyurethane addition polymerization, polycarbonate polycondensation, bulk continuous polymerization of POM1~230~50150~230300~380450~600750~900700~1500
Post treatment of exhaust devolatilizationChlorinated polypropylene, super absorbent resin, K-Resin, chlorosulfonated polyethylene, fluoro rubber, etc1~2Max75Max150Max300Max450Max900Max1500
powder coatingPolyester type, epoxy type, propyl ester type, polyurethane type, acrylate type, etc3~8150~230300~450600~7501000~12002100~23002200~4500
The Majes irrigation project of the late 70s and early 80s, a major initative of the Peruvian government, transformed the formerly arid pampas to the west of Vitor.
Now, among other things, cattle graze on tender greens.
Dairy products are an important part of the area's economy.
Here a firm in the Majes irrigation district promotes its dairy products: cheese, yogurt, milk, butter and manjar blanco.
Wikipedia describes manjar blanco thusly:
"This term is used in Peru, Ecuador, Chile, and Argentina . . . "
"It refers to a set of similar dishes traditionally made by slowly and gently cooking pure (normally non-homogenized) milk to thicken and reduce the volume, and gradually adding sugar."
"In some regions other ingredients such as vanilla bean, citrus juices, cinnamon, and even rice may also be added."
"The result is a white or cream-colored, thick spread with a consistency much like that of a thick cake frosting although the flavor is more like that of sweetened cream (with accents of whatever additional ingredients may have been added)."
"The cooking process is largely the same as for creating sweetened condensed milk except that the result is normally thicker."
I've had it - it's good!
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
Here we are up on the Strut where they are placing the concrete. This gives you a better look at the work being done and the guys that are doing it. 9068 the concrete has been placed and they are using a vibrator to homogenize the mix.
Suspended Animation Classic #360
Originally published November 12, 1995 (#45)
(Dates are approximate)
Fairy Tales of the Brothers Grimm; Nosferatu
By Michael Vance
Grimm, indeed!
Those whining about violence in Disney’s homogenized, pasteurized, and animated versions of folk tales will shudder at the original German stories gathered by Wilhelm and Jakob Grimm. First published in 1812, they reek of intended cannibalism, staffing, hangings, strangulations, and poisoning. And that’s just in “Little Snow White”!
These will be silly shudders, of course.
This collection of Grimm tales adapts “Little Snow White”, “The Shoemaker and the Elves”, and “The Three Sluggards”.
The first is universally known; the second story of elves stitching shoes for a poor cobbler and his wife is almost as recognizable. The third story of three sons vying for their father’s crown by bragging about their laziness is a rare tidbit, and only one page of “Fairy Tales of the Brothers Grimm”.
These adaptations remain true to the originals; each is a morality play for adults and children.
The personalities of the Grimm Brothers’ characters were and are wonderfully full and brief, and did much to stereotype our current images of princes, princesses, kings, and witches. And, wisely, most of their violence is distanced in the telling.
Packaged like a children’s book, this collection uses the visual techniques of comic books, including panels and dialog balloons. Its art is richly detailed, stylized, and entertaining.
It’s a shame many adults will shun it, as they will, thinking that reading about violence will turn angels into demons.
Put the silly shudders aside. Men are susceptible to temptation, not programmed like computers. Simply reading bad things doesn’t make us bad, or reading good things make us angels.
Recommended.
MINIVIEW: “Nosferatu” [Caliber Press]. An intriguing adaptation of the first vampire movie, it suffers slightly from an abstract, brightly painted art lacking the moody atmosphere of the silent, German adaptation of the novel, “Dracula”.
We do dissections, homogenization and plating here. Sounds simple, but its actually fairly complex and takes quite a bit of time
From the "Global Mutations" series
2005
Adopting the elongated format of Japanese pillar prints, Shimomura presented the figures in "Global Mutations" (2005) as a cultural cross-dressers. ...a Kabuki samurai warrior poses in "Fruit of the Loom" underwear and argyle socks...
All these figures are juxtaposed with Western consumer goods and their trademarks - Scholls' foot products, tampons, and McDonald's. The comic visual disconnects conveyed by the bicultural appearance of these personages and the professions they reference provide a sarcastic future vision, when globalization reduces all cultures to a single homogenized unit.
"A scan from the short book
N.E. Portland Rose City Park History: 1907–1977, page 45
----
"STEIGERWALD DAIRY
Situated at 37th and Sandy, the gateway to Rose City Park, Steigerwald Dairy was recognized as one of the earliest dairies of East Portland. The original Steigerwald farm lay outside of Rose City Park, situated from 42nd to about 52nd between Prescott and Killingsworth Streets. The farm also raised nursery stock in addition to the creamery products. An early distribution point (about 1920) for Rose City Park was located in the Vincent block in the store now occupied by Fuller Paints, at 43rd and Sandy.
The replica milk bottle with cream line (before homogenized milk) was the tallest building on the east side skyline when built. Dedicated at an open house on May 19, 20, and 21, 1926, the plant boasted the first and largest automatic conveyer bottling plant in the Northwest. It could wash the glass milk bottles, fill and cap at the rate of 2,500 per hour. The model bottle measured 27 feet in diameter at the base and was 75 feet tall. An inside spiral staircase was used to take a Christmas tree to the top each year. Gayly lighted with red and green electric bulbs the tree could be seen at night for several miles. We all missed the landmark when the dairy was sold and the bottle image changed to promote paint products.
Dairy Headquarters, NE 37th and Sandy (1926)
Delivery fleet truck, 1918"
Dear friends,
For the next week OfHouses will be guest curated by 'The Intertwining' - an unclassifiable group lead by Andalusian architects and composed of Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz, among others.
'The Intertwining' made a very consistent selection of old forgotten houses from Andalusia, for which they wrote this very insightful introduction:
Promiscuous Andalusia
The territory of Andalusia, from its eccentric position, has low media exposure, something that is hugely valuable in a world swamped and distorted by the flow of information that emanates from privileged areas. In other words, Andalusia provides a blank spot to which to step back into, an unconventional viewpoint from which to critically observe our cultural performances. Eccentricity and low exposure, along with an ongoing cultural melting pot and a benevolent climate range, are some of the traits that have favored "promiscuity" as a design method in Andalusia. This region has been a testing ground for the exploration of unusual bonds that could be considered, culturally speaking, erroneous deviations or impermissible relationships; coalescences that are hard to classify, but very rich and even bolder than the norm. In the houses we present, promiscuous arrangements —confusing and unpredictable architectural overlaps that, in appearance, do not have an order nor follow any rules— are sometimes design features energetically introduced by the architects to resolve encounters between diverse conflictive aspects; on other occasions they are the result of the unprejudiced digestion of destabilizing vectors that are hard to balance. Promiscuity reconciles heterogeneous desires and materials, local archetypes and universal modern imagery, buildings and landscape, the familiar and the uncanny, preservation and experimentation, all in an unexpectedly cohesive whole —no matter how unclassifiable. In doing so, it helps build unprecedented alliances between ways of life and thinking that are normally seen as mutually exclusive, or that just had been surreptitiously kept apart. Therefore, promiscuity cannot be seen as the collateral product of cultural clashes, but as part of a conscious method that seeks to take advantage of the tensions that arise in a conflict. Unlike adaptation strategies, channeled influences or coexisting polarities, promiscuity results in ambivalent overlaps, which are impossible to disassemble into basic components or to turn into a design system. And that is how promiscuity ultimately provides an effective antidote against the self-phagocytizing design dynamics to which homogenization, fostered by the over-circulation in the media of a limited catalogue of morally superior options, inevitably leads to. By turning conflict into opportunity, by amplifying our perception of beauty, by cultivating diversity as an open-ended trait, this group of promiscuous houses has the allure of testing dominant narratives regarding the meaning and contributions of the leading figures of modernity, while at the same time they are an invitation to step back and reconsider what was, and still is, left off the radar. Promiscuity suggests new possibilities and meanings for inhabitation all while it reveals how any ratified narrative can become a covert form of surveillance.
Text: Paula V. Álvarez
Image: cover photograph of the magazine "Neutra 16: Ciudad ¡Fiesta!" (2008), edited by Paula V. Álvarez, Nuria Álvarez, Teresa Cruz, Antonio Fernández, Jose M. Galán, Francisco González, Antonio González, Plácido González, Vincent Morales, Marta Pelegrín, Fernando Pérez B., Fernando Pérez del P., Juan A. Sánchez and Jorge Yeregui.
“V” Shape Blender Mixer, Octagonal Blender Mixer, Double Cone Blender Mixer, Bin Blender,
Fluid Bed Dryer
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.
Street photography has become one big cliche in this now well curated and homogenized world filled with smartphones. For the next decade I'll be photographing in a more personal snapshot manner using a 4 megapixel Canon G2 camera from 2001. ideally I would have used a minolta point and shoot camera from the early 1990s and Kodak ColorPlus film but with the cost of the process and without a grant it just wasn't going to happen. I'll also be working on several other chapters of this project such as diners.
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.
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.
Vacuum Homogenizer Mixer, Ointment Manufacturing Plant, Cream Manufacturing Plant, Tooth Paste Manufacturing Plant, Gel Manufacturing Plant
The video traces parallels between divination rituals and predictive analytics. It explores their respective poetics, politics and aesthetics, and their inscribed notions of time and power. Blurred, superimposed and homogenized images play on apophenia and pattern recognition as their dominant mode of perception. A text, partly cut-up, partly written, partly AI-generated, stitches together diverging narratives, contradicting arguments and counter-intuitive references into an essayistic whole, suggesting causalities due to its linearity.
This project is part of the new joint research-based master's program in Design & Computation from the cooperation between the University of the Arts Berlin and the Technische Universität Berlin.
Photo: Maurice Wald
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.
A scan from the short book
N.E. Portland Rose City Park History: 1907–1977, page 45
----
"STEIGERWALD DAIRY
Situated at 37th and Sandy, the gateway to Rose City Park, Steigerwald Dairy was recognized as one of the earliest dairies of East Portland. The original Steigerwald farm lay outside of Rose City Park, situated from 42nd to about 52nd between Prescott and Killingsworth Streets. The farm also raised nursery stock in addition to the creamery products. An early distribution point (about 1920) for Rose City Park was located in the Vincent block in the store now occupied by Fuller Paints, at 43rd and Sandy.
The replica milk bottle with cream line (before homogenized milk) was the tallest building on the east side skyline when built. Dedicated at an open house on May 19, 20, and 21, 1926, the plant boasted the first and largest automatic conveyer bottling plant in the Northwest. It could wash the glass milk bottles, fill and cap at the rate of 2,500 per hour. The model bottle measured 27 feet in diameter at the base and was 75 feet tall. An inside spiral staircase was used to take a Christmas tree to the top each year. Gayly lighted with red and green electric bulbs the tree could be seen at night for several miles. We all missed the landmark when the dairy was sold and the bottle image changed to promote paint products.
Dairy Headquarters, NE 37th and Sandy (1926)
Delivery fleet truck, 1918"
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.
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
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
Here we are up on the Strut where they are placing the concrete. This gives you a better look at the work being done and the guys that are doing it. 9068 the concrete has been placed and they are using a vibrator to homogenize the mix.
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.
My second cousin, Lester Halsey, who is older than my mother and thus older than old dirt, came in to the restaurant (well, it's kind of a rustic inn type affair, with creaking wood floors, all-you-can-eat, country ham, sausage, bacon (they used to give you pork sidemeat but they cut that out) grits, stewed apples, eggs scrambled from cracked eggs (most hotel eggs are pasteurized and homogenized), pancakes, biscuits, sausage gravy and redeye gravy---anyway, it's not the food we're supposed to be talking about but this photograph. Lester had him a paper grocery sack with a bunch of photographs in it that he had gotten from his first cousin after her husband had died. They were family photos, but not of her immediate family. She might have known who some of the people were, but not others. Anyway, Lester said anyone could have any of the photos that they wanted. Another one of my relatives took one of the photos of another brother (my grandfather had seven brothers and one sister). I grabbed the bag of photos and this was the first one I saw, so of course I claimed it. Then no one wanted any of the other photos, so I got them all. I'll scan a few of them.
This uniform, by the way, is a Y.M.C.A. uniform. My grandfather had broken his leg, and when they set it it healed about three inches shorter than the other leg. You can't tell that from this photo, but he wore a built-up shoe, so the Army wouldn't take him. So he joined the Y.M.C.A.., went to Paris and drove ambulances, and coincidentally met my grandmother there.
Notice his name. He was named after a famous, and well-liked Democrat President. Democrat politics goes back a long way in my family. Somebody at the reunion was talking about her husband watching The O'Reilly Factor, but I don't think that person is a blood relative. I do have one distant cousin who is a rabid Republican, but that's probably more because his father is a fanatical Democrat, and the son is in a state of (misguided) rebellion.
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.
Trizol/chloroform & homogenized tissue after centrifugation. Not always this colorful, but in this case reminds me of the 1-2-3 Jello dessert.
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.