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The Institute of Making opens at UCL giving a permanent home to the Materials Library, a collection of the most unusual materials in the world, and the MakeSpace, the ultimate making workshop.
The library contains over 1500 materials including uranium glass, steel cloth, magnetic liquid, concrete that can heal itself using embedded bacteria, and rock that acts as a naturally occurring optical fibre.
Alongside the library sits the MakeSpace, which gives members the chance to boil, bake, turn, mill, mend, spin, print, cut, cast, drill, sand, scrape and make. The facilities include 3D printing, sewing machines, ovens, soldering irons and even a crane.
© UCL, Institute of Making/Robert Eagle
Title: Serving Spoon
Artist/Maker: Unknown
Place Made: Austria (possible); Germany (possible)
Date Made: early 19th century (possible)
Medium: metal; silver
Measurements: Overall: 11 in; x 27.94 cm
Credit Line: Gift of Mrs. Jane Bortman Larus
Collection: The Diplomatic Reception Rooms, U.S. Department of State, Washington, D.C.
Accession No: RR-2007.0001
first work made with natural materials, reeds that were standing dead on the shore. I was using squares for the forms and then putting content inside. the square corners came apart in the wind but with rounded ends it stayed together better. hence: cartouche. Ocracoke, North Carolina March 1983
SDASM.CATALOG: Arnold_00046
SDASM.TITLE: Workers Transporting Materials
SDASM.DATE: 1934-1939
SDASM.LOCATION: Shien Chiao China
SDASM.COLLECTION: George Arnold Collection
SDASM.MEDIA: Glossy Photo
SDASM.DIGITIZED: Yes
PUBLIC COMMONS.SOURCE INSTITUTION: San Diego Air and Space Museum Archive
"UME" (unidade múltipla elétrica) da série 3400 com destino a Braga e que provinha do Porto/São Bento.
Hamburg, March 2011
(spring test-drive Berlin - Hamburg, no problems)
Alfa Romeo GT 1300 Junior
year of production: 1971
first registration in Germany: 1975
cylinder: 4
cubic capacity: 1290 cc
power: 88 PS
The Alfa Romeo 105/115 series Coupés were a range of cars manufactured from 1963 until 1977.
They were the successors to the celebrated Giulietta Sprint coupé and used a shortened floorpan from the Giulia Berlina car.
These appealing cars were made in a wide variety of models over a period of 13 years, so they provide a lot of material for study by Alfa Romeo enthusiasts.
The basic body shape shared by all models was designed by Giorgetto Giugiaro for Bertone. It was one of his first major projects for Bertone, and borrowed heavily from his earlier design for the Alfa Romeo 2000 Sprint/2600 Sprint. The balance of glass and metal, the influence of the shape of the front and rear glass on the shape of the cabin, and the flat grille with incorporated headlamps were groundbreaking styling features for the era.
All models feature the four cylinder, all-light-alloy Alfa Romeo Twin Cam engine in various cubic capacities from 1290 cc to 1962 cc. All versions of this engine fitted to the 105 series coupes featured twin carburettors. Competition models featured cylinder heads with twin spark plugs. Common to all models was also a 5-speed manual transmission and disc brakes on all four wheels. The rear suspension uses a beam axle with coil springs. Air conditioning and a limited slip rear differential were optional on the later models. The 105 series coupés featured the GT (Gran Turismo) model description, which was common to all models in one form or another.
The various different models in this range can be considered in two broad categories:
On one hand were the various Gran Turismos and Gran Turismo Veloces. These were meant to be the most sporting cars in the Alfa Romeo range and sold very well to enthusiastic motorists around the world. The first model available was the Giulia Sprint GT (1963) which evolved into the Giulia Sprint GT Veloce (1965), the 1750 GTV (1968) and the 2000 GTV (1972–1976), with engines increasing in cubic capacity from 1570 cc (Giulia Sprint GT/GTV) through 1779 cc (1750 GTV) to 1962 cc (2000 GTV).
On the other hand was the GT Junior range, which featured engines with smaller cubic capacities. GT Juniors sold in great numbers to people who wanted a sporting, stylish car that handled well, but either did not require the maximum in engine power, or could not afford the taxation on larger engine capacities in some markets - most notably, Alfa Romeo's home Italian market.
Junior models began with the first GT 1300 Junior in 1966. The GT 1300 Junior continued until 1976 with the 1290 cc engine and various modifications incorporating features from the evolution of the GT's and GTV's. From 1972 a GT 1600 Junior model was also available, with the 1570 cc engine.
Both categories were used to derive GTA ("Allegerita") models, which were specifically intended for competition homologation in their respective engine size classes. The GTA's featured extensive modifications for racing, so they were priced much higher than the standard models and sold in much smaller numbers. Practically all GTA's made were used in competition, where they had a long and successful history in various classes and category. These models included the Giulia Sprint GTA and GTA 1300 Junior.
The 2000 GTV (Tipo: 105.21) was introduced in 1971 together with the 2000 Berlina sedan and 2000 Spider “Fastback” (Series 2). The 2000 range was the replacement for the 1750 range. Once again the engine was rationalized throughout the range. The engine displacement was increased to 1962 cc with a change of the bore and stroke to 84 mm × 88.5 mm. Oil and radiator capacities remained unchanged. The engine produced 132 PS (97 kW; 130 hp) at 5500 rpm.The interior trim was also changed, with the most notable differences being the introduction of a separate instrument cluster, instead of the gauges installed in the dash panel in earlier cars.
Externally the 2000 GTV is most easily distinguished by the following features:
Grille with horizontal chrome bars, featuring protruding blocks forming the familiar Alfa heart in outline; Smaller hubcaps with exposed wheel nuts; Optional aluminum alloy wheels of the same size as the standard 5. 1/2J × 14 steel items, styled to the "turbina" design first seen on the alloy wheels of the Alfa Romeo Montreal. "Turbina" refers to the wheel's resemblance to a jet engine inlet; The larger rear light clusters first fitted to United States market 1750 GTV's were standard for all markets on the 2000 GTV.
The 2000 GTV is most easily distinguished by its different grille. From 1974 on, this became standard on the GT 1300 Junior and GT 1600 Junior as well when the 105 Series coupe models were rationalized and these external features became common to post-1974 GT 1300 Junior and GT 1600 Junior models, with only few distinguishing features marking the difference between models.37,459 2000 GTVs were made before production ended. (© en.wikipedia.org/wiki/Alfa_Romeo_105/115_Series_Coup%C3%A9s ).
In order to make myself use up this embarrassment of tshirt material, I am instituting a Plush a Day Challenge to myself. Essentially, I have to make some sort of plush creature every day.
I couldn't help it, I thought these two made such a nice picture together that I waited until today to post them!
We've been waiting for that acorn to wake up for six days! I don't think Timpa can even think of eating it now - she thinks of it more like a pet.
one 4" weave-it loom (other sizes should work too), weaving needle, two colors of yarn, diagonal weave directions, one tweed chicken as companion
#AbFav_PHOTOSTORY
#AbFav_The_COLOUR_ORANGE_🍊
RAW SILK, SOIE SAUVAGE...
And Indian embroidered...
I LOVE the feel, texture, smell and colours of natural materials.
Silk, cotton, wool I find are climate controlling, so pleasant to the touch,
Silk and raw silk have the most gorgeous colours.
I could go on...
I wish you a day full of beauty and thank you for your visit, Magda, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
orange, portrait, hand, colourful, textile, materials, raw silk, eyes, silk, natural, horizontal, colour, textures, "Nikon D7200", "magda indigo"
Materiales, ropa, artículos de aseo, diplomas, me repetía una y otra vez en la cabeza para que no me olvide… Pita ¡! No te olvides la cámara!! Me decía mi gorditos, los nervios iban aumentando mientras se acercaba el día de viajar a Madrid.
Viernes a las 5 am suena el despertador y salto cual petardo de la cama para subirme a este sueño, un sueño que vivo cada segundo, y que sobre todo disfruto.
Sábado 9 am llego a Decake, mi mandíbula se desencaja de lo ENORME que es!!!... y rincón que veías tenía magia, os lo juro!!.. todo mínimamente cuidado, me hubiera gustado tomar foto de la tienda, y mostraros, pero con las prisas no me dio tiempo.
Como le dije a Silvia, suerte que no vivo en Madrid, si no me tendrías aquí todos los días del año!!!... que tienda mas bonita por favor!!!... el escaparate una pasada, todo puesto con colores rositas, los muebles, las cosas.. es decir de verdad.. una tienda que vale la pena visitar sí o sí ¡!
El curso empezaba sobre las 9.30 y Dalila ( otra profe de Decake ) y yo, íbamos arreglando todo lo que faltaba para el curso, cuando de pronto a 2 minutos de entrar las chicas, me llaman al móvil, digo,… quien me llama a estas horas y un sábado???... veo que es mi amiga Diana, ( os acordáis de ella?? … mi amiga la del baby shower ) de pronto se me para el corazón y digo Huy no!!.. el bebé viene en camino…..
Hola ¿?... no me digas que ya!!... decía exaltada, y ella me dice no no aun no, pero ya he roto aguas, estoy en el hospital!!!... os juro, que no sabía que hacer, si llorar, si reir… solo sé que dije… lo sabia!!... quería estar mas con ella, pero en 1 minuto ya entraban mis valientes al curso, y solo pude decir, tu tranquila todo va a salir bien, Blanquita será una niña feliz, ahora no puedo seguir, que tengo a mis chicas por entrar al curso, y ella me dice, no te preocupes, solo te llamo para avisarte.
Si tenía nervios propios con el curso, todo fue a mas, decir que era un flan me quedaba corto, tenia unas ganas de llorar como loca, pero me repetía Pita, como empieces, sabes que esto es un no acabar! Tu valientes te necesitan.
Minuto mas tarde, empezaron a entrar mis valientes, y les digo así, porque la gran mayoría de personas, tienen mucho miedo a modelar, y digo, mis valientes, porque se tiran a la piscina conmigo y a base de cariño y paciencia, os introduzco en el mundo del modelado, que entiendo que no es fácil cuando uno empieza, pero todo con la práctica es mejorable.
Hoy por hoy, puedo decir, que el curso ha sido genial, 12 chicas encantadoras, incluso una de ellas, con la barriguita en camino de un hermoso niño!!.. ( con el embarazo de Diana se me han agudizado los sentidos.. jejejej ) todo ha fluído muy rápido pero a la vez tranquilo.
Chicas que vinieron desde Andalucía y Toledo exclusivamente para hacer un curso conmigo… MUCHISIMAS GRACIAS!!... gracias por vuestra confianza a las 12 y sobre todo a Decake, Silvia y Esther, mis dos valientes antiguas!!.. que hace 4 o 5 años, se animaron a un curso conmigo.. y hoy orgullosas tienen una tienda ESPECTACULAR!!.. solo tengo palabras bonitas hacia ellas.
Y gracias también a vosotras, que me estáis leyendo y siguiendo, por darme cada día una palabra bonita, que hace sentir que mi trabajo siempre vale la pena!!!
Special materials called piezoelectrics can generate energy when they are bent or squeezed (above).
Right now they can only put out a tiny amount of energy, but Argonne scientists are studying ways to improve them. Someday, could heartbeats power a pacemaker and running shoes charge an iPod? Read more »
30359D
Matériaux pour la paléontologie suisse, ou, Recueil de monographies sur les fossiles du Jura et des Alpes /
Genève :H. Georg,1854-1873.
Voluntarios del sistema conformado por Coca-Cola Servicios de Venezuela y Coca-Cola FEMSA de Venezuela se sumaron por noveno año consecutivo a esta iniciativa, la más grande en su tipo que se realiza en el mundo..
La protección del ambiente –en especial de cuencas y océanos- constituye uno de los pilares fundamentales para las estrategias de Responsabilidad Empresarial y de Sostenibilidad de la Compañía Coca-Cola y su socio embotellador Coca-Cola FEMSA. Foto: Carlos Eduardo Ramirez/Orinoquiaphoto
Piastrelle ceramiche con superficie in vetro corazzato e rete metallica incorporata. Il vetro aderisce alle piastrelle senza necessità di collanti grazie ad un esclusivo procedimento di cottura in cui la superficie in vetro e il substrato in ceramica vengono posti in una fornace ad alta temperatura. Codice materiale 6683-01
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
Reception: Tuesday, January 30, 2018 5:00-7:00pm
Exhibition Dates: January 30 - February 16, 2018
Gallery hours are 10am - 5pm each day.
This exhibition features ceramics in experimental architectural applications made by students from the Harvard Graduate School of Design during the Fall 2017 course, Material Systems: Digital Design and Fabrication.
Harvard University Graduate School of Design Material Processes and Systems Group (MaP+S)
with support from ASCER Tile of Spain
Led by: Professor Martin Bechthold and Jose Luis García del Castillo y López
Assisted by: Ngoc Doan, Saurabh Mhatre, Chien-Min Lu, Zach Seibold and Diana Yan
in collaboration with Harvard Ceramics Program
Consultants:
Kathy King, Director of Education
Geoff Booras, Instructional Ceramics Technician
Assisted by: Mark Burns, Artist In Residence; Casey Zeng, Ceramics Program Staff; Natalie Andrew, Independent Artist
Exhibition curated by Chien-Min Lu and Jose Luis García del Castillo y López.
Featuring the work of Harvard Graduate School of Design Students:
Sulaiman Alothman
Nicole Bakker
Andrew Bako
Kenner Carmody
Jiawen Chen
Olga Geletina
Margaret George
Iain Gordon
Jin Guo
Maitao Guo
Mia Guo
Nicolas Hogan
Ching Che Huang
Anqi Huo
Hyeonji Im
Aurora Jensen
Meng Jiang
Mari Jo
Francisco Jung
Haeyoung Kim
Yonghwan Kim
Ao Li
Xinyun Li
Lubin Liu
Marcus Mello
Nathalie Mitchell
Peter Osborne
Xiaobi Pan
Nathan Peters
Sejung Song
Ziwei Song
Alexandru Vilcu
Na Wang
Math Whittaker
Diana Yan
HyeJi Yang
Evelyn Zeng
Jianing Zhang
Xin Zheng
The translation between architectural design and the subsequent actualization process is mediated by various tools and techniques that allow design teams, fabricators and installers to engage the materiality of architecture. Over the past decade advances in material development have been catalyzed by increasingly robust implementations of digital design and fabrication techniques that have empowered designers through digital modeling, simulation, and the increasingly digital augmentation of all physical processes. Creative applications of material related technologies have produced new forms of expression in architecture, triggered a debate on digital ornament, and continue to advance the performative aspects of buildings. Yet we are only at the beginning of a new age of digital materiality…
The exhibition positions material systems as combinations of design technologies with material processing and manipulation environments. Material systems are positioned as central to a research based design enquiry that capitalizes on opportunities that emerge when craft-based knowledge is synthesized with CNC-machines, robotic technologies, additive manufacturing and material science. This year’s course will focus on ceramic systems and includes a collaboration with the Harvard Ceramics Program in Allston (consultant: Kathy King). The course builds on years of collaborative research by the Material Processes and Systems (MaP+S) group at the GSD. Ceramics is the first ever material created by mankind – it is omnipresent in the craft-studio as well as in high-volume manufacturing environments. Pleasing to the touch and easily manipulated by hand, it can just as easily be subject to digital technologies and robotic approaches. While ceramic-specific aspects of material design and manipulation will be taught emphasis is on understanding ceramics as a microcosm of material research that offers insights which transfer to work with almost any material used in architecture.
The course is supported by a grant from ASCER Tile of Spain. A selection of project will also be shown at the 2018 CEVISAMA in Valencia, Spain.
Eu, como boa perfeccionista, estou sempre à procura do material ideal, que realmente funcione e facilite a vida no atelier.
Uma das dificuldades frequentes para quem faz quilt reto, é achar um giz, lápis, ou uma caneta que preste, pra fazer a marcação no tecido. Primeiro, o negócio tem que marcar decentemente. Segundo, tem que apagar com facilidade quando for a hora de apagar.
Já testei várias opções, que estão aí, fotografadas.
Os primeiros que comprei, foram os "lápis giz da moda". Não prestam. Super duros, a gente quase rasga o tecido pra conseguir marcar alguma coisa, rs.
Descobri a caneta que tem dois lados, um roxo e outro azul. É produto japonês, como sempre eles arrasam. Muito boa, mas eu gosto mais de usar o lado roxo, que desaparece em alguns dias (ou horas, ou minutos, conforme a cor do tecido). Eis o problema. Não é toda estampa que pega bem essa caneta, mesmo sendo de cor diferente da caneta. E outro problema: ela custa caro pelo tempo que dura. Mesmo assim é um produto que eu costumo investir.
Giz comum de costura. Comprei o amarelo pra testar, mas não gostei. É grosso, esfarelento, e difícil de tirar as marcas depois.
Giz Mágico japonês. Esse é ótimo. Parece um sabonete, risca decentemente, e sai facilmente com o calor do ferro de passar. O único problema é que só tem branco. Em tecidos claros, sem chance.
Minha última aquisição foi o lápis japonês, que vc vai descascando conforme a ponta for diminuindo. Usei pouco e ainda não deu pra ter uma idéia da sua funcionalidade. Achei um pouco grosso, mas acho que se der uma afinada na ponta com estilete, fica bem melhor. É fácil de usar, como o giz mágico, e também sai com o calor do ferro.
Os japoneses são os melhores! Rs.
Material Circulante: UTD 592.004
Hora: 20:28
Data: 14-01-2011
Local: Estação do Marco de Canaveses (PK 59 - Linha do Douro)
Serviço: IR 961 (Porto - São Bento --» Régua)
Material esterilitzat a la central d'esterilització de l'Hospital Sant Joan de Déu de Barcelona. Material esterilizado en la central de esterilización del Hospital Sant Joan de Déu de Barcelona.
Autoria: Ariadna Creus i Àngel García
Materials for the spectator seating on the site for the York Mystery Plays in front of St Mary's Abbey ruins in Museum Gardens, where the plays will be staged in August.
<i>A group of volunteer photographers are documenting the preparations for the 2012 production of the York Mystery Plays, to be held in August as part of the celebrations of the 800th anniversary of York becoming a self-governing city.</i>
www.yorkmysteryplays-2012.com/
12 July 2012
SLR2_103-7775
river gandol covered with volcanic materials.
2 months after eruption of mount merapi in jogjakarta, indonesia.
Caption: April, 1985. Workman preparing building materials for temporary shelters.
Citation: Mennonite Board of Missions Photographs. Chile, Donald and Marilyn Brenneman. IV-10-7.3 Box 1 Folder 31. Mennonite Church USA Archives - Goshen. Goshen, Indiana.
TCAI realitzant un rentat de material sanitari a la central d'esterilització de l'Hospital Sant Joan de Déu de Barcelona. TCAE realizando un lavado de material sanitario en la central de esterilización del Hospital Sant Joan de Déu de Barcelona.
Autoria: Ariadna Creus i Àngel García
Type A Packages - SAFPAK
Designed as a Reusable Type A Package to the IAEA Regulations for the Safe Transport of Radioactive Materials.
Type A Packages comes in different sizes, used to transport medical radionuclides either in solid or liquid form. Approved for liquid material in vials or syringes. Container packages that are reusable, re-sealable, stainless steel made specifically for the packaging for transportation of radioactive materials. Croft UK, Abingdon, United Kingdom, 13 December 2011
Photo Credit: Dean Calma / IAEA
SAMMS (Self-Assembled Monolayers on Mesoporous Supports) material, originally designed to remove chemical and nuclear contaminants from liquid solutions, has now been tailored to absorb carbon dioxide from breathing air submarines.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.