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ShapeShift is an experiment in future possibilities of architectural materialization. This project explores the potential application of electro-active polymer (EAP) at an architectural scale. EAP offers a new relationship to space built through its unique combination of qualities. It is an ultra-lightweight, flexible material with the ability to change shape without the need for mechanical actuators. As a collaboration between the chair for Computer Aided Architectural Design (ETHZ) and the Swiss Federal Laboratories for Materials Science and Technology (EMPA), shape-shift bridges gaps between advanced techniques in architectural design / fabrication and material science as well as pushing academic research towards real world applications.
All material on this site is copyrighted by Daniel Ludgero | 2013
Web Site: www.danielludgero.pt.vu
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Parent material refers to the substance from which the soil has been derived. While in most cases it is of geological origin, parent material can also be organic. The nature of the parent material can have a profound influence on the characteristics of the soil. The mineralogy of the parent material is mirrored in the soil and can determine the weathering process and control the natural vegetation composition.
Lithologic discontinuities are significant changes in particle-size distribution or mineralogy that represent differences in lithology within a soil. A lithologic discontinuity can also denote an age difference. It should be noted, not everyone agrees on the degree of change required for a lithologic discontinuity; therefore, no attempt is made to quantify lithologic discontinuities.
One line of field evidence is shape of rock fragments.—A soil with horizons containing rounded rock fragments overlying horizons containing angular rock fragments (or lack of fragments) may indicate a discontinuity. This line of evidence represents different mechanisms of soil formation (e.g., colluvial vs. residuum) or even different transport distances of the parent materials *colluvium vs. alluvium).
This photo illustrates colluvium (materials with rock fragments) underlain by residuum (folded weather bedrock).
Colluvium: Colluvium (also colluvial material or colluvial soil) is a general name for loose, unconsolidated sediments that have been deposited at the base of hillslopes by either rainwash, sheetwash, slow continuous downslope creep, or a variable combination of these processes. Colluvium is typically composed of a heterogeneous range of rock types and sediments ranging from silt to rock fragments of various sizes. This term is also used to specifically refer to sediment deposited at the base of a hillslope by unconcentrated surface runoff or sheet erosion.
Residuum: Residuum is often used to refer to the soil and subsoil that forms as the result of long weathering over bedrock. It is defined primarily as “the unconsolidated weathered at least partly, mineral material that has accumulated as consolidated rocks disintegrated in place. It is a type of soil parent material which has formed in place of origin. This distinguishes residuum from most other types of parent material.
For more information about describing and sampling soils, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/field...
or Chapter 3 of the Soil Survey manual:
www.nrcs.usda.gov/sites/default/files/2022-09/The-Soil-Su...
For additional information on "How to Use the Field Book for Describing and Sampling Soils" (video reference), visit:
www.youtube.com/watch?v=e_hQaXV7MpM
For additional information about soil classification using USDA-NRCS Soil Taxonomy, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/keys-...
or;
www.nrcs.usda.gov/resources/guides-and-instructions/soil-...
this was on a pile of straight logs at the preservation shipyard at Mystic Seaport. am guessing that the metal "staples" are to keep the checks in check.
An open day was held at the National Track Materials Recycling Cente - Whitemoor (NTMRC) on Sunday 14th August 2011
66161 seen with a Rail Delviery Train in pahse 1 of the Whitemoor development
DESFILE-CONCURSO DE COMPARSAS = CARNAVAL 2015 DE MADRIDEJOS
Más carnavales puedes ver en www.josemariamorenogarcia.es/carnaval
Autor: José-María Moreno García. Fotógrafo humanista y documentalista. Cronista Oficial de la Villa de Madridejos.
Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, sino también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net
SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com
pictionid68373852 - catalog100026298 - title---air mail personnel pioneers pilot w.l. smith--- - filename100026298.tif-Please tag this image so that info can be stored with our metadata. This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum
Recycled materials.
Made from, vegetable steamer, brass button, and the top portion of a collector teaspoon. All attached with metal glue adhesive.
Object ID: R11BS2_3480
Description: Photograph of the entrance to 77th Street Station in Bay Ridge on the BMT 4th Avenue Line.
Date: January 14, 1916
The Transit Museum charges fees for the use of items from its historical collections. These fees help to defray the costs of preserving and cataloging our materials so that research access may be expanded. If you are interested in licensing for commercial use, please contact our archivist at carey.stumm@nyct.com for more information.
Model/Photographer: Nirvana Blaisdale
Hair: Miamai - Style Updo (Black)
Hair base: Detour - Hairbase S4/Black 2
Lashes: Glow Studio - Hollywood /Black Dahlia (small)
Earrings: Glow Studio - Allstars
Necklace: JCNY - Buckingham Pearl Collection (Pink)
Ring: Exodi - Nyla Ring (Turquoise)
Belt: fri.day - Cinch Belt (black)
Shoes: Stiletto Moody Pinup - Patent Python (Black)
Jacket: LeLutka Ultra - Prison (Nude)
Shirt: House of London - Emi Strapless Dress [top only] (bright blue)
Skirt: Mohna Lisa Couture: Venomous Dress [skirt only]
Seamless Diffuse Normal Specular Texture Materials
$1.73 per three map set. Commercial Use Okay. www.texturesrusnet
Framegrabs from source videos made with Cinder which were used in a collaborative piece with Erik Jonsson (from Your Majesty in NYC). Made for the art project '00 Black Material' coming out in a couple months. I will post more details later.
Sears Building Materials 1909
Sears Building Materials 1909 advertising portable buildings, sectional buildings, the closest thing to prefabricated that Sears ever sold until the Homart Homes were introduced.
I would be REALLY surprised to find one of these still standing! Think storage shed in a box from a home improvement store. Will those still be around in 100 years? Doubtful.
Lady Gaga
ArtRAVE Barcelona
Barcelona, Spain
November 8th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Lady Gaga
ARTRAVE "THE ARTPOP BALL"
Madison Square Garden
May 13th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
In recent decades, developments in software and hardware technologies have created dramatic shifts in design, manufacturing and research. Software technologies have facilitated automated process and new solutions for complex problems. Computation has also become a platform for creativity through generative art and design. New hardware platforms and digital fabrication technologies have similarly transformed manufacturing, offering more efficient production and mass customization. Such advances have helped catalyzed the maker-movement, democratizing design and maker culture. This influx of new capabilities to design, compute and fabricate like never before, has sparked a renewed interest in material performance.
We are now witnessing significant advances in active matter, 3D/4D Printing, materials science, synthetic biology, DNA nanotechnology and soft robotics, which have led to the convergence of software, hardware and material technologies and the growing field of programmable materials.
This conference was about the emerging field of active matter and programmable materials that bridges the worlds of art, science, engineering and design, demonstrating new perspectives for computation, transformation and dynamic material applications.
If over the past few decades we have experienced a software revolution, and more recently, a hardware revolution, this conference aims to discuss the premises, challenges and innovations brought by today’s materials revolution. We can now sense, compute, and actuate with materials alone, just as we could with software and hardware platforms previously. How does this shift influence materials research, and how does it shape the future of design, arts, and industrial applications? What tools and design processes do we need to advance, augment and invent new materials today? What are the key roles that industry, government, academic and public institutions can play in catalyzing the field of programmable materials?
This two-day conference consisted of a range of talks and lively discussion from leading researchers in materials science, art & design, synthetic biology and soft-robotics along with leaders from government, public institutions and industry.
Learn more at activemattersummit.com
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
Material Systems: Digital Design and Fabrication
Exhibition dates: January 31 - March 11, 2022
Harvard University Graduate School of Design
in collaboration with the Ceramics Program, Office for the Arts at Harvard
This exhibit showcases the results of the Fall 2021 course Material Systems: Digital Design and Fabrication offered at the Harvard Graduate School of Design (GSD). For over a decade, faculty from the GSD have collaborated with the Harvard Ceramics Program to offer an experiential learning opportunity for design students that links research and experimentation in emerging digital technologies with the context of ceramic material systems. The course combines technological developments relating to the way in which things are designed (digital modeling, simulation, generative design, etc.) and the way things are made (automation, computer-controlled equipment including robotics, advanced materials, etc.) in search of new opportunities. Each object exhibited here is the result of prototyping and experimentation during the pursuit of a research question – it represents a step in a process of exploration, rather than a finished product.
Course led by Professors Nathan King and Zach Seibold, assisted by Gabby Perry, Teaching Assistant
In consultation with Kathy King, Director, Geoff Booras, Operations Coordinator and Casey Zeng, Ceramics Program Staff
Featuring work by Harvard Graduate School of Design Students:
Saad Boujane, Trent Bullion, Shant Charoian, Danny Clarke, Amelia Gan, George Guida, Sarah Hopper, Dongyun Kim, Annabelle Li, Yang Sun Lim, Elsa Mendoza, Elissa Palmer, Devashree Shah, Wei Wu, Zhenyu Yang, Hye Jun Youn, and Ivan Zhang