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CNC milled tree trunk from Linden wood based on a form modeled in 3D. Milled at the HfG Offenbach with the kind assistance of Mr. Wolfgang Heide. Digital image taken at the exhibition "Natur-Struktur" in March-April 2008 in Frankfurt am Main, Germany.
Tuskegee Communications equipment. Tuskegee, Alabama, 12th January 1942 - Staff Sergeant Leonard D. Nelson in charge of the communication section (nearest camera), and Sergeant Robert L. Smith operating a SCR 188 A-field set, checking modulation as Sergeant Nelson talks to cadet pilots who are in the air. ... USA ...
Minimoog: 3 oscillators (one LFO assignable), 5 wave forms.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
2 RED LFOs and a Proto of the GREEN SEQ (here in black as the green Plexi didnt make it in time...)
all running Temposynchron, the left LFO modulating PWM, the 2nd modulating Filter Cutoff, the Sequencer OSC Frequency (via a Quantizer).
You cant imagine how much fun it is just to step thru the LFO Waveforms and adjust the PhaseShift for the Filter Modulation......
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This jazz waltz features vocal, saxophone, and flute performances accompanied by a jazz trio.
Vocal - Lee Fitzsimmons * Live Yamaha tenor saxophone (YTS - 21) - Lee Fitzsimmons * Live Gemeinhardt flute - Lee Fitzsimmons
Piano - Lee Fitzsimmons * Acoustic bass - Lee Fitzsimmons * Drum kit and ride cymbals - Lee Fitzsimmons
LYRICS
"Think I'm gonna go sail away, forever and a day. Through the clouds and over the trees, think I'm gonna go sail away.
Gonna get me a big balloon, so I can fly away to the moon. Through the stars on Mercury's tune, gonna get me a big balloon...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
"Maybe we could fly away to Mars, the whole universe is ours. See the light wherever we are, maybe we could fly away to Mars.
Jupiter and Venus, too. That's what I'm really gonna do. Saturn in it's hazy dew, Jupiter and Venus, too...
Breathe deep the golden air, swirling through our minds. We'll find a solace there, an essence so sublime."
The jazz trio sets up a spirited groove; the vocal begins. A soulful tenor saxophone fills the gaps of the vocal melody during the verses. In the chorus, a playful flute plays during the vocal breaks as a clever modulation occurs. After the chorus, the saxophone takes a lively be-bop style ride and is then joined by the flute, so the pair can present a two part harmony that sets the stage for the second verse. The entire form repeats and the song ends on the final note of a brief coda.
The philosophical essence of this tune is the concept of "floatation" as an allegory for the ascent of the kundalini energies up the spinal cord. The planetary chakras of alchemical lore are mentioned in the lyrics as guiding beacons of light that guarantee that the balloon's pilot is never lost. The golden air of the chorus is symbolic of the heliosphere that permeates all of the solar system that lets all of the inhabitants of its golden realms know that they are never alone.
This "essence so sublime" is the true solace of Sol.
Blacktron Gold - Listening and Assault Unit
Spacecraft equipped with:
- stereo cockpit
- optoechoic head
- white noise generator
- modulation metronome
- dual megabass cannon
- large aperture antenna with phrase scanning
- dual IR (iridium) jam-session-er
- powerful pro-tone torpedo
- dual frequency Hi-Fi-per sonic missiles
it's amazing how the basic mechanism of hard drives hasn't changed, from 1.5GB to 250 GB. i'm sure, however, the modulation and FEC (forward error correction) scheme has evolved tremendously.
photo taken with a tripod, mirror lock-up. shot in raw, converted to jpeg with DPP. sharpening set to zero. tungsten lighting, eyedrop white balance.
Architect : Antonio Bonet
architecture.arqhys.com/architects/antoniobonet-biography...
ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.
Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.
This species of Chroococcus was found at the Weep Site, Don Edwards San Francisco Bay National Wildlife Reserve, near Alviso. The Weep Site is a salt marsh seep pond with no direct connection to the Bay. Since Chroococcus is generally found free-floating in the ocean, it is not clear how this dividing cell got to the Weep Site. The photomicrograph was taken 1000x oil immersion Hoffman Modulation Contrast optics, using a Nikon Coolpix P5100 camera.
Various postiions of the minimoog's programming panel: upright.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
El edificio de la Municipalidad de Santiago es la sede de la Ilustre Municipalidad de Santiago. Se encuentra en el costado norte de la Plaza de Armas, en la esquina de la calle Monjitas con el paseo 21 de Mayo, a un costado del antiguo Palacio de la Real Audiencia que hoy alberga al Museo Histórico Nacional.
Este solar fue destinado desde la fundación de Santiago a albergar un edificio público, siendo ocupado originalmente por el cabildo de la ciudad y la antigua cárcel colonial. Un primer edificio fue construido entre 1578 y 1647. En 1679 el edificio fue demolido y más tarde, entre 1785 y 1790, fue construido un segundo edificio por el arquitecto italiano Joaquín Toesca, ahora con estilos neoclasicistas.
La fachada tiene una modulación neoclásica, arcos de medio punto, balcón corrido y vanos rectangulares. Antiguamente en el eje del pórtico se elevaba una torre. La transformación posterior le dio un sello neoclásico con elementos de renacimiento italiano, un plomo nuevo marca el acceso como cuerpo central, recorriendo un balcón, conteniendo éste, tres grandes vanos enmarcados en pilastras. La planta se desarrolla en dos niveles, rodeando un hall vidriado, y un subterráneo abovedado, ocupa parte de la planta bajo nivel
Un incendio en 1891 obligó a una reconstrucción realizada por el arquitecto Eugène Joannon. El tercer edificio del solar –que se conserva hasta la actualidad fue inaugurado en 1895 y oficialmente declarado como sede de la administración comunal. En el año 1976 fue declarado Monumento Histórico.
----------------------------------------------------------------------------------------
The Santiago Municipality building is the headquarters of the Illustrious Municipality of Santiago. It is located on the north side of the Plaza de Armas, on the corner of Monjitas Street and Paseo 21 de Mayo, next to the old Palace of the Royal Court that today houses the National Historical Museum.
Since the founding of Santiago, this site was intended to house a public building, originally occupied by the city council and the old colonial prison. A first building was built between 1578 and 1647. In 1679 the building was demolished and later, between 1785 and 1790, a second building was built by the Italian architect Joaquín Toesca, now with neoclassicist styles.
The façade has a neoclassical modulation, semicircular arches, a continuous balcony and rectangular openings. Formerly, a tower stood on the axis of the portico. The subsequent transformation gave it a neoclassical seal with Italian Renaissance elements, a new lead marks the access as a central body, running along a balcony, which contains three large openings framed in pilasters. The floor plan is developed on two levels, surrounding a glazed hall, and a vaulted basement, occupying part of the ground floor.
A fire in 1891 forced a reconstruction by the architect Eugène Joannon. The third building on the site – which is preserved to this day – was inaugurated in 1895 and officially declared the headquarters of the communal administration. In 1976 it was declared a Historical Monument.
“Keep your language. Love its sounds, its modulation, its rhythm. But try to march together with men of different languages, remote from your own, who wish like you for a more just and human world.”
- Hélder Câmara, Spiral Of Violence -
www.goodreads.com/quotes/tag/multiculturalism
Use or illustrate the Golden Triangle in a photograph today. www.todaysposting.com/TPAssignment.php?TP=429
How to control the intensity of some LEDs in PWM (Pulse Width Modulation).
/*
Fade
This example shows how to fade two LEDs on pin 9 and pin 10
using the analogWrite() function.
The analogWrite() function uses PWM, so if
you want to change the pin you're using, be
sure to use another PWM capable pin. On most
Arduino, the PWM pins are identified with
a "~" sign, like ~3, ~5, ~6, ~9, ~10 and ~11.
This example code is in the public domain.
*/
int led1 = 9; // the PWM pin the LED is attached to
int led2 = 10;
int brightness = 0; // how bright the LED is
int fadeAmount = 5; // how many points to fade the LED by
// the setup routine runs once when you press reset:
void setup() {
// declare pin 9 and 10 to be an output:
pinMode(led1, OUTPUT);
pinMode(led2, OUTPUT);
}
// the loop routine runs over and over again forever:
void loop() {
// set the brightness of pin 9:
analogWrite(led1, brightness);
analogWrite(led2, brightness);
// change the brightness for next time through the loop:
brightness = brightness + fadeAmount;
// reverse the direction of the fading at the ends of the fade:
if (brightness = 255) {
fadeAmount = -fadeAmount;
}
// wait for 30 milliseconds to see the dimming effect
delay(30);
}
'Oscillator Bank', 'Waveform': mad-scientist lingo for unsuspecting musicians back in 1970.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
The brakes on this bike are the big story. With 650B wheels this frameset requires over 80mm of brake reach in the back, and there aren't many quality options for that kind of reach - except these brakes. Incredible stopping power, excellent modulation, and they're self contained with cable stops and adjusters. They work well with standard brake levers, too.
This thing is a rim crusher! Awesome brakes, really.
BEST AND AFFORDABLE 200-HOUR YOGA TEACHER TRAINING DHARAMSALA CURRICULUM INCLUDES:
Study of Yoga asana (proper alignment, variations, modifications with the ability to minimize the risk of injuries and Hands-on adjustments)
Art of Yoga sequencing and improvisation in the class.
Observation with specific angles related to a Yoga posture.
Intelligent use of props to help improve Yoga practice at its early stages.
Cultivation of Command through voice modulations.
Yoga Postures with their Sanskrit Names and terminology.
Confidence-building through Yoga practice Yoga teaching.
Yoga Principles of anatomy-physiology and its correlation with Yogic Science.
Yoga Philosophy, Ideas.
Spirituality and ethics with Business of Yoga.
Dub~Step~Arcade Controls
01~ Steps (amount of steps in the tone)
02~ Mod Depth (amount of modulation of the pitch)
03~ LFO - Square or Triangle select for modulation depth
04~ A/D or LFO select for modulation depth
05~ Pitch (manual oscillator pitch setting)
06~ VCA level (volume)
07~ Manual or A/D generator select for VCA
08~ Attack control (how long the A/D gen takes to get to max amount)
09~ Decay (how quickly the A/D voltage drops)
10~ Repeat on /off (A/D generator automatically repeats at the end of each cycle)
11~ FIRE! starts the A/D sequence
12~ LFO speed with flashing indicator
KITS AVAILABLE MAY 2010 FROM
Passage of Her Song
A brush
~ gentle brush
To leave spun-silk these wiry curls,
braided ribbons and
other fancy things,
her hands wove round
a countenance ~ my own
reflected in the glass.
Her own ~ silver now flecked,
the porcelain handle etched mosaic
as the delicate fissures her face and mine.
In the shine
I see her soft and rhythmic stroke
perpetuum,
a movement I to she
whose composition blends and binds to me
Mother,
in my veins
you wrote a rhyme,
verses penned
in the rush of generations
~rush of red-letter days
and lonesome reserve of twilight kisses,
My lyrics sung
on the notes of toil and pride
pinched from time
and tears, honeyed and bittered
A hush
~ hush
To memorize our modulation
as we sing this final round of two,
this melody rising, each in separate measure,
to end upon
my single note,
sustained
and unwavering
jeanne rené 4/05 - 2/12
Group 4_
Aaron Onchi, Betty Sanchez, Roberto Gutierrez, Frank Durán , Belén Olaya García
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
The Metropolitan Museum of Art, NYC
by navema
Marble bust of Luisa Deti (d. 1557); Rome, Italy (1604)
This portrait of the mother of Pope Clement VIII (Camillo Aldobrandini) was originally intended for the family chapel in Santa Maria sopra Minerva, Italy.
On display in the Kravis Wing, it is the portrait of a woman in her late fifties or early sixties, captured inn a serious and pensive mood. The slightly bowed head, with the artistically draped veil and mantle, suggests a mood of calm and controlled sorrow - a characteristic demeanor for a woman of noble birth. The representation of inner feelings is mastered by the artist through his technical virtuosity, especially evident in the delicate modulation of the face. His portrayal of varying textures, such as the contrast between the rough fabric of the veil and the smooth skin, shows a high level of talent.
Ippolito Buzzi or Buzio (1562–1634), was an Italian sculptor from Viggiù, near Varese, in northernmost Lombardy, a member of a long-established dynasty of painters, sculptors and architects from the town, who passed his mature career in Rome. His personality as a sculptor is somewhat overshadowed by the two kinds of work he is known for: restorations to ancient Roman sculptures, some of them highly improvisatory by modern standards, and sculpture contributed to architectural projects and funeral monuments, where he was one among a team of craftsmen working under the general direction of an architect, like Giacomo Della Porta—in projects for Clement VIII Aldobrandini—, or Flaminio Ponzio—in projects for Paul V Borghese—who would provide the designs from which the work was executed, always in consultation with the patron.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
A filamentous alga, three cells of the colonial diatom Melosira, and a Cyanobacterial filament on the left. Cells and chloroplasts are clearly visible inside the cell walls of the alga. Photomicrograph taken with a Coolpix 885 at 3x zoom, using an Olympus microscope equipped with Hoffman Modulation Contrast optics, oil immersion at 1,000x magnification.
Scuplture: Emergence by This is Loop
A mirage. A hallucination. A lucid dream. Emergence rises like a shimmering beacon, drawing you to its otherworldly glow.
This large-scale audio-visual sculpture is crafted from mirrored, tunnel-like trapezoid shaped bricks stacked to form a structure with multiple entry points. Interwoven with over 10,000 LED lights, the pavilion is an immersive, meditative space.
Once inside, you’re enveloped in a captivating light show choreographed to an original soundscape. Composed by the NYX Choir, the ethereal music combines tribal vocal elements with synthetic modulation.
Emergence is a contemplative experience—a testament to the transportive power of light and sound.
Eventide Eclipse has great reverbs, delays and modulation effects.
MC77 compressor by Purple Audio is an 1176 on steroids.
Recording-Studio-Mixing-Gear-Outboard (21)
The Pitch-bend & Modulatioon wheels. The minimoog was the first.
Designed by Robert Moog in 1970, the Minimoog Model D synthesizer is still regarded as the Rolls Royce equivalent for analog keyboard-based synthesizers. Specifically designed for touring musicians, the minimoog exported electronic music experiments from university labs out to the masses - and her deep farting bass-sounds (think of Kraftwerk's Autobahn), lead and space bleeps and sweeps have become HUGELY popular over the last 38 years.
There were originally 13,000 minimoogs produced between 1970 and 1981. After a brief hiatus during the digital-synth craze in the 1980s, the minimoog enjoyed a resurgence of interest among musicians since the 1990s...and yes, it's becoming harder to get a hold on one.
I obtained this Mini from a studio garage sale back in 1989 for US$ 150 (in prime condition - save the crackling external input knob). After lying dormant for 7 years now, it's time to bring life back into this 1973 model D mini. Tropical humidity heavily damaged the furnishing. It needs re-tuning of the oscillators, cleaning of the electronic board, new switches for filter modulation, and thinking about a new base panel.
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
Group 3_
Alejandro Candela, Georgina Muñoz, Carlos Paz, Berenice Jimenez, Laura Antelo, Gabriel Manriquez
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]
This my version of the Tellun Neural Agonizer, a maxed out version of a reverb unit. It drives and controls 2 reverb tanks, and adds quite a few controls and alternative modulations to the mix. The front panel is from the Bridechamber.
Title: Concha Renaissance San Juan Resort
Other title: Concha
Creator: Toro, Osvaldo 1914-1995; Ferrer, Miguel, 1915-2004; Salvadori, Mario George, 1907-1997; Marvel & Marchand Architects
Creator role: Architect
Date: 1958 (original) 2008 (renovation)
Current location: San Juan, Puerto Rico
Description of work: Renaissance Hotels tasked architect Jose R. Marchand and interior designer Jorge Rossello with renovating and saving this beachside landmark. "[B]y the mid-1990s the venerable La Concha hotel had been shuttered, abandoned and left to rot...Originally designed by Osvaldo Toro and Miguel Ferrer, with an eccentric but utterly loveable seashell-shaped restaurant by Mario Salvatori [sic], La Concha was a beautifully massed, expertly sited, vividly inventive building perfectly in sync with its time. Closely attuning the hotel to its sun-swept setting, the architects created deep-shading overhangs, open corridors, windows and doors that gave onto lush interior courtyards and provided cross ventilation, and beautifully lacy quiebra-sol (their take on a brise-soleil) for further modulation of the light and heat" (Frank, Michael. "La Concha Revival". Architectural Digest. Aug 2009, p. 103-104. Print).
Description of view: Detail view of the roof on the restaurant, shaped like a conch shell.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 13, 2008
Resource type: Image
File format: JPEG
Image size: 2304H X 3072W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. For additional details see: alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2010-0271 Concha.JPG
Record ID: WB2010-0271
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
The Kalimba is an African instrument with a beautiful wooden sounding board; if you hold your thumb near this hole and waggle it as the note is being played, you can sometimes get an eerie vibrating modulation to the sound.
The photograph is a philosophical statement about being and nothingness -- what this picture is "of" does not by itself even exist, but is instead defined by the context of its surroundings. (he says has he clears his throat...)
The painting originally hung in the Vallombrosians church of Santa Trinita in Florence and since the 16th century it has been recorded as the work of Cimabue, Florence’s most important 13th-century painter who, as well as working in Tuscany, was also present in Rome, Assisi and Bologna.
Seated on a grand, imposing ivory throne, with an articulated architectural form, the Virgin Mary is using her right hand to point to her son, whom she is holding, according to the Byzantine model of the Virgin Hodegetria, i.e. he who shows the way to salvation. Dressed like a philosopher from ancient times, Jesus is blessing and holding a rolled scroll, which is perhaps the scroll of the Law. The clothes worn by Mary and her son feature a precious golden decoration known as damascene, a characteristic of traditional Byzantine painting, which was greatly fashionable in Italian medieval painting. Around them are eight angels with splendid multi-coloured wings, gently raising the throne. What is rather unusual for the iconography of the Virgin and Child enthroned is the depiction, under the throne, of several prophets from the Old Testament (left to right: Jeremiah, Abraham, David and Isaiah) who are holding phylacteries with writings from the Holy Scriptures, alluding to the mysteries of the Incarnation and Virginity of Mary.
The painting stands out for the boldly elegant decorations, also seen on the background, which is finely decorated with geometric motifs engraved into the gold. Although the dates of this work have been the subject of much discussion, there is a tendency to date the Santa Trinita Maestà to the latter part of Cimabue’s career. In this masterpiece, the complex division of space used for the throne, the folds of the clothing, the modulation of chiaroscuro and the good-natured expressions of the Virgin and the angels seem to be affected by the naturalism distinguishing younger artists, such as Duccio di Buoninsegna and, above all, Cimabue’s own pupil, Giotto.
Source: www.uffizi.it/en/artworks/virgin-and-child-enthroned-and-...
A PANO-Vision of Temporal Displacement Modulation in space. You can listen to the past, present or future when you tune your radio to TDM/7300!
Escalinata Ryerson
Ensenada, Baja California
Networked Fabrication for Urban Provocations.
Shifting Paradigms from Mass Production to Mass Customization
Computational architecture and design course
Conventional construction methods all depart from the basic premises of mass production: standardization, modulation and a production line. What these systems developed during the last two centuries fail to take into account are the evolutionary leaps and bounds the manufacturing industry has taken over the last decades. With the introduction of CNC technologies and rapid prototyping machines have altered the paradigms of fabrication forever. It is due to these new tools that it is now possible to create (n) amount of completely unique and different pieces with the same amount of energy and material that is required to create (n) identical pieces. The possibilities for implementation of new forms, textures, materials and languages are infinite due to the versatility that these new tools offer a growing network of architects, designers, fabricators that are integrating them into their professional practices to generate unique and precise objects that respond to countless data and real-life conditions.
Instructors:
Monika Wittig [ LaN, IaaC ]
Shane Salisbury [ LaN, IaaC ]
Filippo Moroni [ SOLIDO, Politecnico di Milano ]
MS Josh Updyke [ Advanced Manufacturing Institute, KSU, Protei ]
Aaron Gutiérrez Cortes [ Amorphica ]