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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 ]
Pittsburgh Generator
A dual oscillator built around two triangle core, wide range, periodic waveform generators. As a multipurpose signal generator, it can provide the basis of a wide range of complex sounds ideal for tuned percussion/noise, abrasive amplitude, frequency and timbral modulation. Tones, drones, textures, and drums to atonal, nintendo zipper/fart noises. This module was made for FM madness.
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: Interior view of the main entrance and lobby area.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Stone
Plants
Water
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: WB2010-0256 Concha.JPG
Record ID: WB2010-0256
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
We produce this model as “Pick-up Activator” FET design preamp for bass guitar, under “Alen Geere”, our other brand. This is electric guitar version that boost the signal +5dB at maximum volume level. It has improved tone control and a switch for boost/cut between 200-800 Hz of frequencies. This option bring all humbucker-loaded guitars to standard “Tele” side an incredible way. High input and low output impedances are ideal for driving long cables. It’s also suitable with bass.
Species of Melosira from the salt pond site NS-1 in Heron's Head Park, San Francisco, on San Francisco Bay. This was taken with Hoffman Modulation Contrast Optics at 1,000x, from a wet mount slide. This shows the barrel structure of a single cell of this colonial diatom.
Oh, to explain the wonder that is leaving one's place of employ as the sun comes bombarding across the sky. People always comment on how crazy it must be to work from midnight until 8 in the morning, but I love it. It's misbehaving. It's wrong. Sick and lovely and wrong.
I viewed this lovely set from Wave of Modulation and had a tiny orgasm.
I love the sun, don't be mistaken. However, I fucking love the night.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
ON Semiconductor (Nasdaq: ONNN), a leading global supplier of high performance, energy efficient, silicon solutions has introduced eight new power MOSFET devices specifically designed for medium voltage switching applications. These MOSFETs are ideal for use in DC motor drives, LED drivers, power supplies, converters, pulse width modulation (PWM) controls and bridge circuits where diode speed and commutating safe operating areas are crucial and benefit from an additional safety margin against unexpected voltage transients that these devices provide.
Born in the year 2715 to Fred and Roberta Starks of Earth, Crytala grew up in a very happy family setting. She was a very smart little girl in everything she did, but at 8yrs old she was being bullied in school, so her father had her enrolled in every form of martial arts he could think of, considering the fact that his daughter was an only child. So for her protection, he had her trained not withholding her education. By the time she reached college she majored in communications.
She became one of the greatest and most widely students known in the field of communications. And was accepted at the Belstar Space Academy in the year 2712 and majored in Universal Language Translation, Frequency and Range Modulation, Psychology, Pyschometrics, and Physics. While attending Belstar Space Academy Crytala met a fellow student Bodar, and fell in love with him. They spent a lot of time studying and working together, until Bodar had to dedicate his time and effort on The Phantom. After that they didn't see much of each other. So Crytala requested to be communications chief aboard The Phantom, to be close to Bodar. Bodar doesn't realize how Crytala feels, but out of his respect for their friendship and her qualifications, he takes her on as communications chief. And her adventure begins.
Crytala Starks (2007) Dingis Comics. art by Dingiswayo Norris July 27, 1966 - September 6, 2009
named after a wonderful, highly complex bossa nova song with an unimaginable number of modulations in its short length. This butterfly is equally complex and short-lived.
Here's a link to Andy Williams' version www.youtube.com/watch?v=v7n7BeJbQoc
It takes sound in, and depending what kind of data it is getting from the sensor (which senses tilt) it shifts the pitch of the audio signal up or down, and adds more or less distortion and then up puts the sound out.
Nolita, Manhattan, New York City, New York
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
Video HERE
Instructions [BuWizz] or [2.4 GHz]
Purchase Full Kit: [LesDIY] or [LetBricks]
Features:
01. RC Drive 6 x 6. Buggy Motor geared at 17 to 1.
02. RC Steering. PF Servo
03. RC Turntable. PF M Motor with Worm Gear.
04. RC Compressor. PF L Motor driving 2 x 6L Pumps. Dual Air Storage Tanks.
05. RC Pneumatics. PF Servo & Pneumatic Switch assembly.
06. Dampened Crane Arm movements for fine control & modulation.
07. PRV Function to automatically shut off Compressor.
08. Powered by 2 x (Buwizz 2.0) or (2.4GHz Module)
09. Live Axle Suspension Front & (Tandem) Rear.
10. Ackermann Steering Geometry. Positive Caster Angle.
11. Working Cab Steering Wheel.
12. Opening Cab & Crane Doors. Technic Figure compatibility.
13. Fully customizable Crane counterweight compartment (88 cubic studs) for better stability.
14. Disengage drive & steering motors for manual locomotion. Working HOG on roof.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
Ween has always occurred to me as a musical chameleon. You want thrashy, idiotic punk? Ween can do that. Do you want a moving, emotional ballad? Ween can do that, too. Do you want an obviously drug-fueled voyage into dissonant sound and grating, nonsensical vocals? Ween can serve that up hot with a side of grits.So, it shouldnt seem strange that Ween can do country, and country is what you get in 12 Golden Country Greats. Now, country is a genre of music I tend to admire from afar - I never want to get too close, lest I start feeling urges to square-dance with a ten-gallon hat and tight jeans. So having Ween do a country album gave me the excuse to get into country, even if it was largely the Ween version. But then again, a little parody never hurt anyone, and this album is a must for Ween fans and anyone who wants a little absurdity with their country.Ween pulls off the endeavor by bringing in a bunch of ringers (some of whom they name during songs), who obviously have the whole country thing down to a T. Although Dean Ween is by all accounts one of the most talented guitar-Gods around (or, at least, by all my accounts), he probably couldnt handle a steel guitar too well, so Ween took this concept to its logical conclusion and brought in fiddlers, steel guitarists, a drummer, etc., which give almost all the tracks a good, solid grounding in the basics of the genre. The Ween-ness is brought in courtesy of the lyrics; for a Ween album, the vocals are mostly straight and modulation-free, so its up to the lyrical content to remind you that yes, these are the same guys behind such timeless classics as Touch My Tooter and Fat Lenny.The lyrics make the album, sometimes going light on the absurdity (Japanese Cowboy, Powder Blue) to laying it on thick (You Were the Fool, Im Holding You) to just being downright hilarious (Piss Up a Rope, Help Me Scrape the Mucous Off My Brain). For Ween fans, I suspect, the lyrics are where its at, because even after you know what Ween is going to say in a given song, its still somehow fresh and funny the tenth time you hear it. The lyrics shine for most of the time in 12 Golden Country Greats, with comedy being the main aim, though sometimes the only joke is hey, look, were doing country!Musically, the songs are generally catchy and well-paced. Since I dont know country very well, I can only postulate that the songs reflect a range of country styles within country itself - nowhere is this more apparent than in the cheerfully homophobic Mister Richard Smoker, which seems to be plucked out of the days of ragtime, and the almost normal I Dont Want to Leave You On the Farm, which I can only assume is closer to bluegrass. I could be wrong, but I dont really care. The only song that really drags for the casual listener not familiar with Weens forays into the lengthy, annoying song that never seems to end (Black Jack, anyone?) is Fluffy. But Fluffy is probably the funniest piece here, and sucks you in to its world of lazy front porches and excited dogs with its slow-motion, warped approach.So, overall, this album is musically solid, lyrically brilliant, funny, and delightfully misnamed. Where the remaining two golden country greats went, only Ween knows, but Gene and Dean turn in a 10-song tribute/mockery of country that stands out as being both authentic and ridiculous. On a personal note, I was once dating a girl who was a true country fan. Wondering if she might like this album, I played it for her. She was horrified. But, as I said before, if youre a fan of Ween, this album cannot be missed, or left on the farm. For More 5 Star Reviews 12 Golden Country Greats [Explicit]
live at Protos Orofos. Photos by Achilleas Polychronidis
Mohammad:
Nikos Veliotis: cello
ILIOS: oscillators
Coti K: bass
These modifications of this Gristleism are identical to the modifications made by A.S.M.O. and used by all four members of Throbbing Gristle at their last gig on 23rd October 2010 at Village Underground, Hackney, London, UK. The Gristleism has an added LFO circuit which modulates the pitch and rhythmically triggers the loops. The LFO has 5 controls" speed, depth, wave shape and two momentary switches to engage the modulation and loop trigger. There is also an added switched jack output to connect to larger amplification.
Avantalk Bluetooth USB Adapter BTDG-18 - high speed
Specification
Bluetooth Standard ----- Bluetooth v2.1 + EDR
Solution -----Issc: IS1612N
Host Interface -----USB 2.0 compatible
------------------------------------------------------------------------------
RF Specification
--Frequency band -2.4G ISM band
--Spectrum -FHSS
--Modulation -GFSK
--Antenna -PCB antenna
--Sensitivity -80dBm typical
--Power -Class2, 3dBm
------------------------------------------------------------------------------
Topology -----Piconet / Scatter net
Link mode -----ACL, SCO
Data Rate -----3M bps
Operating Distance -----10 meters
LED Indication -----Power on, Standby,
OS -----2000/XP/Vista
Software -----IVT
Power Supply -----5V USB power
Current Consumption -----20mA Active Model
------------------------------------------------------------------------------
Dimension
--14.2 * 31.6 * 4.6 mm (PCBA)
--51.0 * 16.0 * 8.0 mm (PD)
------------------------------------------------------------------------------
Support Profile
--Serial Port / Object Push
--File Transfer
--LAN Access
--Personal Area Network
--Audio Gateway / Headset HID / Keyboard, Mouse
--HCRP(Printer Cable Replacement)
--PIM Synchronization Profile,
--Advanced Audio Distribution Profile(A2DP), Audio Video Remote Control
Profile(AVRCP)
HMJ300I-TDD
SoleNode IP Mesh Rack Style Microwave Video Transceiver
HMJ300I-TDD transceiver combined with other SoleNode Transmitter to create a fluid self forming, ad hoc, mobile and dynamic surveillance mesh network.
Just using a single frequency to route video, voices and data, GPS/Beidou around the wireless network, mostly simplifying frequency management, and the entire mesh just need 2Mhz of bandwidth (4,6,8,16Mhz as optional)
Using HMJ's patented COFDM modulation and therefore offer excellent RF penetration and performance in multipath and harsh environment.
Highly flexible mesh topology ensure video, voice and data, GPS/Beidou can be exchanged between moving nodes in a point-to-point or multi-point fashion, also each node can be acted as repeater for expanded range.
The HMJ300C-TDD transceiver incorporated with a rapid deployment IP camera system, that build-in mesh radio, IP encoder and battery into a dome chassis, sealed design meet IP66, ideal for rapid outdoor deployment.
Optional AES128 or AES256 encryption make safe and secure link.
Using provided Commander PC software application in-build mapping display to configure and remotely monitor the deployed mesh and surveillance system, and video can be real-time viewed on PC device or recorded using compatible recorders.
www.dropbox.com/s/sqft3gycu6nyg85/IP%20Mesh%20Vdieo%20Tx%...
You may visit our website en.hmjtx.com for more information, or send your inquiry directly to my mail sales@hmjtx.com;
More information, please visit our website at en.hmjtx.com, detailed datasheet available
Pulse-width modulation - PWM eliminates unnecessary load on the alternator, fuel pump and cooling fan, adding a 0.4 percent improvement in fuel efficiency.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
Understanding the generic definition of painting as a coloured drawing, digital painting in contrast to all form of traditional painting can be characterized in two singular aspects. The first one, taken from the model of indirect method, establishes a particular process of additive and subtractive relationships through the superimposition and interaction of multiple layers subject not only to the phenomena of reflected light, such is the case of traditional veil painting, but also projected light. On the other hand, the aleatoric nature of digital process involves by definition, the use of second generation image. This fusion of a pictorial work through a concept of indirect method and graphic work through the use of second generation images opens a new field of visual exploration where its versatility has predetermined in the last decades, a creative pool of exponential growth.
The images above illustrate a basic methodology of how to begin understanding the fundamentals of digital painting as an image building process. In its initial phase, the artist has created a series of mixed media drawings on polycarbonate film specially formulated to be receptive to a wide range of drawing materials such as: graphite, charcoal, prisma color, rubbing ink, India ink, Tusche ink, litho crayon and any form of pigment and vehicle which reacts to the hydroscopic qualities inherent to the granulation of the mentioned substrate.
The monochromatic images or original drawings on the top left have been divided in two genres. The first two columns are washes where depending on the viscosity of its vehicle, the pigment will reticulate in different patterns. From the old traditions of continuous tone lithography, Tusche ink (high density pigment ink) has been the trademark of many artists in how to achieve various forms of textures and tectonic qualities. The same way we can observe above, the difference between a lacquer thinner wash and turpentine wash with alcohol applications. In contrast, the right hand columns exemplify subtractive techniques with charcoal drawing and #1-#7calibrated litho crayon halftone drawing.
In the lower portion, we observe the same drawings which have been digitalized in quadtone modality where the artist assigns to each channel a specific chromatic and tonal value. Understanding the nature of digital work with millions of colours the possibilities are infinite. In order to schematize the process, the artist divides tonal scale in four areas, shadows or low tones, lower halftones, higher halftones and highlights. By curvature effect each tonal area of the image is assigned to a specific value. In this preliminary stage of digital colorations, the artist’s decisions are somehow predetermined by the additive and subtractive relationships which will take place later on.
The final image on the right hand side or B.A.T., abbreviation taken from the French expression: “bon-à-tirer” meaning: “right to print” is an example when all four drawings have been superimposed and interacted by layers. The multiple relationships of layer interaction which can be established in addition to the use of mask, filters and tonal modulation constitutes the true potential creativity inherent to the use of second generation images.
Group 1_
Cynthia Castillo, Moises Talavera, Amir Hanna, Guillermo Perez, Osvaldo Andrade
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 ]
Highlights from NPR (Neighborhood Public Radio) at MOCA's Engagment Party. "IN YOUR CAR" Day 2 of 3
While MOCA generally encourages green transportation, NPR asks that visitors bring their cars to this event. FREE parking will be available in public lot 7; entry is accessible from Judge John Aiso Street.
In Your Car will feature two concurrent sound projects broadcasting on local frequencies, Park Park Revolution and Ping Modulation.
Park Park Revolution will be a composition “played” by cars parked in the lot surrounding the Geffen Contemporary. NPR will divide the Geffen lot into four sections, with each assigned to its own broadcast frequency. Directed into parking spaces, drivers will be instructed to tune in their radios and turn up their volumes to create a quadraphonic matrix of sound.
Under the canopy located at the Geffen entrance, Ping Modulation will pay homage to artist Robert Rauschenberg’s Open Score. For this project, NPR will outfit ping-pong tables with contact microphones and sound processors; as visitors match off in games of table tennis, the noise of their play will be fed to radio broadcasts that will transform their participation into sound art.
Published on May 2, 2011
by MOCA
What are Hypertrophic Scar?
Hypertrophic Scars are raised, red, rigid, inflexible cell-like, and cosmetic problems precipitated due to multiple underlying dermal injuries such as burn, surgery, and trauma during which aberrant wound healing with more pathological deposition of the extracellular matrix than degradation leads to their spawning.
How Hypertrophic Scar affected population?
Hypertrophic Scar Epidemiology –
•Females and males have equal risk of developing Hypertrophic Scar.
•Adolescents and pregnant women may have a greater probability of forming Hypertrophic Scar.
•Incidence rates of Hypertrophic Scar have been reported as high as 91% following extensive trauma, such as a deep burn injury, suggesting a role for the extent of trauma in their development.
Hypertrophic Scar Market Outlook
According to DelveInsight, Hypertrophic Scar market in 7MM is expected to change in the study period 2017-2030. The key driver for the surge in Hypertrophic Scar market size is the rise in number of incident/prevalent cases.
Neodyne Biosciences’ Embrace Advanced Scar Therapy System has been approved by the FDA top treat HTSs. It delivers mechano-modulation therapy to the injury site and surrounding tissues. The device includes a simple disposable applicator that transfers a predetermined level of strain to a single use adhesive silicone sheet, which is then adhered over the closed scar. This unique mechanism of action provides a uniform compressive strain, or stress-shield around a closed scar, which can minimize collagen proliferation and formation of scar tissue. The Embrace device was cleared by the FDA in September 2011 and is the only FDA-Cleared scar therapy system designed to relieve tension around incisions, general cuts and lacerations to prevent the formation of new, visible, raised scars before they start.
The Hypertrophic Scar market outlook of the report helps to build the detailed comprehension of the historic, current, and forecasted Hypertrophic Scar market trends by analyzing the impact of current therapies on the market, unmet needs, drivers and barriers and demand of better technology.
To know more, request report pages of Hypertrophic Scar Market Landscape @ www.delveinsight.com/report-store/hypertrophic-scar-market
Which are the leading companies in Hypertrophic Scar market?
The pipeline of Hypertrophic scars is quiet weak with few potential key players, such as Henry Ford Health System/ Gladerma, Phio Pharmaceuticals and others.
The dynamics of HTS market is anticipated to change in the coming years owing to the improvement in the research and development activities so that market will comprise of efficient treatment options. The launch of emerging therapies is expected during the forecast period of 2020–2030.
Request sample pages for more information on Hypertrophic Scar Market Report @ www.delveinsight.com/sample-request/hypertrophic-scar-market
the river on whose banks i was growing up, but in another place of switzerland.
the 30th of january was such a milky, dimmy day, with nevertheless glaring light, that i decided to take this one with a white balance modulation. so it got this red tones.
From the sketch: "His address is the most genial that can be conceived, its bonhomie irresistible. He speaks in a loud, clear voice, idiosyncratically, with a constant modulation of tone; his staccato rhythm gives the sense of moment-by-moment thought, as if he were picking a way with bare feet through broken glass. When excited, he speaks with greater speed, though still in clipped rhythm, and lifts up his voice an octave to become, even, squeaky at times. His conversation proper is a peculiar form of performance art, made up of tragedy, comedy and the broadest of all possible farce. He has an organic, uninhibited flow of talk, always overswelling its boundaries and sweeping everything before it right and left. He is very earnest, intense, emphatic; thumps the table with his fist; shocks the nerves of the fastidious."
Photo by Alastair Johnston from the Poltroon Press website.
Listen: A Music and Video Experiment
Featured video art and experimental music throughout the Murphy Art Center -- including Alchemy in Suite 3, Suite 4 next door and multiple spaces upstairs near Big Car. www.bigcar.org
Friday, March 6, 2009.
Big Car's First Friday show for March featured a bevy of local, regional, national and international video and sound artists. All of the music accompanied video art projections. The night included a show of Herron video artists in Suite 214 next door to Big Car (see artist statements below), a program of experimental videos from other local artists in Suite 3 and 4 on street level (J. Andrew Salyer, Jennie Mynhier, Laura Salyer, Jim Walker, Flounder Lee) and a Microcinema screening (FATELESS, Color + Modulation, SLIDE, Hub Culture Retrospectives: Antarctica, Independent Exposure: Asthmatic Kitty Records Edition 2008, The Collected Films of Ryan Jeffery, Op Art, Modular Moves, Jellies: The Art of Nature) also in Suite 214. For more about Microcinema visit www.microcinema.com.
The night's musical offerings in Suite 215 (Big Car's regular space) and in other nearby spaces included performances by Butler University's Ensemble 48 (playing a soundtrack to the silent film "Man with the Movie Camera"), Marck Ferrari, Ben Ishmael Revival, Shiny Black Shirt, Sea Krowns, Ensemble 48, Actuel, Playboy Psychonauts, Stallio, Sky Thing and Tonos Triad.
Also in the street level space that night, Big Car also hosted the installation "Unified Fields" that featured the interactive music and art of duo Mana2 (Jordan Munson, Michael Drews).
The event was sponsored by Microcinema and was a partnership with the Toby at the IMA.
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 ]
Top trace: VCO (voltage-controlled oscillator) output. Bottom trace: 8.2Hz modulation signal from phase-shift oscillator.
Dr. Larry Swain (pictured) presented during the afternoon Craniomaxillofacial Trauma session as well on "Mechanical Modulation for Tissue Engineering." (Photo by Steven Galvan, USAISR Public Affairs Officer)
The pineal gland (also called epiphysis or the "third eye") is a small endocrine gland in the vertebrate brain. It produces melatonin, a hormone that affects the modulation of wake/sleep patterns and photoperiodic (seasonal) functions... It is shaped like a tiny pine cone (hence its name), and is located near to the center of the brain, between the two hemispheres, tucked in a groove where the two rounded thalamic bodies join
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 is an old CB walkie-talkie, working in the Citizen Band on AM modulation, on 26.975 & 27.065 & 27.125 Mhz. Output power is less than 100mW.
W. Herbert Dunton American 1878 - 1936
Illustration—Scene of Cowboy Life (Rodeo), 1914
Oil on canvas
“Buck” Dunton’s oil sketch demonstrates his ability to capture an impression of bucking horses. The loose application of paint and the careful modulation of tones focus attention on the skilled rider. The raised hand serves to preserve his balance as the newly-saddled horse tries in vain to throw the cowboy. Dunton painted monochromatic scenes that were easily reproduced as halftone images in cheap pulp magazines early in the twentieth century. His popularity as an illustrator of horse imagery coincided with the height of the cowboy as a folk hero in popular magazines and dime novels. …… JT ,/b>
Gift of Mr. and Mrs. D. J. Oden, 1953 (123.23P)
From the placard: New Mexico Museum of Art
.
en.wikipedia.org/wiki/W._Herbert_Dunton
www.medicinemangallery.com/bio/williamherbertdunton.lasso
www.pulpartists.com/Dunton.html
www.christies.com/lotfinder/paintings/william-herbert-dun...
Perhaps linking a hospital car park with medieval chain mail is not such an outlandish idea, especially if it’s a Cambridge University teaching hospital. It certainly didn’t seem so for Allies and Morrison and Devereux Architects, who were commissioned by Addenbrooke’s to design one on for the expanded Rosie Maternity Hospital’s campus. The D&B proposal they came up with is lavished with playfulness and delight. The twisted yellow-painted aluminium facade that runs the full length and height of the building draws its inspiration from the rape seed fields that used to stretch away on the site, the twist creating a weaving modulation that imposes even while it dematerialises the mass.
The judges pronounced the design vision and detailing excellent throughout, along with rigorous and clear approaches to accessibility and way-finding – all-important in this medical environment.
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: General view of the west facade of the hotel, including the center pool and lounge area.
Work type: Architecture and Landscape
Style of work: Modern: International Style
Culture: Puerto Rican
Materials/Techniques: Concrete
Trees
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: WB2010-0240 Concha.JPG
Record ID: WB2010-0240
Sub collection: resorts
Copyright holder: Copyright Henry Pisciotta
This Boss CE-2 Chorus clone really turned out great. I did one of these some time back using the Madbean Pork Barrel board and an MN3007 bucket brigade chip. Great sound. The last great Boss Chorus circuit, IMO.
Sometimes when I was banging away with a humbucker-equipped guitar I'd hear a little distortion, though. So I started thinking about building one of these with a 3PRR board for 12 volt operation.
I decided to do it up right. Nice powder-coated steel enclosure. I got a Fulltone 3PDT switch. Vintage Dakaware knobs. The whole enchilada. Expensive pedal to build, really. Those enclosures are $30. I think the switch was like $16. The bucket brigade and clock chip pair was something like $20.
Turns out that extra voltage is exactly what the circuit needed, though. It's extremely well-behaved now. On paper it seemed like the additional headroom wasn't going to be all that big a deal, but it was enough to make it a much nicer pedal.
By the way, you can see how I always set it. Slowest speed and deepest modulation. I was telling someone I know that I always feel like just leaving it running at this setting because there's almost nothing I play that doesn't sound good to me like this. He's all, "Yeah, it works for Robin Trower!" Which actually kind of is what Trower does with his Univibe.
That two-tone blue is a cool color, incidentally. It looks like a normal blue in the oven up until the last few minutes and then the upper layer of dark blue begins to contract and expose the layer of light blue below it. The first time I saw it happening I thought I'd screwed up somehow. I'm like, "What's going on!?!?" Chill, bro...that's how it do. Heh...
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report
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 ]
Nolita, Manhattan, New York City, New York
Corners of Houston, Lafayette, Mulberry and Jersey, Nolita
The Puck Building, originally the home of Puck magazine, is one of the great surviving buildings from New York's old publishing and printing district.
The red-brick round-arched structure occupies the entire block bounded by East Houston, Lafayette, Mulberry and Jersey Streets, and has been one of the most prominent architectural presences in the area since its construction one hundred years ago. The building is further distinguished by the large statue of Puck at the building's East Houston and Mulberry Street corner; this is among the city 's most conspicuous pieces of architectural sculpture.
Puck was, from its founding in 1876 until its demise in 1918, the city's and one of the country's best-known humor magazines. Published in both English and German-language editions , Puck satirized most of the public events of the day. The magazine featured color lithographic cartoons produced by the J. Ottman Lithographic Company, largest in the country, which shared the Puck Bllilding space.
The current building is the result of three stages of construction, all supervised by architect Albert Wagner; the building and its additions read as a single unified composit ion. The style is an adaptation of the Romanesque
Revival, which had reached great popularity in the 1880s through the works of H. H. Richardson. Wagner's Romanesque, however, was not Richardsonian. A German-born architect, Wagner had worked in New York for Prague-trained Leopold Eidlitz, and his version of the Romanesque appears to reflect the round-arched Gernan "Rundbogenstil" that Eidlitz had brought to New York several decades earlier.
The Puck Building remains one of the most striking 19th-century industrial buildings in lower Manhattan. The comic magazine was founded by Joseph Keppler (1838-1894) and Adolph Schwarzman first appeared in German in 1876. Puck's attitude varied from d humor to merciless satire. Politicallv, in Keppler's time, supported the Democratic Party, but it was never a partisan magazine. It ridiculed poiitical corruption, monopolies, labor unions, suffragism, and all forms of graft, extravagance, and unjustice. It reviewed theater and musical performances. It laughed at fashions and different fads.
In March 1885, with the magazine's circulation and success on the rise, Keppler, Schwarzmann and Ottman purchased property on the southwest corner of East Houston and Mulberry Streets to be the site of a building to house both Puck and the Ottman company. The location was at the fringes of what was then New York's printing district, whose -center was the Astor Library on Lafayette Street (then Lafayette Place). The authors of a Puck supplement issued on the occasion of its tenth anniversary wrote that "Houston street marks the southernmost boundary of a region much affected by large publishing houses."
Publishing houses, periodicals, and printers were located throughout the neighborhood during the 1880s and 1890s, and it was a natural choice for Puck. The original building was erected in 1885-86 to the designs of Albert Wagner, but went through several additions and alterations. In August 1890, spurred by the continuing growth of the magazine, Keppler, Schwarzann, and J. Ottman's heirs bought the adjoining property to the south at 281 Mulberry Street and erected an addition to the Puck Building in 1892-93, again to Albert Wagner's design. The two-year delay was caused by uncertainty in 1890, about the potential route of a proposed new rapid transit line.
Although the Puck Building is too late to be considered part of the Rundbogenstil, it appears to show the influence of Wagner's earlier experience with it. Such a connection would help explain both the references to the style as "Renaissance," and its dissimilarity to the then more popular Richardsonian version of the Romanesque.
The enormous red brick structure has been a commanding presence in the neighborhood since the time of its construction. Its identity was further announced by the statue of Puck at the Houston and Mulberry Street corner of the building, where the two main entrances originally met, one on either street. There is also a smaller statue over the Lafayette Street entrance. The larger '"Puck" on East Houston Street was apparently designed by Henry Baerer, the sculptor of the bust of Beethoven in Central Park. The designer of the smaller "Puck" is not known.
The Puck Building today comprises the original 1885-86 structure and the 1892 addition, less the western portion of each removed in 1898; the Lafayette Street elevation dates from the latter alteration, but duplicates the earlier design. The building occupies an irregular lot bounded by East Houston Street on the north, Mulberry Street on the east, Jersey Street on the south, and Lafayette Street on the west.43 Despite the complexity of its building history, the Puck reads as a single structure retaining the integrity of its original design. The original portion is seven stories high, and the addition nine, but otherwise they are practically identical in design and material.
The building's architectural effects derive from the rhythms set up by arches of varying width, within bays of equal width, and from an adept use of red brick which creates the modulations in the piers, the definition of the arches, and the corbeling of the cornice. Cast-iron window enframements, statuary, and wrought-iron entrance gates, and the cast-iron and glass vault-lighting, provide the necessary contrast in materials.
The original section now comprises four bays on Lafayette Street, three bays on East Houston, and six bays on Mulberry. On Mulberry, the bays are defined by large brick piers that run the full height of the building. Each pier is actually in two sections: a wider pier at the first and second stories, and a narrower pier above. Each pier has a small brownstone base and rests on a five-foot high block of polished gray granite; each is banded in projecting brick. Within each bay at the first and second stories is a double-story brick arch, with projecting brick edges. Ihthin the arch, each bay consists of an upper arched lunette and a lower rectangle, separated by a cast-iron transom. The lunette contains a central double-hung one-over-one window, flanked on either side by a swing window topped by a quarter-arch pane. Beneath the spandrel are three large rectangular windows with transoms above and six-paned basement windows below.
The second and fourth bays south of East Houston Street contain secondary storefront entrances; the door replaces the central rectangular window of each storefront. The first and second stories are set off from those above by a brownstone stringcourse, beneath which is a band of corbeling.
The second section of pier, running from the third story to the seventh story, is narrower than the lower section; each is banded and adorned with an elegant iron ornamental tie-rod end at the fourth story, and a smaller one at the top. At the third and fourth story each bay comprises a pair of two-story arches, each half the width of the arches below. These arches rest on small brick piers with patterned brick "capitals." Within each arch are a pair of four-over-four doublehung windows above the brick spandrel, and a similar pair below the spandrel; each window in the pair is separated from the one next to it by a slender cast-iron pier with neo-Grec detailing. The third and fourth story bay is topped by corbeling and a brownstone sillcourse above.
- From the 1983 NYCLPC Landmark Designation report