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Specific Design Assessment
-Adjacent building design has building sky cutout to allow for additional sunlight to shine onto the open space
Relevant Land Use Code Sections
20.25A.150.B.2.a - Organize buildings and site features to preserve and maximize solar access into existing and new public open spaces wherever possible
20.25A.160.D.4.o - Be visible from surrounding spaces and uses. Provide windows, doorways, and other devices on the through-block connection to ensure that the connection is used, feels safe, and is not isolated from view
Installation Documentation: Scot Borofsky's Pattern Walk: an outdoor site-specific installation of more than 25 original designs rendered in spray paint in NYC's East Village. Created by the artist working at night with spray paint and folding ladder, between the years 1982-1985, during the East Village art movement in Alphabet city. This photo excerpted from recreated virtual installation. (created 2009-2011), find it at virtualeastvillage84.com .
A further tour to Fourvière, Lyon, France for a specific visit of l'Antiquaille on October 20, 2022. I did also a new Kodak Tri-X film with my Zorki-4K camera and its Jupiter-8 1:2 f=50 mm normal lens.
The Zorki was loaded with the Kodak Tri-X (TX) exposed for 400 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed at 20°C using Tetenal Ultrafin developer at dilution 1+10 for 9min.
L'Antiquaille, cachot de Saint Pothin, October 20, 2022
Montée Saint-Barthélémy
69005 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
After several films, and the range finder adjusted, I found the Zorki-4K very pleasant to use. The camera is clearly very reliable and the film smoothly advanced and rewound. I equipped the lens with a FOCA UV-protection filter (Made in France) and the hood of my Focaflex. All views are presented either framed or full-size.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
Not sure which specific campus this is from.
Pictures from funeral services for Officer Cortijo downtown.
These were taken in April and are late uploads. Some have poor quality, sorry about that.
Marek Milde, What You Are, 2007, site-specific, interactive installation for Klapper Hall, text by Walt Whitman, wallpaper, tape, dust
“What You Are” is interactive site-specific installation, designed to engage the visitors and the space of the gallery. It uncovers an element of historical identity of the site, which got lost by its rebuilding and renaming.
“What You Are” reveals hidden historical connection between the poet Walt Whitman, and Klapper Hall; formerly the Walt Whitman Building and Museum.
The work in progress begins with a white covered gallery floor by the opening.
Fragment of Whitman’s poem gradually appears on the floor as a text.
It becomes readable according to the intensity of the visitor’s movement, and the amount of dust brought in to the gallery on their shoes during the show.
Walt Whitman’s poetry addresses the theme of identity and place. It is creating a concept of internalizing a place.
“ O lands! All so dear to me — what you are,
(whatever it is, )
I become a part of that, whatever it is “
”American Feuillage”, 1860, “Leaves of Grass”.
My installation creates place that encourages visitors to be involved and gain a consciousness for historical context. The place may become internalized and personalized. Participant’s accumulated presence and activity reveals in the dust the poem hidden under the surface.
Tadashi Kawamata, "Apnea", 2013
Site specific installation, in collaborazione con / In cooperation with LAC – Laboratorio Arti Civiche. www.articiviche.net/
On the occasion of the exhibition "Unstable Territory. Borders and Identity in Contemporary Art"
(11 October 2013-19 January 2014)
more info: www.strozzina.org/exhibitions/territori-instabili/
photo: Martino Margheri
Additional photo specific captions to follow!
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Something that has always stuck with me is, "weather is the convergence of two or more fronts." That is to say it might rain, it might snow on its own, but severe weather is the result of two different and potentially harmless fronts colliding and forming a storm! The more fronts that converge, or the greater the difference in the two fronts, the worse the weather that generally results.
While Mount Washington has notoriously erratic weather, the Northern Presidential’s largely share the same weather. Generally wind gust on mount Washington are slightly stronger because of it's prominence, but if Mount Washington is being hit with 100mph winds, it's not unreasonable based on extrapolation to determine that the neighboring summits are receiving AT LEAST hurricane force winds of 70mph!
Mount Washington and the Northern Presidential’s, including Clay, Jefferson, Adams (and sub summits), and Madison weather patterns are partly due to the convergence of several storm tracks. Along with it's location relatively close to the coast, it's prominence (height above the neighboring land), proximity to converging storm tracks (Atlantic, Pacific, Gulf and Arctic), and it's north-south orientation which prevents movement of fronts by prevailing westerly winds; low-pressure systems are notoriously prone to develop along the coastline in the winter months. The relative temperature differences between the interior Northeast and the Atlantic Ocean, along with arctic fronts drifting in from Canada and beyond are primarily responsible for the diverse and completely unpredictable weather in this region.
Mount Washington holds the world record for surface wind speed, at 231 mph (372 km/h) since April 12, 1934. It's entirely possible stronger winds have occurred on earth. Specifically in F5 tornadoes which often have 300+mph winds above the surface. Winds exceeding hurricane force occur on an average of 110 days per year. During the winter months the weather on the summits of these mountains is exceptionally brutal. With hurricane force winds 2 out of every 3 days, and wind chills often dipping into the -40F/-40C range!
In 2004, the summit registered a temperature of −43.6F/−42.0C and sustained winds of 87.5 mph (140.8 km/h). The resultant wind chill was below -100F!! During 3 day period adjoining the day of this -100F wind chill, the combined ambient temperature, and wind speed, never brought wind chill above -50F at any point!
The summit of Mount Washington spends approximately 240 days per year on average in the clouds. There is measurable precipitation on the summit of Mount Washington 209 days a year. The summit sees an average of 101 inches of rain, and 259 inches of snow per year.
While these numbers might be eclipsed many places in the world in either isolated or routine instances, very few have had the continuous and accurate weather data that this summit has had. There has been a continuously operating weather station on the summit since the 1870s, and it has been a model for weather stations around the world!
Beyond the severe weather, and continuously manned and monitored weather station providing perhaps the most detailed historical and confirmed data of any mountain in the world, there is one other aspect to Mount Washington, and the surrounding Northern and Southern Presidential Ranges ACCESS!
While many mountains and ranges around the world have arguably worse weather on any given day (and I stress arguably), very few see the sheer volume of hikers, climbers and skiers that this range sees. Within the range is some of the best moderate ice climbing in the Northeastern US, as well as some great alpine rock climbs, the most accessible and reliable backcountry skiing (although the Adirondacks are a close, and less crowded second!!), and an amazing alpine experience for hikers and winter mountaineers! This accessibility has allowed many unprepared backcountry explorers to find themselves in over their heads in rapidly deteriorating conditions. The result, while again debatable, has given Mount Washington, and to a lesser extent the Presidential’s a place as the deadliest small mountain in the world!!
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(fully weather sealed) Pentax K10D, Sigma 10-20mm.
Capitolo primo. L’astratta qualità del ricordo. (2016/2017).
Installazione site specific al Museo Civico Villa dei Cedri per la mostra "In(de)finiti luoghi".
Ticino, Svizzera.
Chapter one. The abstract quality of remembrance. (2016/2017)
Site specific installation at Villa dei Cedri Museum for the exhibition "In(de)finiti luoghi".
Ticino, Swizterland.
Jan. 6, 2016. Boston, MA.
More than 150 people holding signs and candles attended a vigil, organized by Centro Presente, at the Massachusetts State House to protest the arrest of 121 immigrants last weekend, primarily in Texas, Georgia, and North Carolina, targeting a specific group of adults and children from Central America who arrived illegally after May 1, 2014, and had been ordered deported by an immigration judge. Although nobody has been detained in New England advocates are planning forums to educate immigrants about their rights in case of a raid.
© 2016 Marilyn Humphries
Part of a site-specific installation produced for Constance ARI in April, 2013. Drawn internal plans of each level (detail).
The explanation of the supposed "redevelopment":
"To coincide with Inflight’s change of name and scope, the existing gallery building at 100 Goulburn St will be redeveloped. Based on current trends in museum architecture, the humble ARI will be transformed into a cutting edge monument to rival institutions such as the Guggenheim(s), the New Museum, the Tel Aviv Museum of Art and MONA. The redevelopment will retain the building’s existing white cubic base, but will have three additional levels on top, will include the neighbouring apartment in the same building, and convert the current carpark into a concrete-paved sculpture garden.
The art museum is no longer built in the image of a Greek temple. Instead, it strives to be unique in every way, from the toilets to the shiny coloured enamel exterior. However, the features designed to create a unique structure paradoxically tend to be common to most new museum buildings. These features include bizarre angles, curved or polished concrete, confusing layout, large entrance courtyards, water features, unlikely toilets, rust, and floating or unusual staircases. The institution will encourage site-specific artworks that respond to the architecture, with art invading the lift shafts, stairs and toilets. Importantly, the ‘visitor experience’ is enhanced through the provision of a gift shop, bar, restaurant and/or café. I have identified the most common of these features and have attempted to apply as many as possible to the new Constance ARI design, with the aim of providing Hobart with (another) ‘unique’ contemporary art museum."
Commissioned by Dancing in the Streets and Casita Maria Center for Arts & Education as part of The South Bronx Culture Trail, PASEO is a roving site-specific performance by choreographer/director Joanna Haigood and music director Bobby Sanabria that celebrates the Hunts Point and Longwood sections of the South Bronx and their astounding contribution to Latin music. With performances by over 80 dancers, musicians, poets, actors, and community members, fire escapes, stoops, and sidewalks will come alive with Latin music and dance, stickball games, and street scenes evoking the neighborhoods’ vibrant street life and cultural vitality during the 1940s-‘60s.
Over 80 dancers, musicians, poets, and actors, including dancers Ramon Ramos Alayo and Franck Muhel, members of Los Pleneros de la 21, and stellar Bronx-based artists, including Arthur Aviles, La Bruja, percussionist and poet Angel Rodriguez, the Puerto Rican folklorico ensemble Danza Fiesta, the Los Monstritospercussion ensemble, Bobby Sanabria’s nine-piece ensemble, Ascension, and guest musicians who came of age in the neighborhood, including the legendary Alegre All Star timbalero Orlando Marin, The Last Mambo King.
Pictured: Ramon Ramos Alayo
Photo: Alan Watson
A further tour to Fourvière, Lyon, France for a specific visit of l'Antiquaille on October 20, 2022. I did also a new Kodak Tri-X film with my Zorki-4K camera and its Jupiter-8 1:2 f=50 mm normal lens.
The Zorki was loaded with the Kodak Tri-X (TX) exposed for 400 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed at 20°C using Tetenal Ultrafin developer at dilution 1+10 for 9min.
Théâtres romains, October 20, 2022
69005 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
After several films, and the range finder adjusted, I found the Zorki-4K very pleasant to use. The camera is clearly very reliable and the film smoothly advanced and rewound. I equipped the lens with a FOCA UV-protection filter (Made in France) and the hood of my Focaflex. All views are presented either framed or full-size.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
These photographs are the first in a series of a body of work in progress. Through this work I am exploring the specific light that one can find in churches and temples.
I was lucky as a kid to have my grandmother living a couple of houses away from ours. Visits to her were frequent, and they were always celebrated with hugs and smiles, an avalanche of kisses, and her unconditional love. Of the memorable moments spent with her, some of the best were when she was taking me to church. I would be at her side, upstairs, as she was playing music. She was indeed the village church’s organist. Sunny days at mass were a pure delight for me: I would sit there and observe the play of light coming through the windows and stained glasses, and I would patiently contemplate its subtle transformations inside the church and through the course of the ceremony. Mass was somehow a sensual ritual for me, a mix of wonder for the light, and sensations collected from the burning incense, the chants, the music, and the people, all of it. The culminating moment was when the church would go empty, the artificial lighting would go off, and I would stand there, alone, with the remains of this intimate experience I just had.
As I grew older, my relationship with church, religion and faith got challenged, like for many of us. Inside opened spaces of doubt and reflection.
In parallel, I am also interested in observing the place worship has taken in our modern lives. Some religious communities are being deserted, their churches are being sold and converted into luxurious condos. Other values, other rituals, are filling the landscape of society. So, what purpose do serve, nowadays, those sacred objects, those icons, those statues, those institutions and their buildings and their symbols? The boundaries of the places these photographs take me now are somewhat uncharted. I find myself chasing their well-guarded secrets. Would the light found in places of worship contribute to the mystical experience? Would this specific light lie at the heart of spirituality and do indeed lead to contemplation?…
This study is a tribute to Margot, my beloved and regretted grandmother.
The Final Day of Racing At Brands Hatch for The Superprix Weekend and After a Really Busy and Scattered Set Of Races The Previous day it was time to see which of the Drivers could Brave the Circuit One Last Time and Take Home Either a Championship Win or a Victory in their Specific Race.
Lets Get Straight to the Results.
Classic Formula Ford/Historic Formula 3 (Race 2 Result)
Classic Formula Ford and Historic Formula 3 Were up First and it was Time to see who could be The one to take the Checkered Flag First when they crossed the Line.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with a Lap Time of 1:39.257 and a Top Speed of 86.59mph. A Fantastic Victory Cameron Showing Incredible Car Control and Commitment to Win the Race.
In Second Place was (Ben Tinkler) in his Van Diemen RF80 with a Lap Time of 1:39.986 and a Top Speed of 85.77mph. A Really Great Drive from Ben to stay so close to Cameron and Keep Him on his toes the entire Time while Fighting for the Lead of the Race.
In Third Place was (Jordan Harrison) in his Lola T540E with a Lap Time of 1:39.994 and a Top Speed of 85.54mph. A Really Wonderfully Deserved Third Place for Jordan Pushing that Lola for everything it Has got to gain Third Place. Well Done.
Three Fantastically Fast Drivers all with Incredible Speed and Talent Showcasing The Best of what they Bring to Brands Hatch Every Year. An Amazing Last Race to Witness. Congratulations to The Race Winner and Keep Trying Hard Everyone Else.
HGPCA Pre 66 Grand Prix Cars (Race 20)
Next It was The Historic Grand Prix Cars and with a Massive Turn out for them it looks like Another Cracking Race to see from Start till Finish. Lets see who came out on Top.
In First Place was (Sam Wilson) in his Lotus 18 with a Lap Time of 1:39.384 and a Top Speed of 86.55mph. Amazing Work Sam Showing Colin Chapman How it Should be Done. He would have been Proud to Witness that Victory.
In Second Place was (Peter Horsman) in his Lotus 18/21 with a Lap Time of 1:41.296 and A Top Speed of 84.90mph. A Fantastic Drive by Peter to take Second Place in the Race.
In Third Place was (Miles Griffiths) in his Scarab Offenhauser with A Lap Time of 1:41.501 and A Top Speed of 84.38mph A Really Good Job there Miles Almost Matching Lap Times with Peter and Showing Some Incredible Car Control during The Race.
Another Fantastic Race for The Historic Grand Prix Cars and a Huge Congratulations to Sam for Taking Victory in the Last Race. Avery Well Done to Both Peter and Miles as well.
HSCC 70's Road Sports (Race 19)
Historic Road Sports took to the Track next and with some Legendary Cars from the Likes of Lotus Morgan and TVR it was Time to see who Had Stormed to Victory in the Last Race and Taken the Victory.
In First Place was (William Plant) in his Morgan Plus 8 with A Lap Time of 1:45.768 and A Top Speed of 70.67mph. Congratulations William on the Victory it was so Good to See a Morgan Take First Place while Watching this Exciting Race. An Amazing Drive.
In Second Place was (Jim Dean) in his Lotus Europa with A Lap Time of 1:46.411 and A Top Speed of 70.66mph. Another Incredible Drive from Jim to Take Second Place. Well Done
In Third Place was (Richard Plant) in his Morgan Plus 8 with A Lap Time of 1:47.697 and a Top Speed of 70.31mph. A Very Committed Drive from Richard and a Fantastic Third Place Finish that I'm sure the Whole Family will be Proud of.
Fantastic Racing from the 70's Road Sports to Finish the Days Racing for them Congratulations to William, Jim and Richard. Hope to see you Three Battling it out Again Soon.
Aurora Trophy With Geoff Lees Trophy
The Arora Trophy Roared onto the Grand Prix Circuit Next with Powerful V8 Engines thease Racing Cars could make the Ground Shake as they Thunder their way around the Race Track. Lets see who Managed to take that All Important Victory for their Final Race.
In First Place was (Martin Stretton) in his March 712 with a Lap Time of 1:25.976 and A Top Speed of 101mph. A Very Brave and Committed drive from Martin to Take Victory, Really Pushing the March to its Limits and hanging onto the Lead thought the Race.
In Second Place was (Mathew Wrigley) in his March 782 with a Lap Time of 1:25.127 and A Top Speed of 100.96mph. Another Incredible Driver Taking his Machinery to New heights and Keeping the March Name Alive in Historic Racing. Amazing Work Mathew.
In Third Place was (Samuel Harrison) in his Dallara 389 with A Lap Time of 1:29.552 and A Top Speed of 95.04mph. Amazing work Sam showing Insane Car Control even when Racing so Fast and for such A Long Time. Congratulations.
Another Amazing Race to Keep the Day going and showing the Amazing work that Each Team Does to ensure that their Driver and His Car are Ready to go. Well Done to all of the Teams and to the First Second and Third Place Winners as well. Looking Forward To seeing more Action this Year from the Aurora Trophy.
Guards Trophy (Race 21)
Next Up Guards Trophy with Another Range of Racing Machines from the Likes of Brabham Chevron and Lotus Lets see what will Happen and Who will be able to Drive their way to Victory in This Race.
In First Place was (Andy Newall) in his Chevron B6 with A Lap Time of 1:38.258 and A Top Speed of 83.84mph. Very Well Driven and Raced by Andy Showcasing the Power of the Chevron and taking it too its Limits in terms of Raw Speed and Performance.
In Second Place was the Duo of (Jackson S and Jackson C) in their Lenham P70 with A Lap Time of 1:38.008 and A Top Speed of 83.45mph. Fantastic Work to The Two Jacks who Really showed what Working Together Can Achieve during A Race. Well Done
In Third Place was the Duo of (Mitchell W and Mitchell B) in their Chevron B8 with A Lap Time of 1:38.368 and A Top Speed of 82.49mph. Another Amazing Duo who Have Taken Third Place and Kept the Fight Alive in their Respective Championship. Amazing work.
A Fantastic Race for the Guards Trophy Showing the Power of Each Race Car and what they Are Capable of When put into The Hands of the Right Drivers. Congratulations to Andy Mitchell W and Mitchell B as well as Jackson S and Jackson C for putting on One Hell of a Race. Keep up the Good Work Everyone Else and Never Stop Fighting for your Own Victories.
Historic Formula Ford (Race 16)
Next Up was Historic Formula Ford and some very Twitchy and Tricky Cars to be Driven Round the Circuit at Hight Speed. With Light Weight Chassis and Small Cockpits this was going to be a Very Exciting Race to Watch. Lets see who Came out Best of the Rest.
In First Place was (Cameron Jackson) in his Winkelmann WDF2 with A Lap Time of 1:38.596 and A Top Speed of 87.95mph. Another Incredible Drive From Cameron to Take Victory and show what A Truly Committed and Self Determined Driver is. He is an Inspiration to All Up Coming Formula Ford Racers.
In Second Place was (Tom Macarthur) in his Titan MK3 with A Lap Time of 1:38.484 and A Top Speed of 87.94mph. Another Really Brave and Heroic Driver Pushing His Formula Ford to its Limits and Keeping his Eye's on the Race Track. Amazing Work Tom.
In Third Place was (Horatio Fitzsimon) in his Merlin MK20A with A Lap Time of 1:38.513 And A Top Speed of 87.90mph. Very Well Done Horatio Fantastic Driving and A Well Deserved Third Place.
An Amazing Final Heat Race for the Formula Fords with Everyone Pushing As Hard as they Could for Victory. Keep Working Hard Everyone and Congratulations to Cameron Tom and Horatio.
Historic Road Sports (Race 17)
Historic Road Sports Next and it was Time to see what Each Driver could do in their Respective Race Car. Lets see how things Stacked up and who Came out on Top in the Race.
In First Place was (Kevin Kivlochan) in his AC Cobra with a Lap Time of 1:46.891 and A Top Speed of 72.19mph. What A Drive From Kevin to Take Victory Keeping that Cobra Far Ahead of the Rest of the Pack and Taking A Dominant Victory. Carol Shelby would have Loved to See That.
In Second Place was (John Davidson) in his Lotus Elan S1 with A Lap Time of 1:46.052 And A Top Speed of 72.16mph. Amazing Work John Keeping that Lotus on the Tarmac and Putting on One Hell of a Race for Everyone. Amazing Job.
In Third Place was (Rupert Ashdown) in his Lotus Elan S1 with A Lap Time of 1:47.481and A Top Speed of 71.61mph. Another Incredible Drive by Rupert Taking Third Place Very Well Deserved.
Historic Road Sports putting on Another Superb Race for the Season and Congratulations to Kevin John and Rupert on their Victories. Hope to see More of that This Year and Good Luck to Everyone Else Racing too.
Historic Touring Cars (Race 22)
The Final Race of The Day was Here and The Historic Touring Car Club did not Disappoint with Lotus Cortina's Mini Cooper S's and Ford Mustangs This was going to be a Final Battle of Titans. Lets See Who Managed to Take that Last Checkered Flag of the Day.
In First Place was (Steve Soper) in his Ford Mustang with A Lap Time of 1.47.084 and A Top Speed of 71.51mph. Awesome Drive Steve Fantastic to see that He Still has it in him After all The Years of Racing.
In Second Place was (Rob Fen) in his Ford Mustang with A Lap Time of 1:49.031 and A Top Speed of 70.93mph. Amazing Work Rob Pushing that Mustang Far and Wide to Hang onto that Second Place. Excellent Drive.
In Third Place was (Mark Martin in his Ford Lotus Cortina with A Lap Time of 1:49.905 and A Top Speed of 70.70mph. Very Well Done Mark Great Driving and Even a Wheel in the Air on Some Occasions Heading onto the Grand Prix Loop. What A Sight that Was to See.
And With that The Days Events came to an End for another year of Superprix Racing at Brands Hatch Amazing work to all of the Organisers and Race Drivers who took Part and Congratulations once again to all of the Race Winners. Keep Fighting Keep Wining and I'm Sure we will do it All Again Next Year.
an Installation Art inside the Bonifacio High Street made by Filipino Sculptor, Reg Yuson -- a suspended boulder fountain which highlights the connection between the audience as a mobile participant and their primordial affinity to gravity.
Who: Small business owners seeking growth through the marriage of best business practices and technology
Why: Strengthen your competitive edge and make your business soar, by successfully applying the right technology to support the right business practices
What: A full-day conference with a unique interactive structure that will provide answers to help you with your specific business situation
Gain insight from experts in technology, sales, finance and marketing who specialize in helping small businesses make it all work together
Learn from small business owners who have achieved exceptional growth through an effective marriage of business savvy and technology
Exchange ideas with experts and peers.
Charles Hand, President, New York Metro Region, Verizon Wireless
Scott Vaccaro, Regional VP, Enterprise Rent-A-Car, NYC
Lisa McCarthy, Intuit Professional Advisor and Accounting Resource LLC
Harry Brelsford, President, SMB Nation
Site-specific construction set / sculpture
Made in Nikola-Lenivets.
Location: Udarnik, Kandinsky Prize Nomination
Width×Length×Height (meters): 6×8×4,5
Materials: Wood, stud fastening, sheets of reflective stainless steel.
Photo by Ilya Ivanov
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Source(S):- WWw.marketmoNgoose.com/
Terms of Use: Please consider linking directly to our website, www.petful.com, rather than Flickr if you use this photo. Thanks for your support. This is Mike, a pit bull / boxer mix, from a shelter in Louisiana. He was recently adopted and found a new home. October 27, 2012 is National Pit Bull Awareness Day. This photo illustration highlights pit bull breeds as family members rather than demonized as attack dogs. The photo would work well with articles advocating against breed-specific legislation (BSL).
site-specific gecomponeerde totaalcollage
site-specific composed total collage
Nest heeft Wineke Gartz gevraagd een presentatie te maken binnen de Nestarchyserie die de afgelopen jaren is ontstaan en waarbinnen kunstenaars de complete tentoonstellingsruimte van Nest ter beschikking krijgen om mee aan de slag te gaan. Sinds Wineke Gartz in 1998 afstudeerde aan de Rijksakademie heeft ze een consistente carrière opgebouwd met installaties vol overlappende beelden, architectonische ingrepen, materialen en projecties.
Wineke Gartz heeft voor de kust van Scheveningen videomateriaal geschoten. Dat materiaal zal vermengd worden met materiaal van de kust van China waar ze enige tijd verbleef, en met filmfoto’s van Hollywoodsterren (de HotFreaks uit de titel), daklozen, bezinningscursussen, zelfportretten en performances uit Los Angeles. Het valt te verwachten dat het geheel een grote bewegende collage zal worden waarin alle oorspronkelijke ingrediënten hun oorsprong grotendeels verliezen en verworden tot een typische Wineke Gartz hallucinatie die de bezoeker een totaalervaring biedt en kan leiden tot een staat van trance. Tegelijkertijd worden esoterische clichés vermeden en doet het hedendaagse dagelijks leven volop mee.
Wineke Gartz exhibits in the Netherlands and in various countries worldwide. Her site-specific installations consist of complex overlays of imagery and media, often with the use of music and multiple video and slides projections and with the integral use of the architectural space. Her parallel realities include mixing the ordinary with the heroic, creating an almost hallucinatory experience. Her subjects relate to psychology, beauty, death, illusions and perception, nature versus urban life, art and mass media. Gartz is interested in the combination of spirituality, art and science. Currently she is developing video lectures about her work and started to collaborate with musicians.
The Ambient Performance of Quiet Spaces is a site-specific exploration of experience at the border of perception and imagination. It was set in Washington DC’s McKinley Theater in the Carnegie Library and performed continually between 8pm-3am. The Carnegie Library, the first public library in Washington, was decommissioned in the late 70’s and it is now a performance and event venue.
In this work, the shared physical, public space of the library is reconfigured so that its new visitors: the audience, robotic cameras and performers are equally engaged in moments of private and public reflection. The form of the work is the active transposition of subject and object and of content and meaning between these three constituencies. This process of transposition is a reference to contemporary digital culture’s ongoing assimilation of earlier cultural forms.
Working with performer Nick Horan, we each took turns on stage, quietly reading and at times engaging with the installation. Two PTZ IP cameras were programed to scan the stage, the audience and each other, similarly pondering their environment. The resulting images were projected onto the screen behind the stage. A soundtrack composed of ambient sounds from existing public libraries, recordings of the preparation of the materials for the installation and ambient sounds from recent installations played quietly throughout the performances.
The Ambient Performance of Quiet Spaces featured an installation of various materials on the stage of the theater that included: card catalog cards, *prepared books (with tape, acetate, LEDs/electronics/code), cables, computers, projectors and IP cameras.
*prepared books included:
> James Joyce’s Ulysses containing excerpts from Emmanuel Levinas’ Totality and Infinity
> John Beecroft’s Kipling: A Selection of His Stories and Poems containing card catalog cards for books related to technology and its impact on the library system
> John B. Noss’ Man’s Religions
> Milan Kundera’s The Unbearable Lightness of Being
video/audio of the project: vimeo.com/147043745
Specific Design Assessment
-Signs are posted at various scales
-Signs are posted at alley entrances
-Business signs are oriented towards pedestrian traffic through the alley
-Signs to public amenities, such as restrooms, are clearly marked
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.d - Accentuate and enhance access to the through-block pedestrian connection from the right-of-way by use of multiple points of entry that identify it as a public space
Rugby Specific Strength Training e-Book + free performance training system. via /r/strength_training t.co/tejRpd7dSS #StrengthTrai… (via Twitter twitter.com/BestProteinPow/status/694298703704768512)
Fairy Ring, temporary site-specific installation
thermoplastic objects, organic matter, time, light, nature
2021 | 962 square feet | 26 ft. inner diameter
I Heart Rail Trail: Lights | temporary site-specific, pubic work at Atherton Mill, Charlotte, NC by Artist: Meredith Connelly
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I was not sure if this space had a specific name but i now know that it is known as Barnardo Square but I do not know why.
Barnardo Square, in its current form, is less than fifteen years old. It was formed as part of the development of an adjacent office building, both of which were designed by the Spanish architecture firm MBM. Back in 2007 Paul Clerkin of Archiseek described the new office block as "Robocop on Dame Street" while Frank McDonald wrote in the Irish Times that, "It may even be the most detested new addition to the city." My own opinion is that it is at best bleak and unattractive.
At one corner of the Square is Palace Street the shortest street in Dublin.
According to the City Council "Barnardo Square may get a makeover to enliven the space with tables-and-chairs and trees on one side, which would free up the centre to be used as an events space from time to time."
Ordem Informal
curadoria Bruno de Almeida
A Galeria Leme apresenta o terceiro site-specific comissionado para o projeto SITU, curado por Bruno de Almeida, dando continuidade a uma pesquisa mais ampla sobre formas de pensar e discutir a produção do espaço (urbano) através de um diálogo entre arte, arquitetura e cidade.
SITU convida o artista Venezuelano Ricardo Alcaide a conceber uma obra que resulte de uma reflexão sobre o contexto urbano entendido como ampla matriz físico-social, e que se relacione simultaneamente com o exterior do edifício da galeria e com o espaço público contíguo.
Ricardo Alcaide projeta um grande volume geométrico negro que ocupa quase a totalidade do pátio externo da galeria. A face que se apresenta para o transeunte se desenvolve em rampa desde o chão, mais próximo à calçada, se elevando até ao topo da parede ao fundo do pátio e chegando a seis metros de altura. O volume disseca diagonalmente as fachadas da galeria, anulando o espaço externo e bloqueando quase inteiramente as duas entradas para o edifício. Para a construção deste elemento monumental o artista usa uma madeira vulgarmente utilizada na construção civil como estrutura para moldes de concreto in loco, o mesmo processo de construção das paredes da galeria.
Devido à obstrução do acesso habitual ao edifício, Alcaide desloca a entrada para a fachada oposta, utilizando uma porta que se encontra habitualmente fechada. Este novo acesso faz referência à entrada original do primeiro projeto da galeria, do arquiteto Paulo Mendes da Rocha, construída em 2004 e depois demolida em 2011 para dar lugar à sua réplica, a estrutura que existe hoje. Com a realocação e a reorientação do edifício, o projeto inicial foi readaptado e consequentemente a inversão da entrada foi incorporada.
Através da ocupação e quase inutilização de um espaço (semi)público e da consequente adaptação do percurso de entrada, Ricardo Alcaide induz a um reexame da relação física do visitante com o edifício e subverte o funcionamento normal da instituição. Criando uma circunstância espacial que se localiza no limiar entre conflito e uma espécie de institucionalização da provisoriedade, o artista tira partido da fricção entre rigidez e improviso institucional que está frequentemente presente na nossa experiência da cidade, se materializando comumente no encontro entre a arquitetura “oficial" e as construções improvisadas que cumulativamente se acoplam a esta e são resultados de pactos territoriais paralelos à própria ordem jurídico-normativa oficial.
Mais informações: www.projetositu.wordpress.com
//////
Informal Order
curated by Bruno de Almeida
Galeria Leme presents the third site-specific commissioned for SITU, curated by Bruno de Almeida, giving continuity to a broader research on ways of thinking and discussing the production of (urban) space through a dialogue between art, architecture and city.
SITU invites Venezuelan artist Ricardo Alcaide to devise a work that results from a reflection on the urban context understood as a broad physical-social matrix, and that simultaneously relates to the exterior of the gallery’s building and to the adjacent public space.
Ricardo Alcaide designs a large black geometric volume that occupies almost the entire outdoor patio of the gallery. The face that presents itself to the passersby develops in ramp from the ground, closer to the sidewalk, rising up to six meters until the top of the wall at the back of the courtyard. The volume diagonally dissects the gallery facades, nullifying the external space and almost entirely blocking the two entrances to the building. For the construction of this monumental element the artist uses a wood that is commonly used in construction as a framework for molds of in situ concrete, the same construction process of the gallery’s walls.
Due to the obstruction of the normal access into the building, Alcaide displaces the entry to the opposite facade, using a door which is customarily closed. This new access refers to the original entry of the gallery’s first project, from architect Paulo Mendes da Rocha, built in 2004 and then demolished in 2011 to make way for its replica, the structure that exists today. With the relocation and reorientation of the building the initial project was readapted and consequently the reversal of the entrance was incorporated.
Through the occupation and almost obliteration of a (semi)public space and the subsequent adaptation of the entrance route, Ricardo Alcaide induces a reexamination of the visitor's physical relationship with the building and subverts the normal functioning of the institution. Creating a spatial condition that is located on the threshold of conflict and an “institutionalization” of provisionality, the artist takes advantage of the friction between rigidity and institutional improvisation that is often present in our experience of the city, commonly materializing itself in the clash between the “official” architecture and the makeshift constructions that are cumulatively coupled to it, being the result of territorial pacts that are parallel to the official legal-normative order.
More info: www.projetositu.wordpress.com
///
Foto / Photo: Filipe Berndt
Construção e Produção / Construction and Production: Marton Estúdio
The medical 3D models that are produced by ACRM Corp are patient-specific and are derived from CT or MRI scans (typically using DICOM image data). These models are used by physicians, orthopaedic surgeons and neurosurgeons to aid in pre-surgical planning and diagnoses for conditions ranging from spine conditions like scoliosis and kyphosis to skull-related issues like hydrocephalus and craniosynostosis. 3D brain models, hips and knees are also commonly replicated items. There is a case study store (www.Medical3Dmodels.com) where you can order physical 3D models of all of the items shown in these videos. If you are looking to get a 3D model for a specific patient, visit our corporate site (www.ACRMcorp.com) for details on how we can create a custom 3D medical model for that patient.
Commissioned by Dancing in the Streets and Casita Maria Center for Arts & Education as part of The South Bronx Culture Trail, PASEO is a roving site-specific performance by choreographer/director Joanna Haigood and music director Bobby Sanabria that celebrates the Hunts Point and Longwood sections of the South Bronx and their astounding contribution to Latin music. With performances by over 80 dancers, musicians, poets, actors, and community members, fire escapes, stoops, and sidewalks will come alive with Latin music and dance, stickball games, and street scenes evoking the neighborhoods’ vibrant street life and cultural vitality during the 1940s-‘60s.
Over 80 dancers, musicians, poets, and actors, including dancers Ramon Ramos Alayo and Franck Muhel, members of Los Pleneros de la 21, and stellar Bronx-based artists, including Arthur Aviles, La Bruja, percussionist and poet Angel Rodriguez, the Puerto Rican folklorico ensemble Danza Fiesta, the Los Monstritospercussion ensemble, Bobby Sanabria’s nine-piece ensemble, Ascension, and guest musicians who came of age in the neighborhood, including the legendary Alegre All Star timbalero Orlando Marin, The Last Mambo King.
Pictured: Bobby Sanabria
Photo: Adam Perez
"Space Thang" by Jori Sackin and Pat Vamos is a site specific movie-going experience for an adult movie theater on Troost in Kansas City, MO. A wild success, their one-night-only event played to a sold out audience. On top of Vamos and Sackin's found footage and original animation collages, the show included "Mary Fortune" as the live opening band and MK12's "Follow the Sun" as a trailer.
I wrote more about this whole Kansas City trip on our blog...
Photo specific captions to follow.
-----
Something that has always stuck with me is, "weather is the convergence of two or more fronts." That is to say it might rain, it might snow on its own, but severe weather is the result of two different and potentially harmless fronts colliding and forming a storm! The more fronts that converge, or the greater the difference in the two fronts, the worse the weather that generally results.
While Mount Washington has notoriously erratic weather, the Northern Presidential’s largely share the same weather. Generally wind gust on mount Washington are slightly stronger because of it's prominence, but if Mount Washington is being hit with 100mph winds, it's not unreasonable based on extrapolation to determine that the neighboring summits are receiving AT LEAST hurricane force winds of 70mph!
Mount Washington and the Northern Presidential’s, including Clay, Jefferson, Adams (and sub summits), and Madison weather patterns are partly due to the convergence of several storm tracks. Along with it's location relatively close to the coast, it's prominence (height above the neighboring land), proximity to converging storm tracks (Atlantic, Pacific, Gulf and Arctic), and it's north-south orientation which prevents movement of fronts by prevailing westerly winds; low-pressure systems are notoriously prone to develop along the coastline in the winter months. The relative temperature differences between the interior Northeast and the Atlantic Ocean, along with arctic fronts drifting in from Canada and beyond are primarily responsible for the diverse and completely unpredictable weather in this region.
Mount Washington holds the world record for surface wind speed, at 231 mph (372 km/h) since April 12, 1934. It's entirely possible stronger winds have occurred on earth. Specifically in F5 tornadoes which often have 300+mph winds above the surface. Winds exceeding hurricane force occur on an average of 110 days per year. During the winter months the weather on the summits of these mountains is exceptionally brutal. With hurricane force winds 2 out of every 3 days, and wind chills often dipping into the -40F/-40C range!
In 2004, the summit registered a temperature of −43.6F/−42.0C and sustained winds of 87.5 mph (140.8 km/h). The resultant wind chill was below -100F!! During 3 day period adjoining the day of this -100F wind chill, the combined ambient temperature, and wind speed, never brought wind chill above -50F at any point!
The summit of Mount Washington spends approximately 240 days per year on average in the clouds. There is measurable precipitation on the summit of Mount Washington 209 days a year. The summit sees an average of 101 inches of rain, and 259 inches of snow per year.
While these numbers might be eclipsed many places in the world in either isolated or routine instances, very few have had the continuous and accurate weather data that this summit has had. There has been a continuously operating weather station on the summit since the 1870s, and it has been a model for weather stations around the world!
Beyond the severe weather, and continuously manned and monitored weather station providing perhaps the most detailed historical and confirmed data of any mountain in the world, there is one other aspect to Mount Washington, and the surrounding Northern and Southern Presidential Ranges ACCESS!
While many mountains and ranges around the world have arguably worse weather on any given day (and I stress arguably), very few see the sheer volume of hikers, climbers and skiers that this range sees. Within the range is some of the best moderate ice climbing in the Northeastern US, as well as some great alpine rock climbs, the most accessible and reliable backcountry skiing (although the Adirondacks are a close, and less crowded second!!), and an amazing alpine experience for hikers and winter mountaineers! This accessibility has allowed many unprepared backcountry explorers to find themselves in over their heads in rapidly deteriorating conditions. The result, while again debatable, has given Mount Washington, and to a lesser extent the Presidential’s a place as the deadliest small mountain in the world!!
-------------------------
(fully weather sealed) Pentax K10D, Sigma 10-20mm.
Specific to Santa Fe - Emergency!
3 fingers up. Requires Immediate Attention.
Check out the brand new Occupy Santa Fe pool, a group with very practical discussion threads:
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The specific place, on the left of the "Peace and Friendship Stadium", where I got this shot isn't actually magic - but the horizon and the view it offers is!..
Matadero Madrid presenta Visita guiada, una intervención site specific que ha realizado Elena Alonso (Madrid, 1981) para el programa Abierto x Obras, que tiene lugar en la antigua cámara frigorífica del que fue el matadero de Legazpi. La propuesta de la artista parte de la idea de encontrarnos en una cámara aislada, donde no existe apenas comunicación entre el interior y el exterior, y del concepto de conservación, que ha estado ligado a este espacio a lo largo de su historia.
Tras sucesivas visitas a la nave, la artista comenzó a fijarse en toda la información visual que había quedado plasmada en paredes y techos. Lo que más llamó su atención fueron una serie de agujeros repartidos por la cubierta de las naves laterales, clausurados en la última reforma.
La intervención propone un recorrido por la nave utilizando como guía un pasamanos. Una línea trazada en el plano como un dibujo, que en esta ocasión toma forma escultórica. Su elaboración con distintos materiales, como madera, cemento, corcho, escayola pintada o cobre, pone de manifiesto el interés de la artista por la artesanía y el diseño, y ofrecen al visitante el deleite a la vista y al tacto de los materiales trabajados.
En la penumbra de la nave encontramos esta particular guía que nos lleva a descubrir una nueva perspectiva del espacio. Los agujeros han sido reabiertos, por ellos entra la luz y se vislumbra otra galería superior, antes oculta a la mirada del visitante.
En esta intervención artística hallamos un juego de contrastes, de impedimentos y de posibilidades. En cierta manera, recuerda a las cuevas visitables donde el recorrido nos va mostrando la particular geomorfología que conserva en su ambiente antes estático. En este caso, la cuidada elaboración del pasamanos contrasta con la brutalidad del espacio.
El pasamanos es a su vez una guía y una barrera, una línea que sortea y adorna la arquitectura de la nave. Una pieza que podemos ver y tocar, y que nos lleva a descubrir un lugar inesperado sobre nuestras cabezas, pero que solo podemos llegar a entrever desde la distancia.
Elena Alonso (Madrid, 1981) Licenciada en Bellas Artes y Máster en Arte, Creación e Investigación por la Universidad Complutense de Madrid, ha realizado también estudios en Suecia y Helsinki. Desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las problemáticas vinculadas a la afectividad con el entorno. Ha expuesto de forma individual en el Museo ABC (El espacio alrededor, 2016); Espacio Valverde (Canto Blando, 2016; Composición de lugar, 2014; La tapadera, 2012); en la Sala de Arte Joven de la Comunidad de Madrid (2011); y en la Cable Factory de Helsinki (Paredes de piel, 2007).
Abierto x Obras, en Matadero Madrid, es un programa de intervenciones site specific que invita a artistas a realizar una pieza de nueva producción incentivando el carácter experimental de la creación contemporánea a través de planteamientos que exploran la relación entre el arte y el lugar que lo acoge, la antigua cámara frigorífica del Matadero. Una sala de más de 800 metros cuadrados que todavía conserva su aspecto original y las huellas de un incendio sucedido en los años 90. Un espacio característico por su estructura diáfana de arcos volados y columnas. Desde 2007, Abierto x Obras ha acogido las intervenciones de artistas como Daniel Canogar, Jannis Kounnellis, Román Signer, Carlos Garaicoa, Fernando Sánchez Castillo, Jordi Colomer, Los Carpinteros, Cristina Lucas, Eugenio Ampudia o Darya von Berner, entre otros.
March 03rd, 2013
Working on another batch of all-grain honey lager...this is the pre-boil boil reading...after correcting for temperature, I believe I'm within parameters for another good lager brew for Spring/Summer...
SPECIFIC is an Innovation and Knowledge Centre. It aims to develop coated glass and steel products that capture, store and release solar energy, turning buildings into power stations. The centre brings together world class academic and industrial expertise in the fields of photovoltaics, solar thermal, batteries, chemical conversion and wide area lighting, alongside unique sheet and coil printing and coating facilities.
Specific Design Assessment
-Signs are posted at various scales
-Signs are posted at alley entrances
-Business signs are oriented towards pedestrian traffic through the alley
-Signs to public amenities, such as restrooms, are clearly marked
Relevant Land Use Code Sections
20.25A.160.D.3.e - Signage (identify circulation routes)
20.25A.160.D.4.c - Incorporate design elements of the adjacent right-of-way, such as paving, lighting, landscaping, and signage to identify the through-block pedestrian connection as a public space
20.25A.160.D.4.d - Accentuate and enhance access to the through-block pedestrian connection from the right-of-way by use of multiple points of entry that identify it as a public space
The medical 3D models that are produced by ACRM Corp are patient-specific and are derived from CT or MRI scans (typically using DICOM image data). These models are used by physicians, orthopaedic surgeons and neurosurgeons to aid in pre-surgical planning and diagnoses for conditions ranging from spine conditions like scoliosis and kyphosis to skull-related issues like hydrocephalus and craniosynostosis. 3D brain models, hips and knees are also commonly replicated items. There is a case study store (www.Medical3Dmodels.com) where you can order physical 3D models of all of the items shown in these videos. If you are looking to get a 3D model for a specific patient, visit our corporate site (www.ACRMcorp.com) for details on how we can create a custom 3D medical model for that patient.
Commissioned by Dancing in the Streets and Casita Maria Center for Arts & Education as part of The South Bronx Culture Trail, PASEO is a roving site-specific performance by choreographer/director Joanna Haigood and music director Bobby Sanabria that celebrates the Hunts Point and Longwood sections of the South Bronx and their astounding contribution to Latin music. With performances by over 80 dancers, musicians, poets, actors, and community members, fire escapes, stoops, and sidewalks will come alive with Latin music and dance, stickball games, and street scenes evoking the neighborhoods’ vibrant street life and cultural vitality during the 1940s-‘60s.
Over 80 dancers, musicians, poets, and actors, including dancers Ramon Ramos Alayo and Franck Muhel, members of Los Pleneros de la 21, and stellar Bronx-based artists, including Arthur Aviles, La Bruja, percussionist and poet Angel Rodriguez, the Puerto Rican folklorico ensemble Danza Fiesta, the Los Monstritospercussion ensemble, Bobby Sanabria’s nine-piece ensemble, Ascension, and guest musicians who came of age in the neighborhood, including the legendary Alegre All Star timbalero Orlando Marin, The Last Mambo King.
I had a specific pose in my mind and I was lucky to have waited long enough to get this image.
The sun was setting and light was beautiful and then as expected all snow geese from a near by field took off and started landing where I was waiting for quite some time..
I knew if I delay I will have too many snow geese and it would be impossible to separate out one out of so many. So I set my self and captured this one in perfect light and with no other geese in BG. I wish this one was clean :-)