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Haliç Golden Horn
III Bienal Internationacional de Estambul
Estambul, Turquia, 1992
Pintura sobre pared
Foto: Gerhard Koller
July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Business Plan for a Cell Phone Recycling Company (Professional Fill-in-the-Blank Business Plans by specific type of business with editable CD-ROM)
via heartthrobhoran heartthrobhoran.tumblr.com/post/81478804866
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
(HGM 2016.12.1, Heisey Glass Museum, Newark, Ohio, USA)
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"1632 Lodestar" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Dawn" refers to a type of colored glass that Heisey made - in this case, smoky gray.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Dawn: 1955-1957. A charcoal or smoke colored glass with lavender tints. According to the Olson formulas it was most likely developed fom "Swedish Smoke Glass".
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
New York - 1911
George Bellows
American, 1882 - 1925
Completed in February 1911, New York is a large, ambitious painting in which George Bellows captures the essence of modern life in New York City. Although the viewer looks uptown toward Madison Square from the intersection of Broadway and 23rd Street, Bellows did not intend to represent a specific, identifiable place in the city. He instead drew on several bustling commercial districts to create an imaginary composite, an impossibly crowded image that would best convey a sense of the city’s frenetic pace.
By assembling all of these diverse elements into one scene, Bellows revolutionized the conventions of the traditional American urban vista and surpassed the efforts of other contemporary urban realists, like Robert Henri and John Sloan. A critic commented that New York is full of “motion, of stirring existence. Trucks are darting through the crowd. Men and women are hurrying across the streets, trolleys are clanging their way in and out, a policeman is keeping people from being run over, you feel the rush, you hear the noise, and you wish you were safely home.”
George Bellows was born in Columbus, Ohio, on August 12, 1882, the only child of a successful building contractor from Sag Harbor, Long Island, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri at the New York School of Art, where Edward Hopper, Rockwell Kent, and Guy Péne du Bois were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1909 he became one of the youngest artists ever admitted as an associate member of the National Academy of Design.
In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. His style changed as he explored the color theories of Hardesty Maratta and Denman Ross, and later Jay Hambidge’s compositional system of dynamic symmetry.
Bellows helped organize the Armory Show in 1913, in which five of his paintings and a number of drawings were included. That year he was elected a full member of the National Academy of Design. He had leftist political views and contributed illustrations to the Socialist publication The Masses from 1912 to 1917. Bellows began to make lithographs in 1916, and his exceptional talent engendered a revival of interest in the medium. He worked in Maine, in Carmel, California, and in Middletown, Rhode Island, and was a founding member of the Society of Independent Artists and a charter member of the Association of American Painters and Sculptors. In 1919 he taught at the Art Institute of Chicago. After painting the landscape near Woodstock, New York, in 1920, he bought a house there the following year. He died of appendicitis in New York on January 8, 1925, at the age of 42.
Bellows, who never went to Europe, is regarded as a quintessential American artist whose vigorous style enabled him to explore a wide range of subjects from scenes of modern urban life to portraits of his daughters, to turbulent Maine seascapes. As an early biographer noted, Bellows “caught the brute force of the prize fighter, the ruggedness of the country pasture, the essence of childhood and recorded them appropriately not only for his own generation but for all time.”
___________________________________________
For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
_____________________________________
www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Specific Design Element Assessment
-Trees, bushes and shrubs are placed around the space to provide visual interest and a connection to nature
Relevant Land Use Code Sections
20.25A.160.D.4.h - Provide landscaping to define and animate the space wherever possible
20.25A.160.D.4.i - Incorporate trees and landscaping to provide enclosure and soften the experience of the built environment
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
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.
From MOVING FLAT, a dance that occured on the sand flats of Provincetown, MA at low tide and sunset in September. This site specific piece was choreographed by David Figueroa and Teresa Czepiel.
(HGM 1231 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1469½ Ridgeleigh" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Zircon" refers to a type of colored glass that Heisey made - in this case, greenish.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
-----------------------------------
From Bredehoft (2004):
Zircon: 1936-1939. A turquoise blue-green. The last color introduced before World War II curtailed the use of color. Revamped and reintroduced later as Limelight.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
-----------------------------------
Reference cited:
Bredehoft, N. (ed.) (2004) - Heisey glass formulas - and more, from the papers of Emmet E. Olson, Heisey chemist. The West Virginia Museum of American Glass. Ltd.'s Monograph 38.
-----------------------------------
Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
and
and
Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Our site-specific installation and temporary consulate of Flux Factory titled, "The Infamous and Only Somewhat Ambassadorial Outpost of the Semi-Legitimate Nation of Flux" at Spanien 19C in Aarhus, Denmark.
— RARA 2006 - 2026 / ROMA - [testo in italiano & text in English]. Ancient Basilica of Vitruvius Found in Fano, Italy; in: GREEK REPORTER, GREECE (19/01/2026); Also see: the "Il Resto del Carlino"; AGI - ITALIA, "Centro Studi Vitruviani" / Fano & the "Vivere Fano" (= aerial views, detailed site plans, excavation photograph & YouTube [19-21/01/2026]). S.v., The former excavations in Fano, Italy - March to July, 2023. wp.me/pbTL6-81
NOTE: In the last three days, 19-21 January 2026; the Italian newspaper media in Fano, Italy did excellent reporting on the current excavation at the site the Basilica of Vitruvio. Particularly the "Vivere Fano" online edition and on YouTube. The majority of the archaeological investigations photographs (with blue background): the site plans, and those of the archaeological & architectural remains as presented at the Fano excavation conference (19 January 2026). There are too many photographs to add to this blog posting. All the photographs from January 2026 and the former excavations in March and July 2023 (1 thru 100); can be viewed in the specific photographic album, by clicking and linking on the photographs on this page.
NOTA: Negli ultimi tre giorni, dal 19 al 21 gennaio 2026, i quotidiani italiani di Fano, in Italia, hanno pubblicato un'eccellente copertura degli scavi in corso presso il sito della Basilica di Vitruvio. In particolare, l'edizione online di "Vivere Fano" e il canale YouTube. La maggior parte delle fotografie delle indagini archeologiche (con sfondo blu): le planimetrie del sito e quelle dei resti archeologici e architettonici presentate al convegno sugli scavi di Fano (19 gennaio 2026). Ci sono molte fotografie da aggiungere a questo articolo del blog. Tutte le fotografie di gennaio 2026 e degli scavi precedenti di marzo e luglio 2023 (da 1 a 100) possono essere visualizzate nell'album fotografico specifico, cliccando e collegandosi alle fotografie in questa pagina.
1). Fano, Italy - Ancient Basilica of Vitruvius Found in Fano, Italy; in: GREEK REPORTER, GREECE (19/01/2026).
Archaeologists have uncovered a major piece of Roman history in the Italian city of Fano, where remains identified as part of the ancient Basilica of Vitruvius have been found during redevelopment work in Piazza Andrea Costa.
The basilica, described in the fifth book of Vitruvius’ treatise De Architectura, had long been thought lost to time. Experts now confirm the discovery matches the structure detailed by the Roman architect Marcus Vitruvius Pollio, who served under Caesar and famously described a rectangular public building in Fano.
The newly unearthed remains, including column bases and wall segments, offer the first tangible evidence of that structure. According to Vitruvius, this was the only building he personally oversaw, which he said embodied both dignity and beauty.
Architectural layout matches the ancient description - Researchers say the basilica faced the city’s ancient forum and aligned with the Temple of Jupiter (Zeus), forming the central axis of Roman Fano.
Excavation teams were able to confirm the layout by comparing it with Vitruvius’ own measurements, finding columns in the exact arrangement he recorded: eight along the longer side, four on the shorter, with two omitted where the building opened toward the forum.
A critical moment came during a survey in Piazza degli Avveduti, when archaeologists located the fifth corner column precisely where the ancient plans indicated. This column, supported by two adjoining pillars, helped confirm the upper-floor structure described in the treatise.
Additional finds included a perimeter wall with surviving plaster and floor preparation layers, though the original flooring has been lost due to later urban development.
Cultural impact of the ancient Basilica of Vitruvius
The discovery places Fano in a new international light. Already significant during the Augustan period, the city now becomes a confirmed site of Roman architectural innovation. Culture Minister Alessandro Giuli called it a turning point for archaeology, noting that future studies will likely refer to this discovery as a watershed moment.
Marche Region President Francesco Acquaroli said the find alters the historical perception of Fano and enriches Italy’s cultural legacy. Fano Mayor Luca Serfilippi called the discovery a return of the city’s long-lost identity, now made visible after centuries of study.
While the find has stirred global interest, authorities stress the importance of protecting the exposed remains. The local Superintendency warned that fragile lime materials could deteriorate without proper conservation. At least one million euros in funding is needed to continue excavation and safeguard the site.
There is also growing interest in seeking UNESCO World Heritage status for Fano. Officials say the ancient basilica and its surrounding structures could become a key part of the region’s cultural and tourism future.
Fonte / source:
—- GREEK REPORTER, GREECE (19/01/2026);
greekreporter.com/2026/01/19/ancient-basilica-vitruvius-f...
2). FANO, ITALIA - La firma sulla storia: la Basilica di Vitruvio ritrovata da un gruppo di archeologi riminesi
Gli scavi a Fano condotti dalla società AdArte. Marcello Cartoceti: “Siamo orgogliosi di aver contribuito a questa scoperta straordinaria”; in: Il Resto del Carlino (19-21/01/2026).
Rimini, 21 gennaio 2026 – Non sono stati solo ‘testimoni’ della storia. Riportando alla luce i resti della leggendaria Basilica di Vitruvio a Fano, l’hanno fatta la storia. Hanno scavato per mesi sapendo che “prima o poi sarebbero emersi i resti...”. E così è stato. C’è la firma di un gruppo di archeologi riminesi nella straordinaria scoperta dell’edificio progettato da Vitruvio e da lui decantato nel De Architectura. Da gennaio 2024 gli scavi in piazza Costa a Fano sono affidati ad AdArte, la società riminese di archeologia e restauro fondata “esattamente 20 anni fa” da Marcello Cartoceti e altri studiosi riminesi.
Non potevate festeggiare questo ventesimo compleanno in un modo migliore...
“È proprio così – sorride Cartoceti – AdArte ha iniziato l’attività il 20 gennaio 2006. Oggi siamo 15 soci, con vari collaboratori. Per uno scherzo del destino, l’annuncio della scoperta della Basilica di Vitruvio è avvenuto alla vigilia del compleanno”.
Quando avete iniziato gli scavi a Fano?
“Due anni fa. Siamo stati contattati dal Comune di Fano, che ci ha commissionato il lavoro sotto la direzione della Soprintendenza ai beni archeologici. Abbiamo eseguito il primo lotto degli scavi e ora siamo impegnati con il terzo lotto. Che si è rivelato quello decisivo per il rinvenimento dei resti del colonne e degli altri reperti della Basilica”.
Fonte / source:
— Il Resto del Carlino (19-21/01/2026).
www.ilrestodelcarlino.it/rimini/cronaca/basilica-vitruvio...
2.1). FANO, ITALIA - Avanti con gli scavi: "L’obiettivo è trovare il Tempio d’Augusto" - Dopo il ritrovamento della Basilica di Vitruvio, le ricerche archeologiche dei prossimi giorni si concentreranno sempre in piazza Costa. Il soprintendente Pessina: “Qui c’è un giacimento di cultura”; in: Il Resto del Carlino (19-21/01/2026).
ano (Pesaro e Urbino), 21 gennaio 2026 – Dopo il ritrovamento della Basilica di Vitruvio, le ricerche archeologiche dei prossimi giorni si concentreranno sul Tempio d’Augusto, sempre in piazza Costa, mentre il sindaco Serfilippi ha già invitato il ministro Giuli in città per un confronto con esperti e studiosi.
"Serviranno ulteriori indagini per identificare la sede del tempio, che nelle varie ricostruzioni è indicato come un piccolo ambiente semicircolare, dove era svolto il culto dell’imperatore e amministrata la giustizia – spiega il soprintendente delle Marche, Andrea Pessina –. Fano è un autentico giacimento culturale e ci potrà riservare ulteriori, sensazionali scoperte. Il sottosuolo è particolarmente ricco di complessi di età romana di grandi dimensioni". L’obiettivo del soprintendente è di "ultimare gli scavi, non in maniera estensiva, ma per avere contezza del livello di conservazione della basilica e da qui fare poi partire eventuali progetti successivi".
Per quanto riguarda la Basilica, Pessina conferma il ritrovamento dell’unico edificio attribuibile con certezza all’architetto romano, considerato il padre della cultura occidentale, e di cui lui stesso parla nel De Architectura, l’unico trattato di architettura in latino arrivato fino a noi. I resti della Basilica sono stati ritrovati nel cuore del centro, tra piazza Costa (dove sono in corso gli scavi) e la vicina piazza degli Avveduti. "La ricostruzione planimetrica – conferma il soprintendente –, basata sulla descrizione di Vitruvio, corrisponde al centimetro alle colonne individuate in piazza Costa".
Pessina ricorda come della Basilica Vitruvio parli nel V Libro del suo De Architectura. "La descrive in maniera estesa, si dilunga sulla sua costruzione – dice –: un edificio a pianta rettangolare con otto colonne sul lati lunghi e quattro colonne sui lati corti e due colonne di meno sulla parte dell’edificio che si apre sul Foro. Vitruvio ci dice che le colonne sono di ordine gigante (5 piedi romani di diametro, pari a 150 centimetri), imponenti, che raggiungono l’altezza di 15 metri, con addossati pilastri per il sostegno del pavimento del piano superiore. Una descrizione precisa, che ha permesso nei secoli di proporre diverse ricostruzioni della Basilica e differenti valutazioni sulla collocazione nella città romana di Fano".
Il Resto del Carlino (19-21/01/2026).
www.ilrestodelcarlino.it/marche/cronaca/avanti-con-gli-sc...
3). FANO, ITALIA - La Basilica di Vitruvio è davvero a Fano: la conferma dai colonnati rinvenuti in Piazza Costa [FOTO e VIDEO]; in: "Vivere Fano" (19-21/01/2026).
Le pietre parlano”. È con questa immagine evocativa che il presidente del Centro Studi Vitruviani Dino Zacchilli ha spiegato perché Fano stia probabilmente vivendo una sorta di ‘ora zero’. Un momento cruciale per la sua storia, la sua cultura, probabilmente anche per la sua economia. Perché le pietre in questione sono quelle rinvenute in Piazza Costa durante i lavori di riqualificazione in corso ormai da tempo, grazie alle quali si è passati dalla carta alla materia, e ora gli esperti non hanno più dubbi: la Basilica di Vitruvio - celebre creazione del più grande architetto della storia - si trova proprio sotto i nostri piedi.
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— FANO, ITALIA - La Basilica di Vitruvio è davvero a Fano: visita agli scavi; in: "Vivere Fano" / YouTube (19-21/01/2026).
Dalla teoria alla certezza che non si tratti soltanto di un sogno: la Basilica di Vitruvio si trova davvero sotto i piedi dei fanesi. La conferma dai colonnati rinvenuti nei giorni scorsi durante i lavori di riqualidicazione in Piazza Costa.
Fonte / source:
— "Vivere Fano" / YouTube (19-21/01/2026).
www.youtube.com/watch?v=utr9tNaynKc&t=1s
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Lo si era intuito già da venerdì, quando i colonnati ritrovati sotto la piazza - tra il mercato del pesce e l’area del Caffè Darderi – avevano lasciato esterrefatti anche i più speranzosi. Lunedì mattina la conferma ufficiale che il grande sogno di Fano – che da tempo si era autoproclamata ‘città di Vitruvio’, con il rischio che si trattasse soltanto di una strategia di marketing turistico – si è ora realizzato. A metterci il sigillo è stato nientemeno che il ministro della cultura Alessandro Giuli, in videocollegamento durante l’affollata conferenza stampa di lunedì mattina alla Mediateca Montanari, con la promessa di far visita agli scavi non appena gli impegni glielo permetteranno. Il ministro ha enfatizzato senza mezze parole l’importanza di quanto rinvenuto. "C'è stato un prima e ci sarà un dopo – ha detto -, e di questa giornata si parlerà anche nei libri di storia. Siamo di fronte a un fatto dal valore scientifico assoluto. La presenza plastica dell'armonia ideata da Leonardo da Vinci e realizzata da Vitruvio – ha aggiunto - si trova proprio sotto i vostri piedi". Giuli ha fatto anche un parallelo con il rinvenimento della tomba di Tutankhamon, considerata la scoperta del secolo del '900. "Oggi - ha concluso -, come direbbe anche lo stesso Virtruvio, Fano e le Marche sono il centro del mondo”.
A spiegare come si sia passati dalla speranza alla consapevolezza di essere di fronte a una scoperta storica è stato il sovrintendente all'archeologia Belle Arti e Paesaggio per le province di Ancona e Pesaro Urbino Andrea Pessina. “Venerdì – ha raccontato – siamo rimasti impressionati dalla totale aderenza tra quanto indicato da Vitruvio e la natura stessa delle prime quattro colonne ritrovate. In tutto sono otto sul lato lungo e quattro su quello corto, per un diametro di quasi un metro e mezzo e 15 metri di altezza. Abbiamo anche effettuato un sondaggio nella vicina Piazza degli Avveduti, e in poco più di un metro e mezzo è emersa un’importante colonna ad angolo. Grazie a tutto questo oggi possiamo ‘disegnare’ la Basilica con grande certezza. È un punto d’appoggio da cui possiamo sollevare il mondo. Con molta probabilità abbiamo trovato a Fano anche il Tempio di Giove, a cui si aggiungono altri reperti di cui è ancora presto per parlare”.
Fonte / source:
— "Vivere Fano" (19-21/01/2026).
www.viverefano.it/2026/01/19/la-basilica-di-vitruvio-davv...
3.1). FANO, ITALIA - Basilica di Vitruvio, ecco perché è proprio lei: “Coincidenza millimetrica tra gli scritti e le colonne ritrovate”. Le slide ufficiali; in: "Vivere Fano" (19-21/01/2026).
“Non minore dignità e bellezza possono avere le composizioni di basiliche come quella che ho collocato nella Colonia Giulia a Fano e di cui ho curato i lavori, dove le proporzioni e le simmetrie sono state così stabilite…”. Sono queste parole dello stesso Vitruvio, contenute nel titolo V del ‘De Architectura’, ad aver alimentato per tanto tempo le speranze di poter rivenire la sua basilica proprio nel sottosuolo fanese. Ancora più preziose sono state le misure dettate da Vitruvio, che hanno permesso di proseguire negli scavi e di trovare davvero la famosa struttura da lui realizzata.
A puntualizzarlo è stato il Centro Studi Vitruviani, secondo cui, grazie a queste indicazioni, “dopo un primo ritrovamento è stato possibile avere con precisione assoluta altri riscontri della sua presenza sul posto”. Il risultato sono le quattro colonne scoperte la scorsa settimana in Piazza Costa, nell'ambito di un intervento di riqualificazione finanziato attraverso fondi Pnrr. La corrispondenza millimetrica di quanto rinvenuto rispetto agli scritti di Vitruvio alimenta la certezza che quello che sembrava soltanto un sogno - per quanto non impossibile - fosse una realtà ancora tutta da scoprire.
In 'De Architectura' Vitruvio aveva indicato cinque piedi romani come diametro delle colonne in arenaria, esattamente i 147 centimetri di diametro di quanto ritrovato a fianco del mercato del pesce, in una città che ora festeggia, e per cui c’è già chi ipotizza un futuro inesorabilmente contrassegnato da certe rivelazioni. Sicuro è il clamore mediatico che sta riscuotendo la scoperta avvenuta a Fano, rimbalzata sui media italiani ma anche internazionali.
La perfezione architettonica della basilica è dunque in parte riaffiorata dopo un'attesa di oltre duemila anni. La prova sta innanzitutto in quelle colonne - otto sul lato lungo, quello di via Arco d'Augusto, e quattro su quello corto -, tutte alte quindici metri, a sostegno del pavimento del piano superiore. Ulteriore prova è data dalla colonna ad angolo rinvenuta nella vicina Piazza Avveduti. Due, dunque, sono le agorà coinvolte, parte del cuore pulsante della città. Piazze le cui sorti sono ora appese agli sviluppi - ancora tutti da delineare - di un'indagine che, allo stato attuale, potrà far tutto tranne che fermarsi.
Fonte / source:
— "Vivere Fano" (19-21/01/2026).
www.viverefano.it/2026/01/20/basilica-di-vitruvio-ecco-pe...
4). FANO, ITALIA - "LA BASILICA DI VITRUVIO - Oggi l'annuncio ufficiale del suo ritrovamento. Notizia davvero straordinaria, storica, che accende su Fano i riflettori di tutto il mondo"; in: Centro Studi Vitruviani / Fb (20/01/2026).
«Non minus summam dignitatem et venustatem possunt habere comparationes basilicarum, quo genere Coloniae Iuliae Fanestri conlocavi curavique faciendam, cuius proportiones et symmetriae sic sunt constitutae…» (Vitr. V, 1, 6)
“Non minore dignità e bellezza possono avere le composizioni di basiliche come quella che ho collocato nella Colonia Giulia a Fano e di cui ho curato i lavori, dove le proporzioni e le simmetrie sono state così stabilite…” (Vitr. V, 1, 6)
E proprio sulla base delle misure dettate da Vitruvio è stato possibile, dopo un primo ritrovamento, avere, con precisione assoluta, altri riscontri della sua presenza sul posto.
Insieme ad alcune foto dei ritrovamenti e della conferenza stampa pubblichiamo anche tre slide fra le molte illustrate dal Soprintendente Archeologia, Belle Arti e Paesaggio per le province di Ancona e Pesaro e Urbino, dott. Andrea Pessina.
Fonte / source:
— Centro Studi Vitruviani / Fb (20/01/2026).
www.facebook.com/CSVitruviani/posts/pfbid0wDD1GHd71stVrqt...
5). FANO, ITALIA - Dopo 2000 anni torna alla luce la Basilica di Vitruvio - Eccezionale scoperta a Fano durante gli scavi per la ripavimentazione del centro storico; in: AGI-ITALIA (19/01/2026).
AGI - È il 'Sacro Graal' dell'architettura e dell'archeologia dell'Antica Roma: la Basilica di Vitruvio, di cui sono stati ritrovati i resti a Fano, era uno dei più grandi misteri dell'antichità. Vitruvio, padre teorico dell'architettura occidentale, era originario di Fano.
Nel suo 'De Architectura', l'unico trattato latino del suo genere arrivatoci intatto, ha raccontato che quella Basilica era l'unico edificio di cui aveva curato personalmente la costruzione ("conlocavi curavique") e gli attribuiva grande dignità e bellezza ("summam dignitatem et venustate").
Finora, pero', malgrado secoli di ipotesi e centinaia di disegni che lo 'ricostruivano', nessuno era riuscito a individuare con precisione i resti del sobrio e maestoso edificio pubblico, destinato all'amministrazione della giustizia e agli affari nel I secolo dC augusteo. Fu ipotizzato dapprima che fossero parte delle rovine sotto il convento di Sant'Agostino e nel 2023 si pensò di averli trovati nei cinque ambienti con eleganti pavimentazioni rinvenuti sotto una casa durante una ristrutturazione. Mancava sempre, però, quel colonnato di un 'ordine gigante' che avrebbe coperto i due piani della basilica, elevandosi da terra fino a sorreggere le capriate di copertura.
Ora è arrivato l'annuncio che c'è una finalmente una localizzazione certa, nell'attuale piazza Andrea Costa, dove gli scavi in corso hanno riportato alla luce reperti inequivocabili. In particolare cinque colonne in pietra arenaria, disposte secondo un allineamento preciso, le cui distanze e proporzioni risultano coerenti con le prescrizioni tecniche indicate da Vitruvio, offrendo cosi' una corrispondenza puntuale tra la fonte scritta e l'evidenza archeologica.
Una scoperta archeologica di portata immensa, un "ritrovamento di importanza mondiale, che finirà nei libri di storia, paragonabile alla scoperta della Scuola di Pitagora, a Crotone". Così il ministro della Cultura Alessandro Giuli durante una conferenza stampa alla Mediateca Montanari di Fano ha annunciato il ritrovamento nella città in provincia di Pesaro-Urbino, della Basilica di Vitruvio, quella che per gli studiosi dell'architetto romano attivo nella seconda metà del I secolo a.C. e considerato il più famoso teorico dell'architettura di tutti i tempi, è la più grande scoperta archeologica al mondo.
Si tratta di un edificio leggendario, cercato da duemila anni, il cui ritrovamento cambia la storia della città, dell'Italia e dell'architettura. Gli scavi per la ripavimentazione di Via Costa, finanziati dal Pnrr, hanno portato alla luce reperti che la soprintendenza giudica "inequivocabili" e alcune colonne citate nella bibliografia vitruviana.
Fonte /source:
— AGI-ITALIA (19/01/2026).
www.agi.it/cultura/news/2026-01-19/basilica-vitruvio-fano...
— Roberto Trizio / Scripta Manent, "Scoperta basilica di Vitruvio. Cambia la storia dell'architettura"; in: YouTube (20/01/2026).
www.youtube.com/watch?v=gYTX1tZQqIo
S.v.,
Nota: nel marzo 2023, gli scavi sono documentati in dettaglio, vedere:
romaarcheologiaerestauroarchitettura.wordpress.com/?s=fano
—- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. Aggiornamento: FANO – La Basilica di Vitruvio, architetto attivo nella seconda metà del I sec. a.C., citata nel suo trattato De Architectura; in: Soprintendenza Archeologia – Ancona / Fb & TGR / Marche (da marzo e maggio a luglio 2023).
— ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. Aggiornamento – FANO: “La leggendaria basilica di Vitruvio, scomparsa da 500 anni, è riapparsa sotto la cameretta di due bambini di Pietro G. ha 8 anni, Olimpia G. ne ha appena 4”; in: La Repubblica (15/03/2023), Tele 2000 / Fb & YouTube (14/03/2023).
—- ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2023. FANO – La Basilica di Vitruvio, architetto attivo nella seconda metà del I sec. a.C., citata nel suo trattato De Architectura, potrebbe essere stata finalmente trovata (07-11/03/2013) RAI NEWS; Soprintendenza (AN PU e AP FM MC) / Fb (07/03/2023); Il Resto Del Carlino (07/03/2023). Anche: Video / Droni & Foto di: Carabinieri TPC / ANSA (11/03/2023) & Il Giornale Dell’Arte (22/08/2022).
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July 24th, 25th, 26th 2009 - Indietracks, an indiepop festival - Midland Railway Butterley, Swanwick Junction
Lego House: One Specific Room, 1985
Contribution to the exhibition ‘L’architecture est un Jeu Magnifique’
10 July–26 August 1985
Centre Pompidou, Paris, France
From the exhibition
Herzog & de Meuron
(July - October 2023)
Look behind the scenes of Herzog & de Meuron and immerse yourself in one of the most revered architecture practices in the world.
For over 40 years, the Swiss practice has challenged our ideas of what architecture can be. They’ve reimagined the nature of buildings, from houses to hospitals. And they’ve designed projects that have transformed cities, such as Tate Modern, Laban Dance Centre, Elbphilharmonie and M+.
This exhibition, featuring 400 objects from the Herzog & de Meuron design process, is a chance to find out how their projects come together. Explore their open archive shelves, sit on their latest furniture design, walk around life-sized architectural mock-ups, and use augmented reality to experience a new children’s hospital in Zurich.
Visitors will be among the first to feel the space and atmosphere of their newest designs and to see Beka & Lemoine's latest documentary film about their ground-breaking REHAB project.
Curated in close collaboration with the architects, this is a rare opportunity to see the inner workings of one of the most admired architecture practices in the world..
[*Royal Academy]
Taken in the Royal Academy
Our site-specific installation and temporary consulate of Flux Factory titled, "The Infamous and Only Somewhat Ambassadorial Outpost of the Semi-Legitimate Nation of Flux" at Spanien 19C in Aarhus, Denmark.
Photographic techniques capture electromagnetic wavelengths beyond human vision, revealing features invisible to the naked eye. These signals are processed into interpretable forms using methods like color mapping.
Pink lacks a specific electromagnetic wavelength, while grey poses a limitation due to its representation of only intensity—a blend of light and dark without spectral specificity. Imaging techniques reliant on spectral variation produce identical results for greyscale images unless non-visible data is present. Deviations from this uniformity may indicate errors, misinterpretations, or unknown phenomena.
Contention persists over analytical debates, including dismissible claims like Van Allen belt dangers and contested evidence of lunar mirrors. The precision of laser reflections targeting a moving 3x3-foot marker on the Moon highlights technical skill but often fails to resolve skepticism. For instance, a 0.1° shift moves a laser spot 670 km across the Moon's surface.
Forensic analysis (2022, 2023) of Apollo 11–17 photographs assessed authenticity claims. Images of humans in space, Earth, and the Moon's distant views were validated, but Moon landing visuals showed variations, suggesting diverse techniques may have replicated certain elements.
PEMi (Photoelectromagnetic Image) software enhances forensic analysis by differentiating natural and artificial light sources, revealing hidden features. Each PEMi-ID links to original sources, ensuring traceability and comparison.
Further exploration is available:
Lehti, A. (2024). The Silence of Inquiry: Forensic Reflections Reveal a Crisis of Perception. figshare. doi.org/10.6084/m9.figshare.28078982
Credits
2022-2025 © Andrew Lehti
1961–2023 © NASA, ESA
Software: PEMi (GitHub: andylehti/PEMi.git)
Explore PEM-I: pemimage.streamlit.app
CC BY-SA 4.0 License: creativecommons.org/licenses/by-sa/4.0/
Research:
Lehti, Andrew (2024). Cognitive Psychology and the Education System. figshare. Collection. doi.org/10.6084/m9.figshare.c.7532079
CC BY-SA 4.0
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit creativecommons.org/licenses/by-sa/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.
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Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
Site specific performances by 3rd year BA dance students, taken place in different locations around the University Campus: John Banks Laboratories, rooftop of the Art & Design building, and science ‘dry’ lab in the MHT building.
date: 3/12/2015
photo by Fenia Kotsopoulou
(HGM 203 M, Heisey Glass Museum, Newark, Ohio, USA)
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"1429 Pristine" is the designation for a specific glass product design made in Newark, Ohio by the Heisey Glass Company (1896 to 1957). Heisey glass designs are called "patterns". Pattern designations include a number (not necessarily consecutively numbered during the history of the glass factory) and a name. Some pattern names were given by the Heisey company, while others were given by Heisey glass researchers.
"Moongleam" refers to a type of colored glass that Heisey produced - in this case, light green.
The source of silica for Heisey glass is apparently undocumented, but was possibly a sandstone deposit in the Glassrock area (Glenford & Chalfants area) of Perry County, Ohio (if anyone can provide verfication of this, please inform me). Quarries in the area targeted the Pennsylvanian-aged Massillon Sandstone (Pottsville Group) and processed it into glass sand suitable for glass making.
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From museum signage:
Augustus H. Heisey (1842-1922) emigrated from Germany with his family in 1843. They settled in Merrittown, Pennsylvania and after graduation from the Merrittown Academy, he worked for a short time in the printing business.
In 1861, he began his life-long career in the glass industry by taking a job as a clerk with the King Glass Company of Pittsburgh. After a stint in the Union Army, Heisey joined the Ripley Glass Company as a salesman. It was there that he earned his reputation of "the best glass salesman on the road".
In 1870, Heisey married Susan Duncan, daughter of George Duncan, then part-owner of the Ripley Company and later full owner, at which time he changed its name to George Duncan & Sons. A year later, he deeded a quarter interest to each of his two children. A few years after his death, A.H. Heisey and James Duncan became sole owners. In 1891, the company joined the U.S. Glass Company to escape its financial difficulties. Heisey was the commercial manager.
Heisey began to formulate plans for his own glass company in 1893. He chose Newark, Ohio because there was an abundance of natural gas nearby and, due to the efforts of the Newark Board of Trade, there was plenty of low cost labor available. Construction of the factory at 301 Oakwood Avenue began in 1895 and it opened in April of 1896 with one sixteen-pot furnace. In its heyday, the factory had three furnaces and employed nearly seven hundred people. There was a great demand for the fine glass and Heisey sold it all over the world.
The production in the early years was confined to pressed ware, in the style of imitation cut glass. The company also dealt extensively with hotel barware. By the late 1890s, Heisey revived the colonial patterns with flutes, scallops, and panels which had been so popular decades earlier. These were so well accepted that from that time on, at least one colonial line was made continuously until the factory closed.
A.H. Heisey's name appears on many different design patents including some when he was with George Duncan & Sons. Heisey patterns that he was named the designer include 1225 Plain Band, 305 Punty and Diamond Point, and 1776 Kalonyal.
Other innovations instituted by A.H. Heisey were the pioneering in advertising glassware in magazines nationally, starting as early as 1910 and the first glass company to make fancy pressed stems. That idea caught on quickly and most hand-wrought stemware is made in this manner, even now.
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Info. at:
en.wikipedia.org/wiki/Heisey_Glass_Company
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Treptow. Aus der Serie „DRAF (Deutsch russisch amerikanische Freundschaft)“
Site-specific Performance und Intervention
Sowjetisches Ehrenmal im Treptower Park, Berlin 2015
Video, Fotografie und Installation
Performance: Markus Wintersberger
Fotografie / Video: Andrea Nagl
Nagl ~ Wintersberger 2015
In specific, Holy Week is the week just before Easter that extends from Palm Sunday until Holy Saturday and marks the last week of Lent. It has earned the name 'Holy', according to the Orthodox Church, due to the significant events that take place for Christianity in regard to the sufferings of Jesus Christ.
INFO: All photographs from the second day of the Lytchett 7s 2025 tournament are included in this collection, regardless of their quality.
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Si è svolta dal 24 al 31 marzo, sotto la sapiente guida del docente Umberto Giovannini, la masterclass dal titolo “Sacralità/Sacro – Installazione collaborativa site specific”. Gli studenti che hanno partecipato alla particolare esperienza formativa hanno lavorato alla realizzazione di un progetto collettivo “site specific”.
L’intento è stato quello di indagare il concetto di sacro, nelle due declinazioni di sacralità/sacro e di rileggerlo attraverso l’esperienza del contemporaneo. L’installazione si trova nel RUFA Space.