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Visually striking rainscreen cladding panels from Proteus Facades have helped to transform a building on London’s historic Hoxton Square, which is undergoing major refurbishment as part of a high-profile expansion project.
Aviva, a British multinational insurance company and pensions provider, identified Hoxton Square as the ideal location to create a campus of offices and relocate its Digital Garage; a dedicated space where technical specialists, creative designers and business leaders collaborate to develop new ideas and services. As part of the development, known as Project Drum, Aviva purchased 28-30 Hoxton Square along with other buildings in the area.
28-30 Hoxton Square required a substantial level of refurbishment, which created the opportunity to extend the property to increase capacity and improve accessibility and the layout between two front facing blocks. Architects TTSP redesigned the three-storey structure, with an entirely new floor added to the front and rear elevations as well as the demolition of a single storey centre, which was rebuilt to four storeys.
A major part of the brief given to TTSP was to ensure that historic structural elements of the building were retained and left exposed whilst all new visible external elements were over-clad to harmonise with the original features. Working closely with TTSP, Proteus Facades provided support with the design of the rainscreen cladding system to ensure this challenge was met.
Proteus HR TECU Patina Madrid panels, installed by Openwood Facades Ltd, were chosen for the double height storey which sits atop of the central part of the building, with architectural fins to the south elevations and window frames designed to match. The patterned copper finish of the Proteus material perfectly complements the colours and textures of the surrounding buildings, whilst staying in keeping with the heritage of the original site that dates to the 1700s.
Proteus HR VM Zinc Quartz rainscreen cladding was also specified for the roof level of 28- 30 Hoxton Square, which provides a long, maintenance-free life and offers adaptability to various design styles ranging from traditional to modern.
Proteus HR was specified for both the TECU Patina Madrid and VM Zinc Quartz materials at Hoxton because it is a lightweight, strong and versatile cladding panel that creates an optically flat aesthetic that is highly suited for building facades. The integrated modular rainscreen system features an aluminium honeycomb core, structurally bonded between two thin gauges of lightweight metal skin to create an optically flat panel that is available in aluminium, steel, zinc, stainless steel, copper alloys and other materials.
To mirror the design of the external façade, Proteus HR TECU Patina Madrid panels were also specified for use on a double-width lift lobby, which acts as a bright and bold mid-section connecting various internal departments, including a state-of-the-art AV centre.
In addition, Proteus Facades supplied mesh screens fixed to windows along the rear elevation in a Polyester Powder Coated (PPC) finish, which remains a popular choice with architects because of its long-term performance and cost benefits.
West African crowned cranes depend highly on their vision and notice very small details in their environment. At the zoo, a crane may become interested in, or disturbed by, a freckle on the skin of a keeper.
In the seed processing plant at Bidasem, workers visually examine and manually sift maize seed on a conveyor belt, picking out material such as damaged or spoiled seed or pieces of cob. After initial cleaning and sorting, all seed that goes through the plant passes through quality control. If a sample from a batch is found to more have more than 2% impurities, they are either separated out by hand like this or using a gravity table. The batch is then resampled to ensure a clean bill of health to continue processing.
Bidasem is a small seed company based in the city of Celaya in the central Mexican plains region known as the Bajío. It produces approximately 10,000 bags of maize seed a year, each holding 22.5kg, as well as producing wheat and oat seed and marketing seed of other crops. Despite their small size, Bidasem and similar companies play an important role in reaching small farmers with improved seed that offers them better livelihoods. “Our aim is to provide farmers with quality seed at accessible prices, that is adapted to the conditions we have here in the Bajío. It’s a great satisfaction, when farmers achieve the yields they need,” says director general María Esther Rivas.
“Without CIMMYT, we couldn’t exist,” says Rivas. She sells four different maize hybrids, all formed from freely-available CIMMYT parent lines. “Really the most important thing is to produce your own hybrids, and for us it wouldn’t be possible if we didn’t have the germplasm from CIMMYT. What we’re currently producing is 100% CIMMYT.” The relationship between Bidasem and CIMMYT is now deepening through participation in the MasAgro initiative, which includes training courses for seed companies and collaborative trials to evaluate the best seed.
Photo credit: X. Fonseca/CIMMYT.
For more on seed production at Bidasem, and CIMMYT's role in providing the best seed, see CIMMYT's 2012 e-news story The seed chain: producing better seed for small farmers, available online at: www.cimmyt.org/en/newsletter/598-2012/1398-the-seed-chain....
2011
paint and hand embroidery on interfacing
these were created for a show directed towards the visually impaired and are intended to be held, touched and manipulated. i wanted them to still be visually interesting, aesthetically pleasing, etc...but it was challenging to think how i could incorporate texture in a different way so as to "read" the pieces with one's hands.
i imagine that the visually impaired have a heightened sense of touch, so will, perhaps, notice the nuances in stitches and surfaces. plus the verso side is a whole new experience!
Visually, the finished look is one of pure line with few design elements. The atmosphere is one of pure tranquillity during the day; the reflection of sky in the water and very little to distract the eye. At night the lighting scheme creates a magical pathway fading into the distance, and always there is the gentle sound of running water.
Part of a larger scheme, these clients wanted an ultra-simple, minimalist waterfeature on two levels. The main material used was a pale cream Travertine detailed with a dark slate-grey.
At the lower level, a canal runs across the garden. The main steps are accessed by stepping stones across the water.
The upper level features two rills. Water flows away from the house and cascades via two stainless steel waterfalls onto the lower level beyond, aerating and purifying. The paving features LED flush lighting to highlight the edge of the scheme and the steps and all three bodies of water are floodlit discreetly below the water surface.
The only plant material is six ball-shaped box trees, providing a simple, sculptural look to this otherwise angular scheme.
Second performance of Icarus performed by the Southpaw Dance Company. A visually stunning act but very difficult to photograph.
A visually stunning badge that branded the 1958, European Women's Basketball Championship. Held in Łódź, Poland, it's a design that appears out of synch with typical graphics from the 1950s with a heavy emphasis on colour, pattern and spontaneity - more aligned to late 20th Century graphic design. The strong chromatic pattern, contrasts superbly with the raised, three dimensional FIBA basketball as it hovers invitingly over the net. The typography announces the event and location and has been handled sensitively, following the linear horizontal/diagonal of the pattern.
The 1958 event in Poland was the 6th championship held by 'FIBA Europe' for women. The competition in Łódź took place between 9th -18th May with Bulgaria winning gold, Soviet Union silver and Czechoslovakia bronze.
The FIBA abbreviation on the badge stands for the International Basketball Federation and emanates from its original French name, 'Fédération Internationale de Basketball Amateur.' In 1989, the word 'amateur' was dropped for the revised title of 'Fédération Internationale de Basketball' - the last two letters BA within FIBA now represent the first two letters of BAsketball. FIBA is the world governing body of basketball, defining the rules, equipment, appointment of international referees and the transfer of players across countries.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a
variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded
format is for screen based viewing only: 72pi)
Shoes Men Dress - Mr Angel Shoes offers some most innovative and visually stunning men's shoes you have ever seen. mrangelshoes.com/ From creative shoes for men to designer dress shoes, we offer shoes that you will love. We also have a large range of Red, Silver, Gold and Pink Dress Shoes for men that are cool and will blow your mind! Our shoes are perfect for all occasions - formals, dinner parties, parties, night clubs, events....even as Wedding Party Shoes. Why Shoes Are Vital to a Man's Success The modern businessman needs to be well-read when it comes to men's fashion. The way a man dresses is how he is identified by others in the office. Naturally, a traditional tie and well fitted suit are paramount. Yet, shoes sometimes get left in the shuffle. Shoes are equally important as the suit you wear to work. Shoes can make or break your outfit. If you are dressing to impress others, you better be wearing shoes that not only match your outfit, but are gleaming. With the world dressing in a more casual manner it has become increasingly difficult to distinguish between dress shoes and casual shoes. Still, some shoes can now be used for either dress or casual. The square toe and a wider shoe have become popular, replacing the thin rounder shoe. Further, this applies to both loafers and laced shoes. While many men's shoes still have the traditional heel, the wedge has suddenly become fashionable. These shoes provide a sole and heel in one mold, versus the standard heel which is separated from the sole. A good tip to follow for dressing-down is to wear a rubber soled shoe, and leave the wood soles for upscale occasions. As mentioned, many casual shoes can pass for dress shoes. How dressy your shoes are depends on where you work, and what your office expects. Still, if you work in an upscale office the classic heeled dress shoes are best. Ankle boots for men have indeed become popular casual ware and are available in either laced or Velcro style. Laces for both dress and casual shoes are thin. Stay away from sneaker type laces. Some offices allow sneakers to be worn on Casual Friday. However, this does not mean you can show up for work in the sneakers you use to mow the lawn. Yet, a casual sneaker will keep you comfortable, and you still can present the allure of passion and success. The best base colors are white, gray, and beige. This goes great with red, black and yellow for detailed colors, and does not present too loud a look. In the end, being away from the office still affords you the opportunity to wear a good-looking pair of shoes. Some of the latest hiking shoes compliment jeans and even Dockers nicely. There is no reason you cannot continue to wear great looking shoes on a Saturday night. While you might be casually dressed, you can still have an air of confidence and success. In an upscale office it is best to wear the classic heeled shoe, and make sure they are polished. Pohl is a writer for men's fashion. He also started several online tie retailers including is latest website: this site by the name of Bows-N-Ties.com that sorted ties by color. Article Source: EzineArticles.com/?expert=Hendrik_Pohl Article Source: EzineArticles.com/6031905
This visually dynamic 1960 Czech Republic badge promotes the famous International Engineering Fair (known as MSV Brno) that's been running annually from the Czech city of Brno since 1959. It is considered the premier industrial event in Central Europe with a world wide profile and reputation.
In its current format today, this major engineering Fair showcases and focuses on areas such as:
> mining, metallurgical, foundering, ceramic and glass engineering,
> material components for mechanical engineering,
> drives, hydraulics and pneumatics,
> cooling technology and air-conditioning,
> plastics, rubber technology and chemical industry,
> machining, forming and surface finishing,
> power engineering and heavy-current electrical engineering
> electronics, automation and measuring technology,
> ecological technology.
As well as hosting this particular engineering Fair, Brno, due in part to its important geographical location, has been holding Fairs since 1243. The catalyst behind the early Fairs was Brno's emerging textile industry with the first trade shows appearing in the 18th Century. Trade exhibitions since 1821 have included merchants from Vienna, Linz, Saxony, Hungary and Turkey.
Brno is synonymous with Trade Fairs reflecting its industrial, scientific and logistical hub profile within Central Europe. Along with the Brno's Industrial Engineering Fair, the city hosts multiple, diverse Fairs throughout the year embracing, for example, the areas of medical technology, automobiles, caravans, timber construction, minerals etc. Since 1928, the city has had a dedicated site for hosting trade fairs, an area that has radically grown in size throughout the subsequent decades.
From a graphic design perspective, the badge is one of those designs that is stylistically ahead of its time compared to the majority of branding work from this era. There is, primarily through the clarity of the sans serif typeface and colour scheme, an association with the 'clean' designs that emanated from the 1950s International Typographic Style (also known as Swiss Style). The typography works harmoniously with the bold directional arrows that allude to the trading exchange and transfer of knowledge between the 'East' and the 'West' (referencing Brno's pivotal geographical location). At the hub of the design is a gear or cogwheel, a well known device that symbolizes the notion of 'engineering' as well as the cycle of business, trade and knowledge generated by this Fair. The graphic on this badge is still used today (with very subtle modifications) as the brand for its International Engineering Fair - testimony to its visual durability and longevity for over 50 years... and still going strong.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only:72pi)
Item on display at the “Multisensory Exhibition for the Blind and Visually Impaired Persons” that shows how visually impaired persons experience artwork via tactile plates and audio guides.
Curated by art historian and art educator Nataša Jovičić and the Modern Gallery, Zagreb, Croatia, the exhibition also sensitizes others to how people living with limited vision experience the world.
The exhibition was held on the sidelines of the Assemblies of WIPO Member States, which met from September 24 to October 2, 2018. WIPO co-organized the event with the government of Croatia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Photo: Adrian Hopkins.
Published in: Revue de Santé Oculaire Communautaire Vol. 7 No. 8 Janvier 2010 www.revuesoc.com
When you lose your sight, a white cane becomes an essential tool in your daily life. If you're blind or visually impaired, white cane is a tool that enables you greater independence. However, if you think that it's a very simple tool, think again.
First of all, there are different types of canes: long cane, guide cane, identification cane, and support cane. They can be folding, telescopic, or rigid.
Canes can also be made of different materials: wood, aluminum, graphite, etc.
Then, there are also different types of cane tips that you can choose from: pencil tip, jumbo roller tip, rural tip, marshmallow tip, etc.
Although the cane sounds like a very easy tool to use, it's actually not. To be able to travel with a white cane safely, you need to learn a few techniques. First, you have to know how to hold the cane correctly. Then, there are the techniques of walking:
"The most commonly used techniques are:
•Diagonal technique: The cane is held in front, and slightly diagonally across the body. The tip is in contact with the ground or just above.
•Touch technique: The cane tip is arced from side to side. When the left foot steps forward the cane sweeps to the right, and when the right foot steps forward the cane sweeps to the left. This technique allows safe travel in all environments by clearing the area for each step before it's taken.
•Constant contact technique: The cane is held in front and sweeps from side to side. The tip remains in contact with the ground.
•Shoreline technique: The cane is used to follow a line such as a wall, a fence or the edge of a footpath."
( Cane Q&A / Guide Dogs NSW/ACT)
As a tribute to the White Cane Safety Day 2012, I decided to make a few of these white cane bracelets from Hama beads and give them away as gifts to my friends.
Keep the comments clean! No banners, awards or invitations, please!
Visually summarizing 21 years of one man's influence in Chicago is...hard to summarize. Still got more to add...
Visually describing eigenvectors with associated Legendre polynomials. Made with Shodor's AssocLegendre class - www.shodor.org/refdesk/Resources/Libraries/AssocLegendre/...
This NASA/ESA Hubble Space Telescope image presents a visually striking collection of interstellar gas and dust. Named RCW 7, the nebula is located just over 5,300 light-years from Earth in the constellation Puppis.
Nebulae are areas rich in the raw material needed to form new stars. Under the influence of gravity, parts of these molecular clouds collapse until they coalesce into very young, developing stars, called protostars, which are still surrounded by spinning discs of leftover gas and dust. The protostars forming in RCW 7 are particularly massive, giving off strongly ionizing radiation and fierce stellar winds that transformed the nebula into a H II region.
H II regions are filled with hydrogen ions — H I refers to a normal hydrogen atom, while H II is hydrogen that lost its electron making it an ion. Ultraviolet radiation from the massive protostars excites the hydrogen in the nebula, causing it to emit light that gives this nebula its soft pinkish glow.
The Hubble data in this image came from the study of a particularly massive protostellar binary named IRAS 07299-1651, still in its glowing cocoon of gas in the curling clouds toward the top of the image. To expose this star and its siblings, astronomers used Hubble’s Wide Field Camera 3 in near-infrared light. The massive protostars in this image are brightest in ultraviolet light, but they emit plenty of infrared light too. Infrared light’s longer wavelength lets it pass through much of the gas and dust in the cloud allowing Hubble to capture it. Many of the larger-looking stars in this image are foreground stars that are not part of the nebula. Instead, they sit between the nebula and our solar system.
The creation of an H II region marks the beginning of the end for a molecular cloud like RCW 7. Within only a few million years, radiation and winds from the massive stars will gradually disperse the nebula’s gas — even more so as the most massive stars come to the end of their lives in supernova explosions. New stars in this nebula will incorporate only a fraction of the nebula’s gas, the rest will spread throughout the galaxy to eventually form new molecular clouds.
For more information: science.nasa.gov/missions/hubble/hubble-captures-infant-s...
Text credit: European Space Agency
Image credit: ESA/Hubble & NASA, J. Tan (Chalmers University & University of Virginia), R. Fedriani
WIPO Director General Francis Gurry (second from left), Morocco's Minister of Communications and Government Spokesperson Mustafa Khalfi (third from left), and members of the WIPO Secretariat applaud adoption of a new international treaty that will facilitate access to published works for blind, visually impaired and print-disabled persons. The treaty was formally adopted on June 27, 2013. The Kingdom of Morrocco hosted WIPO's Diplomatic Conference in Marrakesh from June 17 to 28, 2013.
Copyright: WIPO. Photo: Emmanuel Berrod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Visually indistinguishable from the then-not too distant IC&E era, the CP Rockford Sub local trundles across a frozen creek on its way out of Janesville after picking up five at the WSOR yard.
This view was only possible because the leaves were off the trees, and subsequent housing development in the area has made this bridge pretty much invisible from the public road.
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in North London: Harrow On The Hill here are the details of the project.
The 'Suntrap' Garden in North London: Harrow On The Hill
BRIEF:
This space was a blank canvas as the house was a recent new build, and it was provided with sound fences and a brick wall. The clients desired a contemporary chic garden with playful twists and a sense of humour, with low maintenance planting.
SOLUTION:
This design uses a recurring motif of sinuous curves and spheres to create a fluid space in which all the elements – flooring, planting, seating – are linked by this common theme.
A 2.4m diameter Indian sandstone circular patio located in the top right corner of the space forms the main dining/seating area. From this area a series of curved pathways, all constructed from hoggin (self-binding aggregate) edged with Indian sandstone setts, emanate like tendrils around the space. One pathway arcs towards the garden gate, broadening as it does so, while another snakes down the centre of the space to join a second, smaller sandstone patio directly outside the left hand patio doors. A third path sweeps down the right side of the garden, spiralling past the right hand patio doors to terminate in an eye-catching stainless steel sphere water feature.
The last path will encircle the main focal point of the garden: a magnificent, visually arresting rotating orb mini-office/lounger. This structure has a sculptural timber framework, and is finished in stainless steel and chrome. The interior contains a table and soft seating. The table retracts, allowing the space to be laid out as a single day bed arrangement as required.
An external weatherproof canopy provides additional shelter encloses the open entrance from the elements.
Sandstone globes and stainless steel spheres are scattered throughout the planting beds continue the spherical theme.
The planting scheme also echoes the curved theme, featuring architectural box balls and tall sensual Allium. A mixture of swaying grasses and prairie flowers provide an evergreen backdrop and seasonal colour.
TESTIMONIAL:
Our fears about what could go wrong with garden designing were utterly unfounded thanks to Kat, Matt and their friendly professionalism. From the initial consultation, when Kat dreamt up an original design that we loved, through to the finishing touches Matt insisted on making, there was real determination to please. We wanted the whole thing to be project managed to avoid hassle for us, and they did that superbly. We can't recommend them highly enough. We have a beautiful garden that we love, and it was brilliant to create it with two such talented and friendly people.
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
The guided tour shows visually impaired and blind people the manifold connections between art and technology.
Credit: Florian Voggeneder
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Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Pretty in pink — and pink and pink! Tamera Mowry-Housley is on cloud nine following her baby shower earlier this month. The pregnant co-host of The Real, who is expecting a baby girl in July, dropped by Us Weekly’s New York office this week to gush about the co-ed affair (beer was...
fashionlifestyle.org/tamera-mowry-housley-gushes-about-vi...
Toute reproduction sur un support imprimé ou publication sur internet devra faire l'objet d'une demande expresse auprès du service communication de la Fédération Française Handisport.
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Toute utilisation ainsi autorisée devra mentionner le crédit photo (voir nom du fichier ci-dessus : “©…” ou métadonnées de la photo dans sa taille originale).
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Contact : photos [at] handisport.org
The Drums of Africa is a visually expressed personal guidance system. Our ancestors have documented the lessons of life into profound proverbs that can be easily remembered and referred to in our approach to everyday life. The series
displays these proverbs as typographic compositions combined with tribal forms found in South Africa’s folk
arts and crafts. In fact, symbolic elements from the intricate beadwork of the Bantu-speaking tribes, the refined basketry of the Zulu, and the highly coloured, bold, geometric forms of the Ndebele, ordain the fragile hand-drawn Helvetica typeface.
The result is a combination of contemporary type,
decorated with traditional silhouettes. Upholding the lessons and motivations of African culture, the compositions serve as daily affirmations and motivations.
The original oil paintings are on display at Kozi’s : Meet ’n Eat, an African inspired restaurant in Athens, Greece. A limited edition of signed prints have been created to accompany the work and are also available online at www.dimitratzanos.com
Shawn O'Grady (center), a fabrication specialist in the University of Michigan 3D Lab, talks to blind and low-vision high school students during a tour of the lab in the Duderstadt Center in Ann Arbor, MI on November 1, 2018.
The tour was part of the program, “21st Century Transportation, Careers for Students Blind and Visually Impaired,” which covered emerging careers in autonomous transportation and what skills and education students would need for a future job in that field. The event was led by Clive D’Souza, an assistant professor of industrial and operations engineering, and also included talks by industry professionals.
Photo: Evan Dougherty/Michigan Engineering
Shown here is a visually stunning arrangement of Air Defence identity badges from the WW11 period. All three badges are beautifully illustrated with bold visual devices such as night skies, tail fins, airplane silhouettes and searchlights. The supporting acronyms of the UNPA and UNDA badges are noteworthy for their bold sans serif modernist fonts that compliment the geometric forms of both badges.
UNPA (left):
Italian National Union of Air-Raid Protection, (L'Unione Nazionale per la Protezione Anti-Aeria).
This badge was made by the well known Italian Milanese maker F.M. Lorioli Fratelli. The visual elements within this 1940s piece exude compositional excellence; the foreground detailing of the 3D cityscape, UNPA letterforms and imposing airplane tail fins suggests a threat to a city and its population. Members of the Italian National Union of Air-Raid Protection, UNPA (L'Unione Nazionale per la Protezione Anti-Aeria) would have worn this type of badge between the late 1930s and mid 1940s.
Under the control of the Italian Fascist Party, UNAP's role would have involved all matters relating to civilian defence such as assisting with evacuation procedures, dissemination of air defence information, checking safety of buildings and air raid shelters, enforcing civilian compliance with blackouts and assisting centres for those that were bombed out.
NASC (centre):
The National Association of Spotter Clubs evolved and developed from the Observer Corps
from WW1.
Formed in 1941, the NASC was the body that co-ordinated large numbers of aircraft spotters. Their duties were to man observation posts and to identify the approach of enemy aircraft. 'Spotters' were skilled in the art of identifying hostile aircraft from friendly aircraft and many 'Spotters' were indeed children. It was a crucial part of the war effort as it gave valuable minutes for civilians to take cover from enemy bombing.
The centre badge was an ideal symbol for the NASC as it shows a wonderful profile of an aircraft flying over a townscape or cityscape. The sublime blue of the sky and the raised profiling of the aircraft conveys a strong graphic message. Made by Roden (London), it is an exquisite example of a WW11 Homefront badge.
UNDA (right):
National Union of Air Defence UNDA. (Union Nationale pour la Défense Aérienne)
This striking French Art Deco WW11 badge would have been worn by a member of the National Union of Air Defence UNDA. (Union Nationale pour la Défense Aérienne). During WW11, the UNDA would have been instructed to train civil defence volunteers as well as publicising the threat from the air through magazines, exhibitions, and lectures. Its role would have been very similar to Italy's UNPA (L'Unione Nazionale per la Protezione Anti-Aeria).
The badge was made by the Parisian maker Rene Moutereau and is characterised by strong Art Deco traits within both illustration and letterforms. The searchlight graphic underpins the design as it beams across a silhouette graphic of an enemy aircraft. The dramatic scene is played out against a rich blue night sky.
Photography, layout and design: Argy58
(This image also exists as a high resolution jpeg and tiff - ideal for a variety of print sizes
e.g. A4, A3, A2 and A1. The current uploaded format is for screen based viewing only: 72pi)
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Visually, my favourite scene from the 'Impression - Liu Sanjie' show in Yangshuo, Guangxi province (China).
The show is co-directed by Zhang Yimou of the Beijing Oympics opening (and closing) ceremony fame.
The performance utilizes the natural surroundings to create a spectacular outdoor theatre which is the largest of its kind. The Li River itself is the stage and 12 karst mountains serve as the backdrop.
The show includes modern and classical music composed by famous musicians in China. There are also over 600 performers - all locals.
The show gives the viewer impressions of the life of people living around the river. It also provides an insight into the dress and music of the ethnic minorities of the area.
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
Not the most visually appealing full English, and not the best quality either to be honest, but it hit the spot and wasn't really bad in any way. Toast is lurking just out of shot, plus it came with a coffee for a reasonable price. At Mortimer's Cafe, Mortimer Street.
About the design:
Punk'ed pays homage to London being the birthplace of Punk, visually realised and conveyed to the viewer by the inclusion of iconic elements associated with the music and fashion genre. Inspired by the Sex Pistols' promo posters for their 1976 debut single, a distressed Union Flag provides the design's dominant feature. Appearing as two Union Flags jaggedly pinned together with punk-esque safety pins, they drape across the bus roof, falling over to cover its sides.
Glimpses into the 1970s world of London Punk are seen through 'rips' in the flag. These include imagery such as: the era when Punk emerged in London; album covers by famous punk bands; the infamous 'God Save the Queen' newspaper image; punk fashion tartan, leather stud belts and spiked pink Mohicans as well as a 'printed' tee shirt to reflect Vivienne Westward and Malcolm McClaren's influence on the movement, namely the King's Road boutique 'SEX' which specialised in clothing that gave Punk its visual definition.
In true 'anti-establishment' torn-newspaper Punk style - often used on albums and posters artwork and in particular by the Sex Pistols - a Punk'ed slogan is sprayed across both sides of the bus. Having dual purpose, it both visually states that the bus design is inspired by Punk while also playing on the phrase 'to be punk'd', meaning to play a trick on someone or something. In this instance a regular London Bus has been 'punk'ed' with art.
About the artist:
Valerie Osment is a professional visual artist based in Essex whose work has painting and illustration at its core. With a BA Hons in Graphic Design and Illustration, she exploits multimedia and visual art forms to create work in 2D or 3D form.
Sponsored by Tesco.
2014 saw a number of anniversaries which will help us tell this story. It's been 60 years since the creation of the iconic Routemaster, 75 years since the launch of the RT-Type bus and 100 years since the world's first mass-produced motor bus, the B-Type 'Battle Bus' that carried soldiers to the frontline during the First World War.
Our buses are the arteries of the capital, moving large numbers of people around the city - across the centre and to the extremities. They have affected great social change and continue to offer a lifeline to a diverse range of Londoners. Buses also support the needs of our growing city and in turn help London to function as the engine room of the UK's economy.
London is naturally proud of its bus network, one of the largest and most accessible in the world. Despite its size, the bus network remains flexible and able to adapt to the challenges of operating in a constantly changing streetscape.
To meet the future needs of the city, while minimising the environmental impact, we are using innovation and new green technology. Our fleet is already one of the cleanest in the UK, but we're constantly striving to see how new technology can further reduce our impact on the environment.
The bus sculptures, which are 2.5m long, 1m high and 0.5m wide, are painted and adorned by well-known and aspiring artists to showcase the vital role that London’s buses play in the life and economy of the city and the UK as a whole.
Londoners and visitors to the city will get the chance to discover the bus sculptures, which will be organised in clusters, on foot by following public art trails in four areas of the capital – three in central London and one in outer London.
Last week at RNIB in London we learned first hand which tools and tricks visually impaired musicians use to read sheet music. Very inspirational.
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Contact : photos [at] handisport.org
Bali is one of the few places on earth made visually stunning by its main economic activity. In no other locale of the island does this hold truer than in the Tabanan District of west Bali where the cascading rice terraces of Jatiluwih are the most striking feature of the agricultural landscape, claiming even slopes that look too formidable to be of any possible use.
Along with majestic Pekerisan River in Gianyar and the stately Taman Ayun Temple in Mengwi, Jatiluwih has been chosen as a new nominee as a World Heritage site. It’s a great honor for Bali to have its natural and cultural wonders included, as the sites will take their place right along side world-famous Borobudur, Prambanan, the Sangiran archaeological site, Ujung Kulon, Lorentz and Komodo national parks, and the tropical rainforests of Sumatra.
The achingly picturesque area of Jatiluwih actually comprises not only rice fields but also forests, lakes, springs, temples and a huge natural mountain reserve scattered over a wide area around the slopes Mount Batukaru, a sacred landscape whose boundaries are defined by a cluster of temples supported by traditional villages and farmlands administered by age-old subak organizations, the local water boards.
This site is among the most striking examples of terraced agriculture in the world and is arguably Bali’s oldest and most complex real-life model of the subak agricultural system which vividly reflects the intertwined, mutually beneficial relationship between the island’s traditional rice growing culture and its Bali Hindu spiritual belief system.
Bali’s terracing and irrigation practices are even more elaborate, sophisticated, and seasonably predictable than those on Java. Though beautiful rice field terraces also can also be found in Sumatra and Sulawesi, there is no irrigation organization in Indonesia comparable to Bali’s water conservation and distribution system. Only the 2000-year-old Ifugao rice terraces of the Philippines can hold a candle to Jatiluwih.
As it exemplifies such effective water usage over centuries, Bali’s famed environmentally friendly subak system itself is being considered for the World Heritage list. The effort to get the subak system listed to World Heritage status is especially urgent in the face of widespread diversion of agricultural lands. Over the past 20 years Bali lost more than 1,500 ha of precious rice fields to make way for the development of tourist resorts, restaurants, housing complexes, road construction and other commercial enterprises.
The Realm of Dewi Sri
Jatiluwih is one big sculpture. Because of the Tabanan area’s superb drainage pattern, the high volcanic ash content, and the island’s equable climate, conditions for traditional sawah cultivation exemplified by Jatiluwih’s terraces are perhaps the most ideal in all of Bali.
Rice growing is practiced as both an art and a science. Bali’s steep and narrow ravines, as typified especially in the western part of Jatiluwih, are not easy to dam. To remedy this problem, the area’s farmers have devised an ingenious system of hand-built aqueducts, small catchments, and underground canals to collect rainwater from Bali’s mountain lakes, spilling each farmer’s precious allotment of water onto tiers of paddy via thousands of tiny waterfalls.
Jatiluwih’s rice fields are irrigated by water that is sometimes channeled by tunnels through solid rock hillsides. Water needs high on the ridges often require tunnels two or three kilometers long. This complex irrigation system, continuously maintained, groomed, and plowed, has been developed over many centuries. The historical manuscript, the Bebetin, records that Balinese farmers have used the Subak system since at least 1071.
Some scholars have postulated that it is due to the expertise of Bali’s rice farmers that the Balinese have been able to support such a refined civilization with such a theatrical and colorful religion. The discipline required to share water and resources has created a remarkably cooperative way of life. Rugged individualists cannot exist in communities where every farmer is utterly dependent on the cooperation of his neighbors.
The word for rice (nasi), a staple of the Balinese diet, is the same word for “meal”. A Balinese cannot imagine a meal without rice. Specialized vocabularies deal with every aspect of rice farming, and a huge amount of time, energy, and money go into petitioning the gods so the rice farmer’s work may yield good results. Popping up everywhere in Jatiluwih’s rice terraces you see small temples dedicated to Dewi Sri, the beloved goddess of rice.
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Chan Lap Hin (Leslie) visually narrates another side of the ego, that of a supposed loser, a delivery person for a local Cha Chaan Teng (茶餐廳), someone with a low level of education who nevertheless takes a kind of clever revenge on his customers and his employer.
Ego Systems / 身份實例
Featuring the work of:
劉英傑 Lau Ying Kit (Rijk), 林安琪 Lam On Kit (Kristin), 陳立憲 Chan Lap Hin (Leslie), 余展宏 Yu Chin Wang (SteveCow), 陳卓嘉 Chan Cheuk Kar (Carmen), Siu Tsz Kuen (Patrick), 陳綺婷 Chan Yee Ting (Jill), Fan Chun Kit (Roy), 潘柬芝 Poon Kan Chi (Kit), 吳綺玲 Ng Yee Ling (Elaine), 梁家寶 Leung Ka Po (Dez)
Curated by:
Tse Ming Chong, Andrew Guthrie
These artworks are the result and apex of 3 different semester’s final assignments to Poly U students attending Andrew Guthrie’s Digital Imaging class, part of the SPEED program at The Hong Kong Art School.
The final assignment of these classes required students to create an alternate, or “fake” identity, using themselves as the subject or model. This identity was presented in the form of an Artist Book, a much-disputed genre, as no one is quite sure what that name fully indicates.
Nevertheless, this identity was presented as a sequence of images, something like pages in a book, a series of photographs, or indeed, a movie.
Visually one of my favorite looking guitars in my collection...it just SCREAMS "1980s heavy metal hair bands"...the Warlock shape...the snakeskin...the pink color...the matching headstock...this one had me at "hello"...and it plays beautifully.
While visually a peculiarity among the other nobles occupying Oléon's High Council, Noorah Al-Ghareeb de La Roche de Tarzout can trace her noble lineage far back to when Oléon first arrived in Guelph. Sensing an opportunity to gain more influence and strength, Noorah's ancestral tribe was quick to ally with the northern kingdom and was a loyal ally during the ensuing civil war. Over time, the political power of the family grew through clever diplomacy and sometimes devious scheming. The tribe left the inland desert of Guelph and claimed the fortress of La Roche - the Rock - as their new home, from where they ruled Tarzout and Ouaganda first and later all of their dominions in Guelph, Oléon and the New World. They made their uncountable fortunes in agriculture and trade and own vast swathes of land throughout the Empire.
Noorah is a political power player and worked her way up into the highest echelons of Oléonese political life with patience and clever insights. Although some also suggest a more sinister path to power, which includes blackmail and other forms of subterfuge. In either case, as the head of le Bureau de Preuve, Noorah is responsible for the orderly conduct of all interior affairs of Oléon. A task she takes very seriously. A worker bee and somewhat of a control freak, Noorah has considerably expended the shadowy sections of her cabinet and keeps a close eye on possible dangerous elements within the Empire.