View allAll Photos Tagged weegee
This January, the Yale School of Art’s 32 Edgewood Gallery will present Side Show, an exhibition about the intersection of fine art and the historical American popular entertainment world of the side show – in which the bodily display of the abnormal, human or animal, would be the focus of the event. Issues of race, ethnicity, gender and disability will be considered.
Side Show
On view 13 January – 20 March 2015
Yale School of Art 32 Edgewood Gallery, New Haven CT [Hours, 12-6PM, Tuesday – Sunday (closed Mondays)]
ARTISTS INCLUDED
· Diane Arbus
· Susan Meiselas
· Weegee
· Otto Dix
· Peter Blake
· Chris Daze
· Roger Brown
· Pamela Joseph
· Jane Dickson
· David Carbone
· Johnny Meah
· Arnold Mesches
· Robert Cruikshank
· John Kay
· John Waters
· Al Stencell
· Fred Kahl
· Johnny Eck
· Toni-Lee Sangastiano
· Marie Roberts
· Edward Kelty
· Anonymous
· Henry Gerbault
· Fred Johnson
· Joe Coleman
· Snap Wyatt
· James Mundie
· Ed Paschke
· Riva Lehrer
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
Source Wikipedia :-
Some professional photographers develop candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.
Almost all successful photographers in the field of candid photography master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.
It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.
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To view this picture large just press L on your keyboard.
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**** Disclaimer ****
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I love long exposures, everything to do with night time, the dark, sunrise and sunset.
I like to take pictures mainly at night , sometimes during the day and in dull and fading light and I will sometimes display the time and date the picture was taken too.
I tend to take pictures of Light trails, Motorway traffic, Street lights, Buildings, Landscapes, Bokeh, Night bokeh and Hexagonal Night Bokeh in and around the North East of England.
All of my pictures are 100% natural and untouched in every way without ever been Photo shopped or altered or messed about with in anyway whatsoever, No multi layered photography, No HDR's and No image manipulation of any kind, all of my pictures look just the way they did when I saw them at the time of taking and I'm VERY PROUD of that.
I don't do any photo processing at all, I don't even own any photo software.
All of my starbursts are all 100% natural without using any filters or anything else, as is all my bokeh, night bokeh and hexagonal night bokeh, its all natural, no funny gimmicks at all.
I don't do anything with my pictures apart from take them and then upload them , 99.99999% of my pictures don't even get cropped , they are all 100% natural and untouched and then uploaded.
All of my pictures are copy right, © All rights reserved, you MAY NOT use any of my pictures without my written consent, you also MAY NOT change, alter, adjust or rearrange my pictures in anyway what so ever.
.
.
© All rights reserved.
Exhibition is organized by National Museum in Kraków and features forty-one works by twenty of the most distinguished photorealists, including Ralph Goings, Richard Estes, Robert Cottingham, Robert Bechtle.
Thanks smartstudio for fruitful collab & trust
This project was Fun!
Watch this vid in higher res & more my interactive-design works on : www.delay.pl
And most of all: www.amerykanski-sen.pl/
PL
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Jeżeli jesteście w pobliżu Gmachu Głównego MN warto wydać kilka zeta i zobaczyć prace fotorealistów na żywca. 800px troche inaczej sie czyta niż dwumetrowe płótno.
Polecam też fajną kolekcję oldskulowych posterów coca-coli, a na drugim piętrze zajebisty WEEGEE!
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music used in video:Hugo Contini
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
From left, Nick Bratton, Joe Tuttle, Laurel Freas, Mindy Simonson, Frank Marley, 2nd row, Mitch Zuckoff, Jaana Gustafsson, WeeGee Smith, John Bradley, Lt. Cmdr. Rob Tucker, front row, Isaac Moreno, Petty Officer 2nd Class Jetta Disco, Capt. Ken Harman, Maj. Jeremiah Ellis and Ssgt. Brian Kimball gather for a group photo on a glacier near Koge Bay, Greenland, Aug. 14, 2013. Missing from the photo are Cmdr. Jim Blow and Brian Glander, Petty Officer 2nd Class Andrew Metheny, Ben Fuchs, Alberto Behar and Lou Sapienza. U.S. Coast Guard photo by Petty Officer 2nd Class Jetta H. Disco.
Source Wikipedia :-
Some professional photographers develop candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.
Almost all successful photographers in the field of candid photography master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.
It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.
.
.
To view this picture large just press L on your keyboard.
.
**** Disclaimer ****
.
I love long exposures, everything to do with night time, the dark, sunrise and sunset.
I like to take pictures mainly at night , sometimes during the day and in dull and fading light and I will sometimes display the time and date the picture was taken too.
I tend to take pictures of Light trails, Motorway traffic, Street lights, Buildings, Landscapes, Bokeh, Night bokeh and Hexagonal Night Bokeh in and around the North East of England.
All of my pictures are 100% natural and untouched in every way without ever been Photo shopped or altered or messed about with in anyway whatsoever, No multi layered photography, No HDR's and No image manipulation of any kind, all of my pictures look just the way they did when I saw them at the time of taking and I'm VERY PROUD of that.
I don't do any photo processing at all, I don't even own any photo software.
All of my starbursts are all 100% natural without using any filters or anything else, as is all my bokeh, night bokeh and hexagonal night bokeh, its all natural, no funny gimmicks at all.
I don't do anything with my pictures apart from take them and then upload them , 99.99999% of my pictures don't even get cropped , they are all 100% natural and untouched and then uploaded.
All of my pictures are copy right, © All rights reserved, you MAY NOT use any of my pictures without my written consent, you also MAY NOT change, alter, adjust or rearrange my pictures in anyway what so ever.
.
.
© All rights reserved.
Cerro Carcel, the former prison of Valparaiso, Chile, now converted into a community park of artistic expression where exercise circus artists, painters, dancers, sculptors, and so on.
Leica M6, 35mm, f/2, Kodak Tri-x 400, scan from a neg.
Source Wikipedia :-
Some professional photographers develop candid photography into an art form. Henri Cartier-Bresson might be considered the master of the art of candid photography, capturing the "decisive moment" in everyday life over a span of several decades. Arthur Fellig, better known as Weegee, was one of the great photographers to document life in the streets of New York to often capture life — and death — at their rawest edges.
Almost all successful photographers in the field of candid photography master the art of blending in at parties, of finding acceptance despite an obvious intrusive element - the camera. This is certainly true for most celebrity photographers, such as René Burri, or Raeburn Flerlage.
It could be argued that candid photography is the purest form of photojournalism. There is a fine line between photojournalism and candid photography, a line that was blurred by photographers such as Bresson and Weegee. Photojournalism often sets out to tell a story in images, whereas candid photography simply captures people living an event.
.
.
To view this picture large just press L on your keyboard.
.
**** Disclaimer ****
.
I love long exposures, everything to do with night time, the dark, sunrise and sunset.
I like to take pictures mainly at night , sometimes during the day and in dull and fading light and I will sometimes display the time and date the picture was taken too.
I tend to take pictures of Light trails, Motorway traffic, Street lights, Buildings, Landscapes, Bokeh, Night bokeh and Hexagonal Night Bokeh in and around the North East of England.
All of my pictures are 100% natural and untouched in every way without ever been Photo shopped or altered or messed about with in anyway whatsoever, No multi layered photography, No HDR's and No image manipulation of any kind, all of my pictures look just the way they did when I saw them at the time of taking and I'm VERY PROUD of that.
I don't do any photo processing at all, I don't even own any photo software.
All of my starbursts are all 100% natural without using any filters or anything else, as is all my bokeh, night bokeh and hexagonal night bokeh, its all natural, no funny gimmicks at all.
I don't do anything with my pictures apart from take them and then upload them , 99.99999% of my pictures don't even get cropped , they are all 100% natural and untouched and then uploaded.
All of my pictures are copy right, © All rights reserved, you MAY NOT use any of my pictures without my written consent, you also MAY NOT change, alter, adjust or rearrange my pictures in anyway what so ever.
.
.
© All rights reserved.
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: gelatin silver print
Size: 4 7/16" x 3 1/8"
Location: USA
Object No. 2015.546
Shelf: A-3
Publication:
Other Collections:
Notes: American photographer, active in New York City and Hollywood. Arthur Fellig, known as Weegee professionally, is noted for his photographs depicting crime and other newsworthy events, usually taken at night. His early career was spent as a freelance press photographer. He prided himself on his ability to arrive at the scene of a crime before the police, and derived his name from the phonetic pronunciation of the Ouija board. He sold his images to tabloid newspapers from 1935 through the 1940s, and published his first book, Naked City in 1945, followed by Weegee's People in 1946. Naked City was a commercial success and guaranteed his income. At this point he began taking portraits of celebrities and figures in the entertainment industry. He used a variety of trick lenses to distort and manipulate these images, and often exposed or exagerrated the imperfections of his subjects. He experimented with infrared film and flash to make exposures in darkness, particularly of people in darkened movie theaters. Weegee used a 4x5 Speed Graphic press camera and flash exclusively throughout his career; and is not known for his printing virtuosity, but for the elements of social critique in his photographs. He was a flamboyant character, and revelled in his own notoreity and mythology. (source: Getty Museum)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Serendipity.
Pulaski County lies on the edge of the Appalachian Plateau. I drove down there to see what fun was to be seen at this local bluegrass festival in Eastern Kentucky. As I was photographing the foot stomping, banjo-picking festival, a woman sitting on the ground asked if I could send her some of my photos.
But I am part of the 100 Strangers Project. This was serendipity at its best.
As it turns out, Tiffany is in charge of the event. She is the county's Community Development Director that puts on this Labor Day weekend bluegrass festival -- "Pickin' in the Park" at the Pulaski County Park, Kentucky.
It's a fun event for bluegrass, surrounded by fishing, boating and camping.
I told Tiffany about the 100 Strangers photo project that I am participating in and asked if I could take her photo.
This is the result.
I saw her later on the stage introducing various bluegrass bands.
Lesson: Photo opportunities tend to be serendipitous. I need to remind myself to grab the camera, get out the door & just take photos.
As the late, great photographer Arthur "Weegee" Fellig said, "F8 and Be There" What is implied is for the photographer to be there not just in body and camera but also in skill, curiosity and planning. Nowadays, marvelous smart digital cameras can do better than the manual cameras of old in which photographers put a pre-set F-stop of 8 in order to get most things in focus when an instant photo was needed. Although we can certainly still do that, our dSLR's find the right setting in the micro-second I have to pull the lens up to a subject. But I like lower F-stops with narrower depths of field, where my subject pops out and the background fades, like in this photo.
I must say it is nice when people ask about my photography and a photo op presents itself.
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This is my fifth in the 100 strangers project challenge that I have accepted. Find out more about the project to ask strangers to take their photos by going to the 100 Strangers Flickr Group page.
The uncomfortable plastic seats can be pulled down to form uncomfortable plastic beds. They seem to be arranged to discourage conversation, a very Finnish touch.
The Futuro house is a failed dream of Finnish design. Contains many details that cry out NOT to be made of plastic. Quite creepy to spend a few minutes in.
John Vachon (1914-1975) records Times Square in 1943.
Cinematographer James Wong Howe (1899-1976) captures 1957 Times Square in the acid edged film noir, "Sweet Smell of Sucess."
<a href="http://www.youtube.com/watch?v=NC1bNfpHT54&feature=related"
Early films of New York City are combined with still photos of the city taken by Diane Arbus, Roy DeCarava, Walker Evans, Lee Friedlander, Lewis Hine, William Klein, Herman Leonard, Helen Levitt, Ruth Orkin, Gordon Parks, Jacob Riis, Cindy Sherman, Edward Steichen, Alfred Stieglitz, Paul Strand, Weegee and Gary Winogrand among others.
<a href="http://www.youtube.com/watch?v=ciLb2swpwlc"
@2009 David Lee Guss Film homage, John Vachon, Times Square, New York City, 1943-2010
Sketchblog: sharonfrost.typepad.com/day_books
Time to kill, between seeing the Weegee exhibition at International Center of Photography (www.icp.org/museum/exhibitions/weegee-murder-my-business) and attending a preview of Shelley's Ghost (www.nypl.org/press/press-release/2012/02/20/shelleys-ghos...) at The New York Public Library.
7 x 14 in. double-page spread; watercolor, ink, whatever, on paper.
The sink is metal, a nod to sanity.
The Futuro house is a failed dream of Finnish design. Contains many details that cry out NOT to be made of plastic. Quite creepy to spend a few minutes in.
Maker: Arthur Fellig, aka Weegee (1899 - 1968)
Born: Ukraine
Active: USA
Medium: gelatin silver print
Size: 8" x 10"
Location:
Object No. 2015.240
Shelf: E-40
Publication:
Other Collections:
Provenance: estate of Peter Martin a photo publisher and friend of Weegee's
Notes: TBAL
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
Coffee and a smoke outside of Trees, across from Canada Place.
Photo 1 of 18 from Scott Kelby's Worldwide Photo Walk.
WeeGee building, Tapiola, Espoo, Finland
Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
WeeGee, Tapiola, Espoo, Finland - Professor Aarno Ruusuvuori designed the WeeGee building in the 1960s for Weilin & Göös printing company as their new printing house. Ruusuvuori’s printing house is a trademark of Finnish constructivism. It is a nationally notable architectural monument that has also received international acclaim. A miniature model of the building is located in the permanent exhibition at New York’s Museum of Modern Art. Other famous buildings designed by Ruusuvuori include the churches in Hyvinkää and Tapiola as well as Paragon company’s printing house in Helsinki.
Tapiola was located relatively close to Helsinki and the “light and tidy” industrial production of Weilin & Göös was seen as an appropriate addition to the surrounding natural environment. The foundation for the design was the production process of the printing house, which required as much uninterrupted free space as possible. The machines and equipment needed to be arranged in a way that would allow the production process and logistics to run smoothly and efficiently. The number of supporting structures had to be kept to a minimum and the separating walls were to be light and easily movable. Printing work demanded plenty of steady light, but, on the other hand, the process could not be exposed to direct sunlight. Efficient utilisation of the large floor space permitted by the lot would require a two-storey solution.
Ruusuvuori proposed a solution that was based on serials, duplicates and geometry, which are characteristic of constructivism. The materials used included reinforced concrete and glass. Ruusuvuori first designed the structural basic unit: a 27 x 27 metre, two-storey single structure of reinforced concrete. The structural unit was divided into nine 9 x 9 meter squares on the first storey. The corners of the squares included a total of 16 pillars divided into 3 x 3 meter roof cassettes that supported a concrete beam grid (with a bearing capacity of over 2 tons/m2). The round concrete tower, with a diameter of three meters, rose through the middle square from the basement through the second storey and high over the roof. The reinforced concrete tile of the rooftop hung from this tower, supported by eight slanting beams. Therefore, the second storey, or the printing room, only included a single vertical prop per 729 m2. The ventilation system was placed inside the tower, to avoid disturbance in the production space, and its machinery was located at the bottom of the tower.
The entire building was constructed by repeatedly multiplying this construction unit. Each of the designed four construction phases included a 54 x 54 meter square, which comprised four construction units. The unit was a realization of the dialogue between opposites that was archetypal of Ruusuvuori’s architecture: light and heavy, glass and concrete.
Direct sunlight, harmful to printing production, was eliminated in the southern façade of the building by drawing the windows of the first floor in and placing the narrow window line of the second storey up under the slanting edge of the roof tiles. The entire northern façade of the building was made of glass, so that the process could gain maximum benefit from steady northern light. The large window panes were also significant to Ruusuvuori’s architectural philosophy. He wished to seamlessly incorporate the factory hall with the nature of Tapiola. The pine trees surrounding the building were therefore kept as intact as possible.
Two of the four construction phases in Ruusuvuori’s original design were carried out as he designed them. The first phase was completed in 1964 and the second was completed on the western side in 1966. Ruusuvuori was also chosen to design the third phase (or the head office) in the beginning of the 1970s. However, the new owner of the company demanded that the same office be responsible for both the design and construction of the expansion due to financial reasons. Ruusuvuori did not agree to this. Therefore, full responsibility for the third phase was assigned to the engineering office Bertel Ekengren, which did not continue Ruusuvuori’s architecture based on structural units. Consequently, Ruusuvuori fully dissociated himself from the “engineering part” of construction. The fourth phase was never fulfilled according to the original plan.
Weilin & Göös was transferred to WSOY in the 1990s. Consequently, the printing house operations at the Tapiola premises gradually came to an end. The building was leased, for example, to gyms. At this time, the city of Espoo took an interest in the building, and, after several phases, the building became the present-day museum and art centre of the city.
From: www.connectedaction.net
Connections among the Twitter users who recently tweeted the word kcrw
when queried on May 2, 2011, scaled by numbers of followers (with outliers thresholded). Connections created when users reply, mention or follow one another.
Layout using the "Group Layout" composed of tiled bounded regions. Clusters calculated by the Clauset-Newman-Moore algorithm are also encoded by color.
A larger version of the network map is here: www.flickr.com/photos/marc_smith/5683073744/sizes/o/in/ph...
A detailed list of top most between users is here: www.flickr.com/photos/marc_smith/5682506845
Top most between users:
@kcrw
@laweekly
@kcrwplaylist
@evankleiman
@chuckp8
@anne_litt_kcrw
@jeremysole
@laweeklymusic
@weegee
@garthtrinidad
Graph Metric: Value
Graph Type: Directed
Vertices: 544
Unique Edges: 1998
Edges With Duplicates: 633
Total Edges: 2631
Self-Loops: 0
Connected Components: 120
Single-Vertex Connected Components: 112
Maximum Vertices in a Connected Component: 418
Maximum Edges in a Connected Component: 2618
Maximum Geodesic Distance (Diameter): 7
Average Geodesic Distance: 2.482936
Graph Density: 0.007782878
NodeXL Version: 1.0.1.166
NodeXL is free and open and available from www.codeplex.com/nodexl
NodeXL is developed by the Social Media Research Foundation (www.smrfoundation.org) - which is dedicated to open tools, open data, and open scholarship.
The book, Analyzing social media networks with NodeXL: Insights from a connected world, is available from Morgan Kaufmann and from Amazon.
Marc Smith on Twitter.