Pencils are a common item, and an important tool in design, hence why architectural photographer Christopher Payne visits a family ran factory to show the process of production.
General pencils is a generational pencil plant in New jersey which has been producing lead, and colored pencils for decades. Payne’s work is an attempt to follow the “uncurated” production in the grounds of the factory and, to depict the life of the declining American middle class workforce.
Payne’s recent work, including a series in progress on the American textile industry, has veered away from the documentation of the obsolete towards a celebration of craftsmanship and small-scale manufacturing that are persevering in the face of global competition and evolutions in industrial processes. Just completed is Making Steinway: An American Workplace, a tour through the famous Steinway & Sons piano factory in Astoria, Queens. Here a team of skilled workers creates exquisite instruments considered to be some of the finest in the world. Payne captures moments of the choreographies of production, and inspects the parts and pieces of the instruments that will never be visible outside of the factory, telling a story of intricacy, precision, and care he fears is becoming all too rare in the American workplace.
Payne has been awarded grants from the Graham Foundation, the New York State Council on the Arts, and the New York Foundation for the Arts. His work has been featured in publications around the world and several times in special presentations by the New York Times Magazine.
The Queen’s House, Greenwich has unveiled a major new installation ; using digital scans of Elizabeth’s portraits and the electrotype cast of her effigy, as well as descriptions by her contemporaries, the installation is a chillingly lifelike recreation of Elizabeth I.
Positioned directly opposite the Armada Portrait and suspended in isolation on surveillance mirror, the installation places both the aging and ageless Elizabeth in dialogue. Through this careful juxtaposition, explores the different sides of the queen, both real and imagined, and grapples with notions of mortality, the manipulation of truth, political propaganda and the extent to which female power is tied to appearance and youth.
Commissioned by acclaimed British mixed media artist, Mat Collishaw, “The The Mask of Youth” , responds directly to one of the most important paintings in the Museum’s collection, the iconic and powerful Armada Portrait of Elizabeth I.
The Armada Portrait commemorates the most famous conflict of Elizabeth’s reign (1558–1603), the Spanish Armada’s failed attempt to invade England in July and August 1588. Despite being painted shortly after the invasion when the Queen was almost fifty-five, the painting depicts a woman who looks considerably younger. Inspired by this idealised image of the Tudor Queen, Collishaw has collaborated with leading special effects designers using cutting-edge technology to create a stand-alone animatronic mask which approximates Elizabeth’s appearance at the age of the portrait’s creation.
Known for his fusion of technology and art, Collishaw brings Elizabeth back to life before her audience. By leaving the animatronics that facilitate her movements deliberately exposed at the back of her head, the artist suggests that behind Elizabeth’s public persona, her every movement was carefully controlled. Beneath the surface and behind her mask, she is busy making decisions and calculations to which no one else is privy.
Inspired by historic art throughout his career, Collishaw has long been fascinated by the Armada Portrait and its function as a political statement that emphasises the sovereignty and ‘agelessness’ of a queen who in reality was middle aged, unmarried and heirless. Whilst Elizabeth’s portraits were designed to flatter, they also highlight her understanding of the fact that her public image could be used to suggest her power and authority. As a woman of intelligence, she used this tool to help overcome the cultural prejudices she faced due to her gender and to advertise her virtues, skills and competence as a female head of state.
Mat Collishaw’s Mask of Youth is on display at the Queen’s House from 3 October 2018 – 3 February 2019.
In this project answers sought to questions of weather nature designed human skin with the same method it used for the skin patterns of many living things, and if those patterns diversify by geographic and ethnic conditions, what kind of results may we encounter? and weather the algorithm of the humanoid appearance and countenance can be defined?
Ethno-futuristic and diverse visual culture designed for human-being that is seeking an identity for its presence in digital life, at the beginning of its evolution in the digital world. the project is a venture created by Turkey’s design think YAKAZA and curated by art director Kerim Dundar
The reaction-diffusion algorithm borrowed from nature and simulated over the humanoid body form and the patterns produced. The growth processes of the patterns were art-directed. The results that merge the beauty and aesthetics of art with the phenomenal findings of science, observed. The ethnic diversity that changes over the continents reflected on patterns, as a cultural determinant. Tribal Transmorph : a meta morphongetic fabric of humanoid appearance is point of departure from digitized textiles. Infusing bits of far future prediction into how weather would affect pattern, form and outlook of clothing across geographies.
The results of how the reaction-diffusion algorithm would design and diversify the humanoid appearance, experienced. As a result; ethno-futuristic and tribal animations that vary on three different continents, South America, South Africa and East Asia, presented.
MINI and London-based art practice United Visual Artists unveiled a new site-specific installation in Brooklyn this week, dubbed ‘Spirit of the City’. Set up at …
MINI and London-based art practice United Visual Artists unveiled a new site-specific installation in Brooklyn this week, dubbed ‘Spirit of the City’. Set up at A/D/O, the creative space in Greenpoint, the installation probes the physical and emotional response individuals experience when navigating urban environments according to its creators. They achieved this goal by simply installing mirrors all around for an unorthodox way of displaying the world around you.
The modular system of revolving mirrored columns showcases a dynamic composition of movement, light, shadow and reflection. The seemingly organic behavior is poetically linked to the dynamic activity of New York City. Spirit of the City was created exclusively for the outdoor courtyard at A/D/O. It will open to the public May 18, 2018 and will be on view through September 2nd. Rising over the visitor, each nine-foot column is intended to challenge personal perception while eliciting a visceral and electrifying reaction similar to the thrill one might experience when exploring a new city
UVA aims to stir the visitor, moving through this installation, to a highly emotional and visceral reaction while alluding to deeper influences between people and the cities they live in. The polished reflective surface of each column magnifies the movement of neighboring columns and recruits the surrounding environment – the sun, sky, and Greenpoint’s industrial setting – into the experience of the piece.
As day turns to dusk, the piece takes on another personality, illuminated by sodium vapor lamps which reference the unique vibrancy of cities at night. It all looks damn interesting and it would be quite the experience to live in person. If you can’t make it to Brooklyn though, you can check things out in our photo gallery, below.
sitting firmly on the wall, are 3 layers of cuboid boxes which fan out into a star like display. each layer offering different volumes for items in the living area. The icosikaitera ( 24 sided polygon) offer a realistic , yet creative way to store books and other minimal materials around the living area.
The installation was put together by interior design enthusiasts, Jessica and Sinclair who were inspired to do so by similar designs on Pinterest. offering a museum like curation of materials and figurines, although it was was initially intended for books, it framing the conner offering sensibility to the space. The star shelf offers two distinct functions: adding a bit of identity to the area, and as hold area for books and materials.
photo credit: jeessandSinclair
the installation starts out with 12 cuboid boxes, joined at hinges, encircled by more larger boxes, 12 in number also. And the final layer by even more bigger boxes compacting the whole shelf into one large 24-gon petal structure.
Jessica, the lead designer, measured the wall space, took the inspiring picture and managed graphics of the designs. While Sinclair completed actual construction. The project cost over $900 to build. JessandSinclair use it as a mixed usa display for flora pots and books.
Installing the outer layer photo credit: jeessandSinclair
assembling the cuboid boxes on the floor (photo credit: jeessandSinclair)
Sinclair finish some of the boxes (photo credit: jeessandSinclair )
Modern Givenchy presents a contrasting element in terms of material, color, and product characteristics. For example, the material prepared for see-through and span, a intense color in a comfortable color,and linear shape in a streamlined shape etc.
Givenchy’s website also emphasized the contrast between the white colored background and the thin black colored frame. So I went ahead and focused on this sort of contrast and mixing match.
The Quartz project is a pilot product by the energy firm Climeworks put forward as a solution of achieving the 2o C emission target by EU. The carbon capture plant would mimic the natural process of carbon filtering and locking — photosynthesis — utilized by plants in nature and will demonstrate a safe, economically-viable and highly scalable carbon removal technology.
The utility has begun operational testing for a pilot greenhouse project in Zurich Switzerland, with the ambitious plan of offering a way removing 900 tonnes of carbon from ambient air, and solutions to unlocking a negative emissions future.
The commercially viable Direct air capture plant would scrub CO2 from the atmosphere through a one step process known by Climeworks as cyclic absorption- desorption process.
The first of it kind, the commercial pilot plant would scrub carbon from the atmosphere around area of installation, releasing Oxygen into the atmosphere; and serving as a one of the very few artificial processes with negative emissions.
CarbFix2 is a joint project partly funded by European Union’s Horizon 2020 research and innovation programme and led by Iceland’s multi-utility company Reykjavik Energy. The collaborative research project centres around one of the world’s largest geothermal power plants in Hellisheidi, Iceland, where CO2 is currently injected and mineralized at an industrial scale.
The DAC module installed on site will first capture CO2 from ambient air; which bind to its filter. The saturated filter is heated by low-grade waste heat and mixed with water.
The carbonated water used as feedstock for the green house plants, or pumped underground, reacted with basaltic bedrock to form solid minerals.
“The potential of scaling-up our technology in combination with CO2 storage, is enormous. Not only here in Iceland but also in numerous other regions which have similar rock formations. Our plan is to offer carbon removal to individuals, corporates and organizations as a means to reverse their non-avoidable carbon emissions,” said Christoph Gebald, Founder and CEO at Climeworks.
basaltic bedrock : Photo by Arni Saeberg
Climeworks DAC installed pilot captures CO2 from ambient air for permanent storage underground, thus creating a carbon removal solution which some scientific studies indicate is essential to achieving the two-degree climate target.
geothermal plant Iceland : Photo by Arni Saeberg