Nov 22
Love for Handhelds
Posted in: axelpfaender, AXOR HeroesLo trovate qui. Disegnato da AXOR Heroes.
Nov 22
LFT – Nice To Meet You
Posted in: gran bazaar, left loft, nice to meet youMercoledì 30 novembre si terrà il GRAN BAZAAR dove Leftloft ospiterà 22 designer tra i quali Olimpia Zagnoli, MV%, Licia Florio + L’F Unisex and many others…la festa è ad invito.
GRAN BAZAAR
Dalle 17:30 alle 21:30
in via dall’Ongaro, 25
Milano
Nov 22
Secondo meeting per il mattino creativo. Questa volta in compagnia del Mauro Gatti che vi racconterà un po’ di fatti suoi. Iscrivetevi qui.
Creative Mornings
c/o The Hub
Via Paolo Sarpi 8
Milano
Nov 22
Skullcandy x Kidrobot
Posted in: SkullcandyA partire dal 2 dicembre saranno disponibili c/o i negozi Kidrobot, kidrobot.com e negozi Skullcandy selezionatila Limited Edition Kidrobot Mix Master, in nero lucido con pattern della silhouette Dunny, e la Kidrobot Agent, in azzurro opaco, bianco e magenta.
Nov 22
My Bloody Lad Animation
Posted in: my bloody ladVoici “My Bloody Lad”, un film réalisé chez Wizzprod par 4 jeunes animateurs, Cyrille Chauvin, Guillaume Dousse, Thibaud Petitpas et Pierre Rutz tous étudiants en 1ère année à l’Ecole des Gobelins. Produit dans le cadre d’un stage de fin d’année pendant 1 mois et demi.
Previously on Fubiz
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Nov 22
Suspending Disbelief in the ICU
Posted in: Uncategorized
We were lucky to get a tour of the Patient Safety Training Center in the basement of the Dartmouth-Hitchcock Medical Center (DHMC) in Lebanon, NH. Although the name sounds rather banal, the Center actually operates like a “hospital within a hospital” used for medical simulations. The purpose of the facility is to train any hospital employee who might come in contact with a patient during their stay, whether it’s a doctor, a security guard or even a janitor.
Since opening three years ago, the Center has seen between 5,000 to 10,000 educators and trainees pass through each year. The main hallway is lined with a nurses’ station and an assortment of rooms, including an ICU, clinic rooms, a neo-natal room and an Emergency Department which can be reconfigured into an operating room. Likewise, each of the various rooms takes on a variety of roles depending on the simulation’s needs, akin to a television set. A room used for clinic rotations for Dartmouth Medical School students in the morning might be transformed into, say, a living room for training nurses in home care in the afternoon.
The Patient Safety Training Center has also taken their simulations outside the fake hospital hallway. For the Dartmouth-Hitchcock Advanced Response Team (DHART), the hospital’s medical transport helicopter crew, the Center put together a simulation of more theatrical proportions. In order to recreate a fire in the patient compartment of the DHART helicopter, the Center’s staff put a helicopter on a moving lift inside the DHART hanger and added in dry ice, recorded sounds, and a strobe light to simulate the spinning rotors. While helicopter fire training sessions may be few and far between, the staff at the Patient Safety Training Center “like to think we can do anything down here.”
Nov 22
Kamran Sadeghi
Posted in: artistprofiles, lemeridien, newperspectivesSculpting with sound, an artist crafts multi-sensoral experiences
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Navigating the strata of sound, composer and visual artist Kamran Sadeghi maneuvers a digital diving bell that harmoniously discovers new territories forged between art and music. Culling sounds from eclectic sources such as found objects, a grand piano and the chamber of a nuclear cooling tower, Sadeghi weaves together an electronic topography that is both hypnotic and haunting. Sadeghi explains, “I would take the time to learn something and after doing so, I would use it for something other than what it was originally designed for, or I would just take it apart and or break it out of boredom.”
Born in Iran, Sadeghi and his family relocated to America around the time of Iran’s Islamic Revolution. Although the indigenous tones of Persian folk and pop music were prevalent, Sadeghi spent most of his time as a visual artist growing up. At the age of nineteen, Sadeghi channeled his artistic talents into music, self-educated on curiosity and record stores. “I would spend a lot of time in [record stores], talking to people and listening to new music. They were my library for many, many years,” reflects Sadeghi.
In 2000, Sadeghi began to experiment with traditional instruments and computer synthesis, culminating in four full-length albums first released in 2005 under the alias, Son of Rose. Establishing a name to evoke a spirit, Son of Rose was created to “explore and experiment with electronic music theories and techniques.” Under Son of Rose, Sadeghi deftly fuses patterns of sine wave frequencies and polymorphic rhythms with a measure of warmth and timbre. “I’m often using sound as a physical material, much like a sculptor would with their preferred materials,” elaborates Sadeghi.
Delving further into the relationship between rhythm and space, Sadeghi launched the evocative album entitled, “Through Thickness,” recorded under his given name. Released by Dragon Eye, electronic artist Yann Novak’s label, “Through Thickness” forms part of Sadeghi’s “Kha series.” Referencing the Sanskrit word for “zero,” the numeric marker in tabular arrangements, the Kha series escalates into an exotic interplay of beats and movement. Sadeghi states, “It was a way to create a platform for me to focus specifically on rhythmic structures, both for sound and image. I like to create a series of work. They become more like a study that I develop over long periods of time.”
By exploring ambient dimensions, Sadeghi has also studied how space forms sound. In 2008, Sadeghi was commissioned to create and record a musical piece inside a nuclear cooling tower. Using the tower as an instrument,Sadeghi amplified an original composition and re-recorded it with the attached echo effect; repeating the procedure to affect a lulling, drone state. Sadeghi reflects. “It was a serial experience. That night I had my first acoustic dream’ where I could almost feel the sound of that place in my sleep.” Sadeghi also explored tonal resonance through his collaboration with the dance company, Zoe | Juniper, using twelve individual speakers to spatially project his live score.
Harkening back to his visual artist roots, Sadeghi has also interwoven color and shapes into his compositions, creating installations that have been internationally displayed at galleries including the Henry Art Gallery in Seattle and the Staalplaat in Berlin. In 2010, Sadeghi showcased his animated graphical score, “Pattern Recognition” at the 4Culture Gallery, an emergent, electronic art space. “The piece is like an animated Rubik’s Cube that is being moved by the music. I wanted to explore how the eye follows the ear, or vice versa,” describes Sadeghi. Intuitively exploring sound and images, Sadeghi describes his approach: “I’m hyper aware of acoustic space. I am always listening to the difference between what it sounds like ‘over here’ compared to ‘over there.’ I like to explore the threshold of sound and music in space.”
Continuing to develop musical narratives, Sadeghi is currently working in collaboration with Soundwalk Collective on a three-part album series entitled “Medea,” which chronicles the collective’s nautical journey along the coast of the Black Sea in the mythical spirit of Medea and is due for release in 2012.
This story is part of an editorial series sponsored and inspired by Le Meridien.
New Perspectives explores fresh ideas and distinct points of view in global art and culture.
Nov 22
Dezeen Wire: the opening of the September 11 museum in New York, which is scheduled for September 2012, is under threat due to an ongoing dispute over unexpected costs – The Washington Post
The museum is part of a memorial to the victims of the 2001 terrorist attacks on the World Trade Centre being developed by the Port Authority of New York and New Jersey, who say that they are owed $156 million by mayor Michael Bloomberg’s National September 11 Memorial & Museum foundation. The row had been kept quiet over fears it could overshadow the 10th anniversary of the attacks but has now led to the suspension of construction contracts which could delay the completion of the museum.
See our previous story on the opening of the National September 11 Memorial, an animation of the memorial fountains and architecture critic Rowan Moore’s examination of the infighting that has plagued the redevelopment of the World Trade Centre site.
Nov 22
Grand Mayan Tequila
Posted in: artisanal, craftsmanship, packagedesign, spirits, tequila The 10-year journey of an ultra-aged tequila, from agave plant to hand-painted bottle
Far from the bars where rowdy patrons slam down shots of pale liquid with a lick of lime and sprinkle of salt lives ultra-aged tequila, meant to be savored like a glass of cognac. In the case of Grand Mayan Tequila the depth of the extra añejo dark amber spirit reveals notes of nuts and chocolate, and a smooth, lingering finish.
Grand Mayan begins its 10-year journey in the agave fields of Jalisco, Mexico, where the agave tequilana weber is grown for 5-7 years before being harvested. The hearts of the plant are then slow-cooked in stone ovens before they go through a slow natural fermentation process. Extra care is taken in the distillation and filtering process, which takes place at the famous La Cofradia distillery. The liquid ages in American oak casks for at least three years before being bottled in their signature ceramic bottle celebrating the history of Mexico.
Created by artisans in Mexico City, the lovely, diminutive decanter is hand-painted with blue flowers and orange designs—an appropriately elaborate vessel for the precious liquid within. The company produces only 3,000 litres of the spirit per year, which has become highly coveted by tequila connoisseurs for its flavor, rarity and special presentation. We experienced the enthusiasm firsthand during a recent visit to K&L Wine Merchants, where mere mention of Grand Mayan received quick notes of approval from every staff member within earshot. Naturally, we felt compelled to pour ourselves a shot and were able to savor it slowly, no lime or salt necessary.
Nov 22
Herta and Paul Amir Building at the Tel Aviv Museum of Art by Preston Scott Cohen
Posted in: Cultural buildings, Preston Scott Cohen
Dezeen in Israel: here are some images of the recently opened new wing at the Tel Aviv Museum of Art, which has a dramatically faceted atrium piercing its centre.
Designed by American architect Preston Scott Cohen, the Herta and Paul Amir Building has a spiralling plan with two storeys above ground and three underground floors.
Galleries overlook the 26-metre-high atrium through long windows that slice through its angled walls.
Although the building has a triangular plan, these exhibition galleries are rectangular and display art, design, architecture and photography.
Walls fold around the entrances to these rooms and appear on approach to be wafer-thin.
The museum has a tessellated concrete exterior where windows match the shapes of the triangular and rectangular panels.
You can see more stories about Israeli architecture and interiors here, or if you’re interested in furniture and product design from Israel you can check out our special feature here.
Photography is by Amit Geron.
Here’s some more information from the museum:
Herta and Paul Amir Building
Tel Aviv Museum of Art
The design for the Amir Building arises directly from the challenge of providing several floors of large, neutral, rectangular galleries within a tight, idiosyncratic, triangular site. The solution is to “square the triangle” by constructing the levels on different axes, which deviate significantly from floor to floor. In essence, the building’s levels—two above grade and three below—are structurally independent plans stacked one on top of the other.
These levels are unified by the “Lightfall”: an 87-foot-high, spiraling, top-lit atrium, whose form is defined by subtly twisting surfaces that curve and veer up and down through the building. The complex geometry of the Lightfall’s surfaces (hyperbolic parabolas) connect the disparate angles of the galleries; the stairs and ramped promenades along them serve as the surprising, continually unfolding vertical circulation system; while the natural light from above is refracted into the deepest recesses of the half-buried building. Cantilevers accommodate the discrepancies between plans and provide overhangs at the perimeter.
In this way, the Amir Building combines two seemingly irreconcilable paradigms of the contemporary art museum: the museum of neutral white boxes, which provides optimal, flexible space for the exhibition of art, and the museum of spectacle, which moves visitors and offers a remarkable social experience. The Amir Building’s synthesis of radical and conventional geometries produces a new type of museum experience, one that is as rooted in the Baroque as it is in the Modern.
Conceptually, the Amir Building is related to the Museum’s Brutalist main building (completed 1971; Dan Eytan and Yitzchak Yashar, architects). At the same time, it also relates to the larger tradition of Modern architecture in Tel Aviv, as seen in the multiple vocabularies of Mendelsohn, the Bauhaus and the White City. The gleaming white parabolas of the façade are composed of 465 differently shaped flat panels made of pre-cast reinforced concrete. Achieving a combination of form and material that is unprecedented in the city, the façade translates Tel Aviv’s existing Modernism into a contemporary and progressive architectural language.
Architect: Preston Scott Cohen, Inc., Cambridge, Massachusetts
Project Team: Preston Scott Cohen, principal in charge of design, Amit Nemlich, project architect; Tobias Nolte, Bohsung Kong, project assistants
Consultants:
Project Managers: CPM Construction Managment Ltd.
Structural Engineers: YSS Consulting Engineers Ltd., Dani Shacham
HVAC: M. Doron – I. Shahar & Co., Consulting Eng. Ltd.
Electrical: U. Brener – A. Fattal Electrical & Systems Engineering Ltd.
Lighting: Suzan Tillotson, New York
Safety: S. Netanel Engineers Ltd
Security: H.M.T
Elevators: ESL- Eng. S. Lustig – Consulting Engineers Ltd.
Acoustics: M.G. Acistical Consultants Ltd.
Traffic: Dagesh Engineering, Traffic & Road Design Ltd.
Sanitation: Gruber Art System Engineering Ltd.
Soil: David David
Survey: B. Gattenyu
Public Shelter: K.A.M.N
Waterproofing: Bittelman
Kitchen Design: Zonnenstein
Key Dates:
Architectural competition: 2003
Design development and construction documents: 2005-06
Groundbreaking: 2007
Opening: November 2, 2011
Size: 195,000 square feet (18,500 square meters), built on a triangular footprint of approximately 48,500 square feet (4,500 square meters)
Cost: $55 million (estimated)
Principal Spaces:
Israeli Art galleries: 18,500 square feet
Architecture and Design galleries: 7,200 square feet
Prints and Drawings galleries: 2,500 square feet
Temporary exhibitions gallery: 9,000 square feet
Photography study center and gallery: 3,700 square feet
Art library: 10,000 square feet
Auditorium: 7,000 square feet
Restaurant: 3,200 square feet
Offices: 2,700 square feet
Principal Materials: Pre-cast reinforced concrete (facades), cast-in-place concrete (Lightfall), glass, acoustical grooved maple (ceilings in lobby and library and auditorium walls) and steel (structural frame)
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