The Great Indoors
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|||GET||| the Design-Build Studio 1St Edition
THE DESIGN-BUILD STUDIO 1ST EDITION DOWNLOAD FREE Tolya Stonorov | 9781317307969 | | | | | Welcome to the DBXchange Platform A study from the US Department of Transportation claims that: "Design-build delivery has been steadily increasing in the U. Untilthe AIA American Institute of Architects ' code of ethics and professional conduct prohibited their members from providing construction services. Building performance is measured early too, so that trade offs between budget, schedule, functionality and usability can inform specification and continuous refinement of the design. With the petition "Macht mehr DesignBuild" we would like to approach the colleges and universities to point out the importance of DesignBuild in teaching future architects and civil engineers. But year-over-year multifamily trendline remained negative at The design-build contractor is responsible for all work on the project, so the client can seek legal remedies for any fault from one party. Big Room equals big results. The Weekly Show: AI for building facade inspections; designing a world-class architecture firm. In presenting these case studies from the U. Standard contract document for prefab and modular building released. The Design-Build Studio 1st edition publication gives guidance through the different phases of the process: design services, contracts, management, insurances, and finances. More information HERE. With the The Design-Build Studio 1st edition of the Burdette Keeland, Jr. Retrieved Industrial architecture Interior architecture Landscape architecture Vernacular architecture. The "design—builder" is often a general contractorbut in many cases a project is led by a design professional architectengineerarchitectural technologist or other professional designers. Construction Industry Institute Research Report : — Restricted Content You must have JavaScript enabled to enjoy a limited number of articles over the next 30 days. -
17 May – BOZAR & the Colors of the Rainbow
17 May – BOZAR & The colors of the rainbow 1. Introduction: The Centre for Fine Arts, gender and LGBTIQ. (Lesbian, Gay, Bi-sexual, Trans-sexual, Intersex and Questioning). As part of its international mission, the Centre for Fine Arts Brussels (BOZAR) aims to show and establish exchange with cultures from all over the world, to promote cultural diversity and intercultural dialogue and to advocate the role of culture as a catalyst for creativity. BOZAR does not only show art for art’s sake. We believe in debate, and in the community building capacity of the arts. As a cultural organization with a large variety of artistic disciplines ranging from literature and music to discussion platforms, we have always strived to offer a programme that is highly ranked on an artistic level but at the same time widely accessible to our 1.3 million visitors per year. In doing so, the CFA aims to reflect the multi-cultural reality of the hyper-diverse city of Brussels. We have had the honour of welcoming personalities such as Salman Rushdie, Barack Obama and the Dalai Lama. Exceptional events like these have only solidified our involvement in social and political issues as well as our leading cultural role in Belgium. We aim to combine art and society to offer a nuanced vision. In 2014, the central Summer of Photography exhibition at the Centre for Fine Arts examined the role of female artists in the second wave of feminism, WOMAN: The Feminist Avant-Garde of the1970s: Works from the SAMMUNG VERBUND, Vienna curated by Gabriele Schor. -
The Great Indoors
The Great Indoors CATALOGUE SPRING 2018 Contents 2 New Titles Ceramic Design What I’ve Learned The Other Office 3 8 Previously Announced Grand Stand 6 Suppose Design Office Identity Architects Built Unbuilt 12 Recent Titles Jo Nagasaka / Schemata Architects Studio O+A Happening 2 Night Fever 5 16 Portfolio Highlights Where They Create Japan Sound Materials Powershop 5 Knowledge Matters Spaces for Innovation CMF Design Goods 2 Holistic Retail Design 20 Backlist 29 Index 30 Distributors 32 Contacts & Credits 2 NEW TITLES 3 CERAMIC DESIGN New Wave Clay The unprecedented surge in popularity of 44 Ceramic Design 45 Bruce Rowe By day, Bruce Rowe runs the Melbourne ceramics brand Anchor Ceramics, which produces handmade lighting, tiles and planters on an almost industrial scale, selling to homes, architects and the hospitality trade across Australia. Then Rowe swaps making ceramics for the built environment in order to make the built environment ceramics in the last five years has helped forge out of clay. The structures he creates are composed of architectural elements BRUCE assembled in strange compositions: constructions made of stairs, passageways, bridges and arches. They are never literal images of actual architecture, but creative interpretations with a De Chirico-like surreal quality. “The works do not directly reference any specific place, building or structure. Whilst educated in the structural and spatial language of architecture, my a new type of potter: the ceramic designer. ROWE practice combines this knowledge with an inquiry into the symbolic function and aesthetic activity of visual art,” he says. Rowe began making small, singular pieces and progressed into series of structures that make up a whole. -
Information-Driven Persistent Sensing of a Non-Cooperative Mobile Target Using Uavs
myjournal manuscript No. (will be inserted by the editor) Information-Driven Persistent Sensing of a Non-cooperative Mobile Target Using UAVs Hyo-Sang Shin · Adrian Jesus Garcia · Sergio Alvarez Received: date / Accepted: date Abstract This paper addresses the persistent sensing problem of moving ground targets of interest using a group of fixed wing UAVs. Especially, we aim to overcome the challenge of physical obscuration in complex mission environments. To this end, the persistent sensing problem is formulated under an optimal control framework, i.e. deploying and managing UAVs in a way maximising the visibility to the non-cooperative target.The main issue with such a persistent sensing problem is that it generally requires the knowledge of future target positions, which is uncertain. To mitigate this issue, a probabilistic map of the future tar- get position is widely utilised. However, most of the probabilistic models use only limited information of the target. This paper proposes an innovative framework that can make the best use of all available information, not only limited information. For the validation of the feasibility, the performance of the proposed framework is tested in a Manhattan-type con- trolled urban environment. All the simulation tests use the same framework proposed, but utilise different level of information. The simulation results confirm that the performance of the persistent sensing significantly improves, up to 30%, when incorporating all available target information. Keywords persistent sensing · unmanned aerial vehicles · behaviour recognition · path planning · information-driven tracking · target tracking Hyo-Sang Shin Cranfield University, College Rd, Cranfield, Bedford MK43 0AL, UK Tel.: +44 (0) 1234758577 E-mail: h.shin@cranfield.ac.uk Adrian Jesus Garcia Universidad Politecnica de Madrid. -
Expo-Catalogue-EN.Pdf
FOREWORD Gaston Franco, MEP Host of the exhibition Member of the European Parliament President of the “Club du Bois” within the EP President of the Forest group within the EP Intergroup “Climate change, biodiversity and sustainable development” Wood is probably the most Wood as a material deserves to be worked by these environmentally friendly artists for our pleasure and our search for better ways material that nature has given to master the future. to man. It is made from CO2, It is for all these reasons, that I love wood and wood- captured from the atmosphere based products. by trees and stored in wood, Through this exhibition at the European Parliament, where the carbon will remain entitled Tackle climate change: use wood, to which locked for the entire lifespan I gladly lend my name, the artists seek to emphasise of the wood. and demonstrate the variety that wood in all its facets It is not only a magnificent ecological material, it is has to offer, whether it be as sculpture, craft, decora- also a technological material, perhaps even the most tion or message. innovative and the most extraordinary one at man’s It is my hope that this exhibition will convince disposal. Today, tomorrow, and for centuries to come, many that using wood and wood-based products now wood is and will continue to be this wonderful natural more than ever before will help us in achieving our material, at the same time common and mysterious, main policy goals which are to create a better, safer, beautiful and technical, visionary and renewable. -
THE TRADEMARK/Copyright DIVIDE
College of William & Mary Law School William & Mary Law School Scholarship Repository Faculty Publications Faculty and Deans 2007 The rT ademark/Copyright Divide Laura A. Heymann William & Mary Law School, [email protected] Repository Citation Heymann, Laura A., "The rT ademark/Copyright Divide" (2007). Faculty Publications. 195. https://scholarship.law.wm.edu/facpubs/195 Copyright c 2007 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/facpubs THE TRADEMARK/CoPYRIGHT DIVIDE Laura A. Heymann* I. INTRODUCTION N the mid-1980s, the well-known postmodern artist Jeff Koons dis played a sculpture called "String of Puppies" in a New York gallery.! I The sculpture was based wholly on a photograph, taken by a man named Art Rogers, of a couple with their arms full of puppies; Koons's sculpture, intended as a commentary on how mass-produced art has caused societal deterioration, caricatured the subjects of the photograph by placing flowers in their hair and clown noses on the puppies they were holding.2 Rogers, perhaps not surprisingly, brought suit against both Koons and his gallery and won a grant of summary judgment, which the United States Court of Appeals for the Second Circuit affirmed.3 Per haps even less surprisingly, Rogers's successful claim was one for copy right infringement: Rogers alleged that Koons had created an unauthorized derivative work, and the Second Circuit rejected Koons's attempt to take advantage of copyright law's fair use provisions.4 But the ease with which Rogers brought, and the Second Circuit analyzed, Rog ers's copyright infringement claim masks the fact that the interest Rogers was seeking to protect was probably not a copyright interest at all. -
Reading #2 Artistic Process and Training
Page | 1 Artistic Process and Training ART 100: Introduction to Art Reading #2 Artistic Process and Training This reading explores the artistic process and the art industry surrounding it: from individual artists turning ideas into works of art to collaborative creative projects, public art and the viewer. It covers the following topics: ● The Artistic Process ● The Role of Museums, galleries, and Critics ● The Individual Artist and Public Art ● Artistic Training The Artistic Process How many times have you looked at a work of art and wondered “how did they do that”? Some think of the artist as a solitary being, misunderstood by society, toiling away in the studio to create a masterpiece, and yes, there is something fantastic about a singular creative act becoming a work of art. The reality is that artists rely on a support network that includes family, friends, peers, industries, businesses, and, in essence, the whole society they live in. For example, an artist may need only a piece of paper and pencil to create an extraordinary drawing, but depends on a supplier in order to acquire those two simple tools. Michelangelo Buonarroti, The Holy Family with the Infant Saint John the Baptist (recto); Amorous Putti at Play; Head of a Bird (verso), 1530. Black and red chalk with pen and brown ink over stylus (recto); Pen and black and brown ink (verso), 27.9 × 39.4 cm (11 × 15 1/2 in.). The J. Paul Getty Museum, Los Angeles. Page | 2 Artistic Process and Training After the artwork is finished there are other support networks in place to help exhibit, market, move, store, and comment on it. -
Residential Solar Data Center: Data Resources and Reports
IWT'L INST. OF STAND & TECH R.I.C. »"" ives AlllDD TTS53D ^^^UCATIONS- AlllDS && 727 ^ NBSIR 81-2369 Residential Solar Data Center: Data Resources and Reports U.S. DEPARTMENT OF COMMERCE National Bureau of Standards National Engineering Laboratory Center for Building Technology Washington, DC 20234 October 1 981 Prepared for: Department of Housing and Urban Development Office of the Assistant Secretary for Policy Development and Research M>QQ]«avqppnwision of Energy. Building Technology and Standards jshington, DC 20410 2 QQ U56 dl-2369 ' 19dl c. 2 I MATUMAL BVIKAD or tTAlfDAKOS LlBtAKT NBSIR 81-2369 MAR 4 1983 RESIDENTIAL SOLAR DATA CENTER: DATA RESOURCES AND REPORTS U-C no. ^ Patricia M. Christopher Audrey 0. Houser U.S. DEPARTMENT OF COMMERCE National Bureau of Standards National Engineering Laboratory Center for Building Technology Washington, DC 20234 October 1981 Prepared for; Department of Housing and Urban Development Office of the Assistant Secretary for Policy Development and Research Division of Energy, Building Technology and Standards Washington, DC 20410 U.S. DEPARTMENT OF COMMERCE. Malcolm Baldrige, Secretary NATIONAL BUREAU OF STANDARDS, Ernest Ambler, Director T> • FOREWORD From January to October 1978 the Residential Solar Data Center (SDC) of the National Bureau of Standards (NBS) issued a bimonthly publication known as "Status Reports". [1] These reports contained sets of tables and charts designed to inform selected participants (primarily the Department of Housing and Urban Development and its contractors) in the Residential Solar Heating and Cooling Demonstration Program about the volume of data stored in the solar data base maintained by the SDC, and about the types of computer printouts that were available. -
1 Cask System Maintenance in the Federal Waste Management System - a Feasibility Study and Update*
1 CASK SYSTEM MAINTENANCE IN THE FEDERAL WASTE MANAGEMENT SYSTEM - A FEASIBILITY STUDY AND UPDATE* R. B. Pope, Oak Ridge National Laboratory, Martin Marietta Energy Systems, Inc. CONF-910166—4 and M. J. Rennich, L. G. Medley, and C. R. Attaway, DE91 °°6607 Central Engineering, Martin Marietta Energy Systems, Inc. Oak Ridge, Tennessee 37831 FUCl Mana§ement Seminar Vm> Washington, DC, January I, 1991 -The submit* manuKnpt of th. au,ho.ed by » nUKXX Govern-™*" ""*« AC06-B4OR21400. purpofM. DISCLAIMER This report was prepared as an account of work sponsored by an agency of the United States Government. Neither the United States Government nor any agency thereof, nor any of their employees, makes any warranty, express or implied, or assumes any legal liability or responsi- bility for the accuracy, completeness, or usefulness of any information, apparatus, product, or process disclosed, or represents that its use would not infringe privately owned rights. Refer- ence herein to any specific commercial product, process, or service by trade name, trademark, manufacturer, or otherwise does not necessarily constitute or imply its endorsement, recom- mendation, or favoring by the United States Government or any agency thereof. The views and opinions of authors expressed herein do not necessarily state or reflect those of the United States Government or any agency thereof. •Research sponsored by the Office of Radioactive Waste Management, U.S. Department of Energy, under contract DE-AC05-84OR21400 with Martin Marietta Energy Systems, Inc. DISTRIBUTION CF THIS DOCUMENT IS UNLIMITED 2 DsrraoDucnoN In early 1988, in support of the development of the transportation system for the Office of Civilian Radioactive Waste Management System (OCRWM), a feasibility study was undertaker to define a the concept for a stand-alone, "green-field" facility for maintaining the Federal Waste Management System (FWMS) casks. -
Colour Communication Challenges: Exploring Disciplinary Divides
Journal of the International Colour Association (2019): 23, 25-35 Lee, Westland & Cheung Colour communication challenges: Exploring disciplinary divides Gyeonghwa Lee*, Stephen Westland and Vien Cheung School of Design, University of Leeds, Leeds, UK Email*: [email protected] Sixteen students were involved in an experiment to describe the appearance of colour samples. These students were divided into two groups: design background and chemistry/engineering background. Design participants react to samples with images and adjectives describing their feelings and emotions. They tend to use evocative, emotional, and associative terms which are also related to use of a wide variety of semantic fields. On the other hand, chemistry/engineering participants focused heavily on colour and surface objectively. Although they used limited sematic fields compared to design participants, they used more precise language in their description. In terms of describing the process of changing the appearance of one sample to another, participants from chemistry/engineering used technical terms and described the process more systematically in comparison to the design participant group. The main focus of this research was to investigate differences in colour communication between participants from the disciplinary backgrounds. These comparisons are not intended to suggest negative or positive judgements by the researchers but to describe the different values of these participants. This research provides evidence that people from different disciplines who need to collaborate in colour design use different colour vocabularies. Received 01 December 2018; accepted 05 December 2018 Published online: 15 March 2019 Introduction Colour, Material, and Finish (CMF) design is a specialised area of design where the focus is on the three elements of appearance just mentioned. -
COLOURS - Politecnico Di Milano
COLOURS - Politecnico di Milano 5 Dicembre 2016 Un laboratorio di design primario Baolab è un Design primario laboratorio che Cosa significa indagare un lavora nel mondo del oggetto partendo dalle disegno industriale e sue qualità sensoriali. si occupa di tutto ciò che non riguarda la forma degli oggetti. La ricerca di variabili non oggetivvabili L’identità emozionale CMF di un prodotto è L’analisi delle qualità di data dalla somma un prodotto si sviluppa di elementi molto principalmente in 3 ambiti differenti tra loro. principali: il colore, i Alcuni sono materiali e le finiture quantificabili, altri no ma sono altrettanto determinanti. MOLESKINE Design del materiale Accessories - Stationery Moleskine è un’azienda Qualificazione sensoriale produttrice di taccuini, La variazione dell’aspetto agende, borse, tattile di un prodotto iconico strumenti per scrivere molto noto prende le sue e per leggere. mosse anche dall’analisi Cultura, immaginazione, dei nuovi target viaggio, memoria e identità personale sono le parole chiave in cui si identifica. MOLESKINE Design del materiale Accessories - Stationery Ad ogni mondo identificato pertengono specifici materiali e precise palette cromatiche MOLESKINE Design del materiale Accessories - Stationery Una volta identificate le principali sensazioni sinestetiche che si voglio raggiungere il lavoro si concentra sulla messa in atto delle possibilità materiche MOLESKINE Design del materiale Accessories - Stationery Un momento importante per il progetto è capire se il prodotto viene poi scelto dall’intelocutore presunto. A volte accade, altre invece prende strade inaspettate LUXOTTICA Trend forecasting Fashion accessories Luxottica è una Ricerca transdisciplinare azienda che disegna, La ricerca dei trend è il primo produce e distribuisce passo per la definizione occhiali in tutto il di linee guida condivisibili mondo. -
Projects from Thelenarchitekten; Architekten Prof. Klaus Sill; Müller
13 L A T R O P PORTAL 13 PORTAL 13 INFORMATION FOR ARCHITECTS FROM HÖRMANN FEUER Fire Projects from thelenarchitekten; architekten prof. klaus sill; Müller Truniger Architekten and Studio Aldo Rossi PORTAL 13 INFORMATION FOR ARCHITECTS FROM HÖRMANN CONTENTS 3 EDITORIAL 4 / 5 / 6 / 7 THE FIRE-PROOF CITY How fire has changed the face of our cities Author: Daniel Leupold 8 / 9 / 10 / 11 FIRE EQUIPMENT HOUSE IN ROMMERSKIRCHEN RAL 3003 as far as the eye can see: for the volunteer fire brigade in Rommerskirchen in the Lower Rhine region, thelenarchitekten designed a monolithic new building in fire engine red. Design: thelenarchitekten, Düsseldorf 12 / 13 / 14 / 15 / 16 / 17 / 18 / 19 FIRE AND RESCUE STATION IN LÖHNE Messages behind glass characterise the facade of the station in Löhne, East Westphalia. Although situated directly on the highway, the building‘s interior offers employees a tranquil, high-quality atmosphere. Design: architekten prof. klaus sill, Hamburg 20 / 21 / 22 / 23 / 24 / 25 INTERVENTION CENTRE IN FRUTIGEN Swiss innovation and versatility: the intervention centre was once used as an assembly hall for the construction of the Lötschberg Tunnel. Today it serves as the operating base for both the tunnel‘s own fire brigade and the local fire department. Design: Müller & Truniger Architekten, Zurich 26 / 27 / 28 / 29 A HOTSPOT: THEATRE LA FENICE IN VENICE Thrice in flames: The famous theatre La Fenice in Venice has a fiery past. The building last burned in 1996 due to arson. It all started because of a damage claim of 7500 euros. Design (reconstruction): Studio Aldo Rossi, Milan 30 / 31 HÖRMANN CORPORATE NEWS 32 / 33 ARCHITECTURE AND ART Arne Quinze: Uchronia 34 / 35 PREVIEW / IMPRINT / HÖRMANN IN DIALOGUE Cover illustration: Arne Quinze: "Uchronia“ Photo: Arne Quinze EDITORIAL Martin J.