http://soundcloud.com/b-e-b-e-t-u-n-e BODYGUARD SILICA GEL 1. H.U.M2.E.R. 2. E-CIG 3. BLOOD TYPE : 5 HOUR ENERGY 4. DRY ICE ¥2K12 5. RAIDEN - BLUE LIGHTS # NZT - 48 6. FATAL 7. #ACIDRAIN 8. Ice_Cut_Digital 9. BLACK AND RED 10. SEX TAPE 11. TURBULENCE 12. BLU SMOKE RINGS -R.I.P. CRYPT KEEPER 13.

Knowing that most acts of creation will soon be fully automated, you begin to cherish the present moment through a retrospective lens. A new item feels like an antique. You can buy something brand new, hold it in your hands, and genuinely feel the weight of time as you think to yourself, this is how we used to make things. It’s a blessing amidst a cloud of pessimism. But, why is that cloud there? Are we the only beings/things with a right to create? Does that right not belong to God alone? If yes, what are we, as children of God, responsible for in this scenario? Prevent technology from assuming God’s power? (Wouldn’t God, strike it down, for nothing is more powerful than Him? Would he let us perish?) Maintain faith that technology cannot become God? (Would we be judged as anti-evangelicals for not actively fighting the greatest challenge to Hod’s power that we’ve ever known?)

https://www.instagram.com/p/DKtZ1totSDM/?img_index=2

https://www.instagram.com/chrome.xyz/

https://www.henrialexanderlevy.com/#/sculpture/synthesizer-prison-unit

https://spruethmagers.com/exhibitions/horror-group-exhibition-los-angeles/

cargo.site

Sarah Księska, German

God Creating the Universe German medieval sculptor 13th century Stone Cathedral, Freiburg Until the advent of Copernicus, all knowledge about the universe had to be made to fit into the framework of the Ptolemaic model in which the Earth was firmly the centre of everything. The sculpture in the Freiburg Cathedral shows God creating the Universe, with the planetary spheres inside, covered by the sphere of the fixed stars.

Matilde Piacentini Nome dell’oggetto, collezione in cui lo avete trovato ‘Ferris Wheel’ and Manhattan skyscraper shaker set, appartenente alla collezione della Pullman Gallery Tipologia di oggetto Servizio da cocktail con shaker Luogo Il servizio da cocktail è stato prodotto a Rome, città statunitense della Contea di Oneida, nello stato di New York Data La produzione dell’oggetto risale all’anno 1936 Designer A lavorare al progetto del servizio da cocktail “Ferris Wheel” è la geniale figura di Norman Bel Geddes, all'anagrafe, Norman Melancton Geddes. Nasce il 27 aprile del 1893 ad Adrian, in Michigan e vive sino all’anno 1958, dove si spegne all’età di 65 anni. Una volta terminati gli studi all’Art institute di Chicago, Norman, protrasse la sua passione per l’arte anche nelle sue professioni. Specializzandosi in periodo di piena crisi statunitense, Geddes acquisì visibilità rendendosi noto per la grande fiducia che egli ripose nel futuro dell’era delle macchine. Lavorando nel campo della pubblicità (1913-16) e della vetrinistica (1927-30), maturò una propria conoscenza delle vendite e del commercio; la comprensione dell’importanza dello stile di un artefatto e quindi non solo della propria funzionalità lo portarono ad apportare lo stile a goccia (Streamlining, lo stile aerodinamico, in voga in quegli anni) ad ogni superficie dei propri progetti. Il ruolo fondamentale nel gran successo che riscosse fu la sua fervida immaginazione a cui l’uomo non pose limiti; le forme filanti e snelle, forti ed innovative raggiunsero le esposizioni universali, i semplici arredi di casa e persino i mezzi di trasporto. Il contributo alla lavorazione scenografica nel teatro dell’opera del Metropolitan Opera House fu di base per lo sviluppo delle ampie abilità da scenografo di cui godeva Norman; non c’è da stupirsi che una delle sue opere più memorabili, “Futurama”, da un semplice padiglione divenne una vera e propria giostra interattiva ed al tempo stesso educativa. Impresa / committente Revere Copper fu l’impresa che collaborò con Bel Geddes per la produzione del set da cocktail “Ferris Wheel”. Revere Copper è un’azienda fondata nel 1801, considerata una tra delle più antiche aziende manifatturiere americane. Tutt’ora attiva, opera in diversi campi quale quello dell'architettura, dell'elettricità, delle telecomunicazioni, dei macchinari industriali, delle attrezzature e altri ancora. L’impresa nasce a seguito della Rivoluzione Americana per esigenze industriali e militari. Con il fine di migliorare le prestazioni militari della propria nazione, Benjamin Stoddert, comprese l’importanza di investire i propri averi sulla laminazione del rame. Quest’ultima, con il compito di rivestire i fondi navali, apportava notevoli miglioramenti alle navi della marina, tra i quali: mantenne puliti gli scafi, aumentò la durata di navigazione assieme alla durata del tempo in cui una nave poteva rimanere in servizio durante le revisioni. Inoltre, la placcatura in lamine sottili, a contatto con l’acqua salata, si ossidava impedendo l’accumulo di detriti e rallentando il processo di degradazione del legno. Operai metallurgici come Paul Revere vennero quindi finanziati per l’accurata lavorazione del rame. L’uomo seppe ricoprire al meglio il ruolo grazie ad una precedente formazione professionale; Paul difatti al tempo del finanziamento aveva già lavorato nel campo come argentiere. Il suo bagaglio di esperienze comprendeva l’abilità di fusione del metallo, mosso dall’incarico di produrre campane e cannoni, ma anche nella forgiatura di bulloni e punte di rame. Al crescere della propria fama, Paul Revere fondò la Revere Copper & Co. Materiale/i e tecnica I materiali utilizzati nel set da cocktail sono principalmente due, ossia, ottone cromato e vetro. Il primo compone quasi totalmente l’intera struttura (ed accessori annessi) del set da cocktail mentre il vetro è ripreso nei 12 bicchieri da cocktail e nei 4 vassoi di vetro che giacciono lungo la Ferris Wheel. Dimensioni dell’artefatto 24x22.7x17.25 pollici (61x57.8x43.8 in centimetri) Descrizione dell’artefatto Poche decadi prima dell’avvento della Seconda Guerra Mondiale cessò il Proibizionismo; architetti e designer dell’epoca si focalizzarono nella progettazione di strutture volte a garantire intrattenimento e svago ai cittadini statunitensi. Vennero ideati edifici dalle forme stravaganti e dinamiche, spesso irrealizzabili, come il ristorante Aerial che lo stesso Bel Geddes tentò di progettare. Ciò che accomunò i vari progetti di bar e nightclub fu la sperimentazione dei materiali allora considerati all’avanguardia; metalli cromati e vetro venivano ora pensati per ricoprire le ampie superfici delle nuove architetture. Come sopra citato, sono proprio questi i materiali che Norman volle adottare per il suo set da calici. La denominazione dell’ornamento non è casuale; “Ferris Wheel” si traduce dall’inglese come Ruota Panoramica. Osserviamo come spesso Bel Geddes scelse, per la produzione di oggetti di minori dimensioni, la ripresa di forme che alludevano a strutture, mezzi di trasporto e addirittura palazzi di entità largamente maggiori. Il set da cocktail, a forma di ruota panoramica, riproduce le componenti principali di quest’ultima copiandone la sua principale funzione, quella di rotare. Il “cerchione tubolare”, in ottone cromato, è affiancato da una coppia di shaker che fungono da “motori” della giostra. Gli shaker di Bel Geddes comparvero nuovamente in ulteriori progetti. Nel servizio “Manhattan” la stessa forma, ora posta su un vassoio a gradoni, ricordava vagamente una piazza con grattacielo mentre la bottiglia “Soda King” Syphon Bottle acquisì l’aspetto di un razzo spaziale. L’oggetto è finalizzato ad agitare e successivamente servire bevande alcoliche, i vassoi in vetro sono invece pensati per la degustazione di olive e stuzzichini. Importante da menzionare fu la sua comparsa nel film “Il Padrino II” del 1974. Motivazione della scelta e attinenza con l’argomento della settimana Lo Streamlining segna un importante cambiamento avvenuto nella storia del design, si inizia a parlare della figura professionale del disegnatore industriale. La componente estetica acquisisce un ruolo fondamentale nel portare a buon fine la vendita. Bel Geddes scrisse:” La vetrina del negozio è un palcoscenico sul quale la merce viene presentata come attore... La vetrina deve catturare lo sguardo; focalizzare l'attenzione sulla merce; persuadere l'osservatore a desiderarla". Ferris Wheel appare nelle pubblicità come un prodotto sofisticato e accattivante ma al tempo stesso economicamente accessibile alla classe media. Il prezzo conveniente è dato da un uso minimo ma efficace dei materiali che rispecchiano il gusto per le cromature, che si ebbe in quegli anni. Ma “Ferris Wheel” non si relaziona al concetto di macchina solo per le materie impiegate nella sua produzione; a farlo sono anche la struttura e le qualità che acquisisce l’oggetto. Le superfici sono lucide e lisce, le sporgenze risultano levigate come quelle di un macchinario destinato a muoversi. Nel 1932, Bel Geddes, scrivendo il libro “Horizons”, impose che il design moderno fosse in grado di rispondere alla crescente velocità di aerei, barche, automobili e qualsiasi altra cosa si muovesse. Bel Geddes si preoccupava in particolare della resistenza al vento e delle superfici adatte a consentire un passaggio fluido dell'aria. Le architetture dello Streamlining ambivano a vertiginose verticalità, gli shaker, che fungono da “motori” sembrano slanciarsi verso l’alto. I disegnatori industriali, del movimento, non vollero rinunciare alla funzionalità degli oggetti ma dovettero riconoscere quanto un aspetto accattivante fosse necessario nel mondo del mercato. Gli oggetti acquisirono forme stravaganti, Norman modellò il servizio sottoforma di ruota panoramica; eppure, la sua funzionalità non risulta camuffata, è facilmente intendibile. Walter Dorwin Teague affermò che il conferimento di una sagoma aerodinamica a oggetti immobili, destinati all’arredamento, servì ai designer per trasmettere lo spirito del tempo. Una necessità tipica dei mezzi di trasporto, la riduzione di tempi e distanze, è ripresa in Ferris Wheel; gli alcolici vengono serviti con immediatezza, senza rinunciare al gusto estetico, un considerevole numero di bicchieri viene ora offerto in contemporanea. Riferimenti Bibliografici https://books.google.it/books?id=H8gAaZj2e-AC&pg=PA90&lpg=PA90&dq=Norman+Bel+Geddes+%E2%80%98Ferris+Wheel%E2%80%99+cocktail+set&source=bl&ots=QmtXOINYsd&sig=ACfU3U0gkrBZ0JNYoLkS-urFDhgoP4YTTA&hl=it&sa=X&ved=2ahUKEwiao7LTz6j8AhWVc_EDHf57AM44ChDoAXoECBQQAw#v=onepage&q=Norman%20Bel%20Geddes%20%E2%80%98Ferris%20Wheel%E2%80%99%20cocktail%20set&f=false Consultazione del libro “Il progetto della bellezza” di Maurizio Vitta Web https://pullmangallery.com/item/norman-bel-geddes-ferris-wheel-cocktail-set-1936/ http://www.evanmcglinn.com/Shaken%20Not%20Stirred.pdf https://www.artic.edu/artworks/184673/manhattan-cocktail-set https://reverecopper.com/about-revere/ https://arthistoryunstuffed.com/norman-bel-geddes-domesticating-streamline-design/ https://en.wikipedia.org/wiki/Revere_Copper_Company visione del video https://www.youtube.com/watch?v=GoAdcujfo3A https://www.sbandiu.com/2019/09/11/norman-bel-geddes/ https://it.wikipedia.org/wiki/Norman_Bel_Geddes visione del video https://www.youtube.com/watch?v=uymXWa89Ylo

https://www.are.na/altar/channels

Giovanni Bellini, Italian

Sandro Botticelli, Italian

Lenovo x Xander Zhou, 2012

https://www.instagram.com/p/DG0s-I2CYp6/

6,272 likes, 26 comments - industrialkonzept on December 9, 2024: “Ca’n Terra by Ensamble Studio ⁠ Ca’n Terra (meaning “house belonging to the earth” in Catalan) emerged from a serendipitous discovery during a family vacation. Stumbling upon what seemed like a cavern, the couple realized it was an abandoned Mares stone quarry, once used as shelter during the Spanish Civil War. Inspired, the architects (@anton_ensamble) acquired the site and began transforming it into a unique holiday home. The process started with detailed laser scans of the dark, raw space, enabling the architects to explore its potential and shape its interior. Spanning 1,000 square meters, the home reveals a sequence of undefined rooms, each adaptable as social or private spaces depending on need. The minimalist furnishings are carefully chosen to integrate seamlessly into the carved nooks and crannies. Metal elements are introduced sparingly, serving only functional purposes like balustrades for safety between levels. Photos: Iwan Baan (@iwanbaan)⁠ ⁠ industrial”.

Chris Fusaro, Canadian

Lia Cook, American

tags: Furniture, Modern furniture, Minimalist design, Table lamp, Metal, Glass, Aluminum, Sculptural form, Geometric form, Modern, Minimalist interior, Elegant, Artificial light, Accent lighting, Symmetrical, Polished, Smooth, Studio photography, Product photography, Detail view description: A modern sculptural table lamp with stacked geometric metal frames and illuminated frosted glass panels, photographed against a neutral background with a power cord visible. source: https://stvincents.wpenginepowered.com/wp-content/uploads/2022/11/Rota-Lamp-3.jpeg page title: rota-lamp-3.jpeg captured: 2026-03-06

Unknown Artist, Egyptian

Giovanni Balducci, Italian

Alessandro Vittoria, Italian

Totonac, Remojadas Veracruz, South-Central Gulf Coast, Mexico

The Bride Stripped Bare By Her Bachelors, Even (1915-23) This is a piece from Marchel Duchamp, a famous artist who is known for his so-called readymade’s. Duchamp took mass-produced objects, did not change or edit them and presented them as art, to mock artistic practices and to show that everything can be viewed as art. The concept of detournement which the Situationists practiced, is similar to Duchamp’s readymades yet with a more political means. In this work, there are two big sheets of glass put together vertically in a gold frame made of metal. Interpretations of this work lean towards sexual reproduction and love. In 1926, the glass broke. Duchamp found this to make his work more complete. By stating so, he critiqued mechanical reproduction and techno-utopia by consolidating technical failure and accident or, glitch. Art is a ‘’bearer of its own content’’, and since the glass is broken the glitch here is the art (IVC Author, 2014). Furthermore, the broken glass makes visible what normally is invisible and thus draws attention to otherwise ‘’an unconscious and ideological relation to knowledge and truth’’ (IVC Author, 2014). Applauding or even intentionally cause technical failures to convey a critique or express a vision is nowadays very common in art.

Lala Deen Dayal, Indian

destruidora

“Diaspora, relates to forced movement, exile and a consequent sense of loss derived from an inability to return. This is applied to the mass movement of Africans via slavery… this association of movement and migration with trauma, and containing within it a constant loss and yearning for an obtainable home is one of the main foci of critiques of the classical model of diaspora”. -Virinder S. Kalra In his seminal work Black Morocco: A history of Slavery, Race and Islam, Chouli El Hamel writes that “the situation in Morocco (trans-Saharan diaspora) was similar to the trans-Atlantic diaspora, with zones of cultural exchange, borrowing, mixing and creolization as well as violation, violence, enslavement and racially segregated zones” (Hamel 2013: 5). He argues that although Moroccans do not claim that slavery never existed, their ‘culture of silence’ regarding the history of slavery and race has resulted in black Moroccans being located on margins of community. The trans-Saharan trade was the predecessor to the European trans-Atlantic trade, and existed for far longer, however it is the least discussed of the two. This project seeks to offer some redress to the silence from a speculative, architectural lens. Moulay Ismail (Arabic: مولاي إسماعيل بن الشريف ابن النصر), was the longest reigning Sultan of Morocco from 1672-1727. He was romantically involved with many of his slaves, most notably with Lalla Aisha Mubarka, often referred to as Zaydana, who was his “favourite wife and queen of the palace” (Hamel 2013:192). Zaydana was purchased for the Sultan’s harem as a slave concubine for sixty ducats. Despite the fact that Sultans only married women from prominent families, the Sultan married Zaydana who grew to have a significant influence over the state’s affairs through her personal influence over him. The “Empress of Morocco”, Zaydana is described as “black, and of enormous height and size…[with] power over [the Sultan’s] mind…manag[ing] him as she pleases” (Hamel 2013:193). The writing of history has always been curated and recorded by those in positions of power. This distortion of historical narratives continues to perpetuate legacies of colonisation and oppression. Despite her power at the time, Zaydana’s story is under explored yet holds revealing insights into black female slave historical narratives of triumph over the men and spaces that would seek to control them. My Major Design Project seeks to uproot and unearth the ‘silenced’ narratives of the largely under-documented trans-Saharan slave-trade through a contemporary retelling of Zaydana’s history. Sigmund Freud would refer to exposing these ‘historical edits’ as unheimliche, meaning ‘[that which] should have remained hidden and secret and yet comes to light’ (Freud 1949:12). Architecture is often said to be a vessel for politics, memory and history, physically and metaphysically engaged with questions of the self and the environment in built form (Pallasmaa 1996). Through a speculative proposal - a home for Zaydana - I explore how retelling her story through a domestic architecture can reveal novel, emancipatory configurations and constructions of the home, particularly for black Morrocan women today. As with any cultural grouping; in Morocco, traditional ‘home’ typologies are indicative of various social orders and hierarchies in family structures, societal structures, and private/public relations. Arising from the French colonisation in Morocco, Moroccan women lived in “enclosed households” with harems, where extended families lived together. Harems were also where concubines were housed, in the service of kings and masters. Social and communal life is played out in several public ‘home’ typologies in Morocco - in the mosque, the hammam (public baths),the riad (courtyard), and the communal bakery. Looking critically at the construction of ‘home’ and its complex history and relation to several dynasties of power in Morocco, my project uses a close reading of the history of slavery in the region, resulting power-relations and gendered exploitation today as a conceptual setting for the new house for Zaydana, where histories of oppression, subversion and triumph of black female slaves are housed; a repository of both fact and fiction. Building on the notion of the Unheimlich as a concept related to “feeling” more than it is related to the visual, the project also draws on Pallasmaa’s ‘tools for memory’ (Pallasmaa 1996:47), tied to the haptic, the performed, the sensory and the felt, the realm of experience, rather than relying on the visual alone. The project uses these and other tactics through story-telling, performance and re-enactment to suggest a new architectural vocabulary of the Moroccan ‘home’ that attempt to undo the hegemony of the dominant narrative.

https://www.instagram.com/shaunwellens/?hl=ru

https://heikejung.de/Works/Mesmerizing Mesh/1962_S0B1861_web_portrait.jpg

Mesmerizing Mesh 2021-

Mirror Mirror is an online gallery and editorial platform aimed at providing infrastructure for the continuity of art, design & culture and for publishing critical writing on the creative industry.

@trevor_stuurman for @time The Next Generation Leaders issue production design and styling @chloeandreawelgemoed with @lampostsa grooming @nthabisengsenong thanks @whitneyhollingtonmatewe photo assist @zwele_

https://chicanta.tumblr.com/post/619857786884456448/%EF%BD%83%EF%BD%95%EF%BD%8C%EF%BD%94%EF%BD%95%EF%BD%92%EF%BD%85

https://jcr.nyc/

Kenzo SS19 Tomorrow Bureau https://www.tomorrowbureau.io/projects/kenzo-ss19

Hey, Glad to share with you another piece of the HoneyPot project. Today, it is a products grid page animation. If you follow my works, you should already know that I did a full redesign of a very cool plant-based feminine care e-shop. The Honey Pot is more than just a feminine care company.

Showcase and discover the latest work from top online portfolios by creative professionals across industries.

Uh oh... We're still waiting for our spam prevention code to load. If this message doesn't go away soon, please ensure JavaScript is enabled, your ad blocker is disabled, and reload the page to try again.

Scene: a young couple walks into a general contractor's office to discuss their custom home project and check out some in-progress photos. After reviewing a few images, they say: "Hey, we love that bathroom, but can we put it on the side of the hall instead?

https://www.instagram.com/traum.athletics/

As a non-profit we bring psychologists, technologists, artists and creatives together to work on applied experiments and prototypes that uplift the human spirit.

Use Layouts 'confidential folder' component — a dark card ('Stay hungry — For people who still build the work.') with a typed 'PRODUCT BRIEF' confidential card sliding out of a folder. Source: https://uselayouts.com/

https://x.com/studiobakers/status/2101986043469652277

bencho.dev — dark node-based canvas UI; a 'Node 07' card ('Reads the thread, writes a summary, and posts it back to the channel it came from') with an avatar group (+3) and a floating toolbar (link, add, duplicate, settings). Source: https://bencho.dev/

AI is letting me build all the little things I always wished software could do 🥲

we've added a way to notify you when we push a new update on the extension. we've made improvements to the @usequality_ toolbar, when its collapsed, comments/thread is hidden on the web page. https://t.co/1al4oXWBZ0 @aydahnizzy - https://x.com/aydahnizzy/status/2092263697515229407 (https://x.com/aydahnizzy/status/2092263697515229407)

https://24qw.app

https://x.com/FarzadGodarz/status/2098776231680311803

https://x.com/withAnimationUI/status/2095677751902748691/video/1

https://x.com/shawn_kel/status/2087937950424129978/video/1

https://x.com/i/status/2059696133572579598

https://t.me/refs_hi