Design – Scaffolding Boards http://www.scaffoldingboards.org/ Mon, 26 Sep 2022 23:00:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://www.scaffoldingboards.org/wp-content/uploads/2021/03/scaffolding-boards-70x70.png Design – Scaffolding Boards http://www.scaffoldingboards.org/ 32 32 Developer Meets Most Design Standards of Proposed Levy Crossing, Some Board Members Say | Local News https://www.scaffoldingboards.org/developer-meets-most-design-standards-of-proposed-levy-crossing-some-board-members-say-local-news/ Mon, 26 Sep 2022 23:00:00 +0000 https://www.scaffoldingboards.org/developer-meets-most-design-standards-of-proposed-levy-crossing-some-board-members-say-local-news/

After a developer told city officials that many of Killeen’s architectural and design standards would be met in the construction of hundreds of homes near South Fort Hood Street, they felt comfortable recommending to accede to the company’s request to reduce recoil requirements.

“The agreement we have reached is that they mostly – but not completely – meet our architectural standards,” City Manager Kent Cagle said Monday. “They have reduced the number of homes for which they are requesting withdrawal changes. It reduces setback requirements for 246 lots. Originally it was 386 lots and they reduced it to 246 lots.

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How a fashion designer duo became home improvement experts https://www.scaffoldingboards.org/how-a-fashion-designer-duo-became-home-improvement-experts/ Sat, 24 Sep 2022 16:32:47 +0000 https://www.scaffoldingboards.org/how-a-fashion-designer-duo-became-home-improvement-experts/

Like many of us trapped at home during quarantine, Oliver and Bessie Afnaim Corral, the co-founders of fashion label Arjé, decided to use their extra time to tackle a few DIY projects. In their case, it was an ambitious undertaking to remodel their 2,000-foot duplex apartment in New York without the help of any contractors except an electrician for the light fixtures. “We were watching YouTube videos and learning by doing,” says Corral. “I knew how to build a plaster wall, but we wanted to approach our house as an artistic project.” The result is a dramatic, light-filled space awash in soothing neutrals that now serves as a showroom for the brand’s expansion into interior design and furniture.

Creating living spaces is not completely foreign to the duo. Arjé, which is best known for its durable sheepskin jackets, had pop-up stores in New York and Los Angeles that were built to feel like home, with coffee and wine served while customers do their shopping. shopping and an open invitation to lie down on the furniture. So it was a natural extension for the couple to fully immerse themselves in interior design. “We had three successful years selling clothes, but we felt this desire to be a lifestyle in its own right,” says Afnaim Corral. The move from clothes to interiors may have always been part of a bigger plan for the couple, but that doesn’t mean they were completely without anxiety about the new direction. “When you have butterflies, you know you’re getting closer to your dream,” continues Afnaim Corral. “At the height of the pandemic, we looked at each other and said: we just have to do this. Our hearts knew something was missing. And so they took the leap.

First, the wall that separated their kitchen and dining room was knocked down and transformed into an arched opening, ideal for creating flow for guests when entertaining. Another impressive project Corral has done is the custom wall behind their dining table that required multiple trips to Home Depot for wood dowels cut to size and attached piece by piece. “Oli was able to do things, and I was the boring customer,” laughs Afnaim Corral.

Husband and wife designer duo Oliver Corral and Bessie Afnaim Corral.

As well as transforming the layout of their living space, the couple also designed five bespoke pieces of furniture – what they like to call the basic staples of any home – a coffee table, a dining table, a sofa, an armchair and an ottoman that are made to measure. -ordered and built in Rochester, New York. These last two articles are their greatest hits. “The chair and ottoman are our star products because interior designers and clients request and request them in custom fabrics,” says Afnaim Corral. There are plans to expand the range, with pieces that complement the existing design.

To complete their lifestyle concept, the two have ensured that everything from artwork to rugs to plates and even magazines and books from their home showroom are available at home. ‘purchase. “Oli curates most of what you see, so we really love and believe in everything. We work with artisans that we know personally,” she explains. “Everything is a closed loop of production done in small batches. Here you’ll find textiles co-designed with Nordic Knots, tableware by Japanese brand Kinto, handmade pitchers by Barcelona ceramist Marta Bonilla and surreal glassware by New Yorker Grace Whiteside. interested in seeing all of these pieces in person, private shopping appointments are available to tour their home, sit on the furniture, touch the decorative items, and most importantly, interact with the couple.

This level of thought and attention to detail informs their plans for the future. The duo don’t want to fall victim to the relentless and exhausting schedule that forces fashion designers to burn themselves out. “We are not rushing. We want to do less with the intention of lasting longer,” says Afnaim Corral. “As the saying goes, slow and steady wins the race.”

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Design for Record: Principles of a Holistic Approach https://www.scaffoldingboards.org/design-for-record-principles-of-a-holistic-approach/ Thu, 22 Sep 2022 18:33:58 +0000 https://www.scaffoldingboards.org/design-for-record-principles-of-a-holistic-approach/

Imagine… a regulatory bot that could answer your regulatory questions, powered by a level of automated, connected intelligence that could identify errors in submissions. A bot that could learn over time the data patterns required in each country submission and revise content based on predicate trends from previous similar submissions! So maybe we’re daydreaming a bit, but these hopes for how technology can be in the future push us to use the tools we have today in the present.

The successful future of global product launches is not only captured by speed of registration, but also includes factors such as predictability of process cycles, delivering consistent quotes the first time, designing for parallel country submissions and the execution of smarter global change management programs. This requires developing market intelligence, assimilating information that captures global variations and requirements by product type and country, and transparent communication with conscious decision-making within a company’s global teams.

This webinar is designed to help you identify and better understand:

  • What are the go-to-market challenges facing organizations today?
  • How areas of global MedTech product launches would benefit from regulatory intelligence systems
  • Why systems integration and connectivity between PLM-QMS-RIM can support regulatory processes
  • The benefits of automation opportunities in data processes and workflows throughout the product lifecycle
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William Kentridge review – the sound and the fury | Art and design https://www.scaffoldingboards.org/william-kentridge-review-the-sound-and-the-fury-art-and-design/ Tue, 20 Sep 2022 17:32:00 +0000 https://www.scaffoldingboards.org/william-kentridge-review-the-sound-and-the-fury-art-and-design/

Aastonishment and violence fill the Royal Academy’s investigative exhibition of Johannesburg-born artist William Kentridge. Glimpses of hangings and torture, sex in the pool, old footage of a white hunter leaping towards the rhino he’s just shot to give it a final shot in the head. An ampersand turns into a gallows and body parts are thrown into the shower. Snippets of crackling operatic tunes, singsong African songs and paranoid voices on the phone fill the air, along with the steady clang of a miner’s hammer against a rock. Kentridge’s show is filled with sound and fury.

Now in her late 60s, Kentridge has spent more than half her life under apartheid. The system itself, and the complications of its consequences, were his key subjects. The artist’s parents were both lawyers, playing a leading role in defending human rights and those accused of treason.

The artist paces, first in one direction, then in the other. Back and forth, between one thought and the next. Kentridge walks between the drawing and the camera, in order to register what he has just drawn and to allow himself a break before returning to the charcoal image, in order to wipe or rub something, shift part of the action and add a new element, to move the action forward. The successive changes in the drawn image eventually become the sequences of his primitive animated films, which develop intuitively and with a sense of inevitability. If there is no resolution, there is none; his animations are less stories than situations.

The AR show is also necessarily fragmentary and incomplete, filled with stops and starts. Retracing the evolution of his art from the 1980s to the present day, where drawing plays the main role, it also includes animations, filmed performances and sculpture, and sometimes works that combine all these elements. Kentridge continued to work for the stage, designing and directing large-scale operas and other theatrical productions around the world. Certain motifs recur throughout – the megaphone, the stovetop coffee maker, the old-fashioned typewriter, the camera, the trees and the leaves and pages of books, plus a cast of characters, including the the artist himself, lumbering, bald, aging, incarnating himself as a character as much as he is at the origin of the work.

Kentridge’s early animations were scathing and full of sarcasm and bite, as he delved into the inequalities and brutalities of the apartheid system and the white culture that sustained it. It was their central theme, as well as being made from dirty charcoal dust drawings themselves – murky stories told in dirty materials. Their baseness could also evoke the filth of corruption, the stench of his creation The Cigar of Soho Eckstein, his tongue sticking between his wife’s legs, his greed and ugliness; panoramas of poor land strewn with graves, the grime of the mine and the wreckage of a museum collapsing in on itself. A number of these screened films, made between 1989 and 2020, fill a large, semi-darkened gallery. There’s no respite and too much to take in and follow as we move from movie to movie, from one set of benches to the next, with their scenic overhanging cone speakers, with the leaks sounds and insistent images in charcoal.

Trees whose memory finally returns, 2021. Photography: Guy Bell/Rex/Shutterstock

Eckstein, real estate developer and mining magnate, a recurring figure in his chalk-striped suit, is a crude caricature, free in a world where the African National Congress has finally received legitimacy and his world is on the brink. His love rival, Felix Teitlebaum, is another replacement for Kentridge himself. In another film, we find a protagonist (we don’t know which of the two we’re looking at) hiding behind a newspaper in a deckchair on the beach, dominated by uniformed characters on a balcony. There is a baptism in the waves, with black devotees. The tide rises and falls, time returns and advances, optimism is swept away. Kentridge’s drawn and animated narratives are incomplete and unresolved situations, filled with the ambiguities of what the South African novelist JM Coetzee has called, writing of the artist’s early films, “the troubled white South African psyche and amnesia”. This is the subject of the artist, his as much as that of his protagonists.

Ubu is telling the truth.  Ubu is Kentridge's animated version of writer Alfred Jarry's character, Père Ubu.
Ubu is telling the truth. Ubu is Kentridge’s animated version of writer Alfred Jarry’s character, Père Ubu. Photography: Guy Bell/Rex/Shutterstock

In another gallery, Kentridge drew directly on the walls: a camera on its tripod, a rhinoceros, screeching loudspeakers and a radio, while in the center of the space the artist-animated version of the he invention of the writer Alfred Jarry, Père Ubu, pushes, and finally tears out, the eye of his victim. Animation gives way to film with a real, glowing, terrified eye. Jarry’s King Ubu became a security force agent whose wife, a wallboard tells us, thinks he might be having an affair, but is relieved to learn he only tortured and murdered suspected political activists. We never meet Ubu’s wife, unless she is that gelatinous eye, seeking to uncover the truth. The whole story, which we learn was developed as a play, Ubu and the Truth Commission, written by longtime Kentridge collaborator Jane Taylor and directed by the artist and performed in 1997 at the Laboratory of the Market Theater in Johannesburg. Ubu Tells the Truth is a vignette, and the wall drawings and accompanying prints and drawings in another room don’t really flesh it out.

Much more successful and visually compelling, 2005’s Black Box/Chamber Noir is a mechanical theater with automated puppets, moving backgrounds, and projected film. Sitting and watching the events on their small stage, it is often difficult to distinguish between the live action, albeit mechanical, and the filmed projection. We can believe it all the same, because the work delves into the violent repression and genocide of the Herero and Nama peoples of Namibia in 1908 by the German colonial armed forces. The most unnerving aspect of Black Box is its seductiveness, the almost childlike quality of wonder exhibited by this miniature toy world, and its gruesome subject matter and slapstick stage action. And here comes the Great White Hunter, and the rhino comes down.

Next are tapestries, derived from ancient maps, detailing the fragmentation of a continent by 19th-century European superpowers, and a three-screen film based on operas created by Mao Zedong’s wife, Jiang Qing, during the Revolution. Chinese culture. Kentridge moved the action to South Africa, where a black ballerina dances with a flag and a rifle, in a work that alludes to Chinese economic colonialism in present-day Africa. Elsewhere in the exhibition, we meet Kentridge in his studio. He stands beside himself, a self divided by a simple cinematic trick; both dressed identically, both bald, both with the pince-nez on his black ribbon. Kentridge the artist sits at his desk, surrounded by drawing materials and the tools of his trade. Beside him stands his authoritarian superego, scolding and sneering like a schoolmaster at his indolent, lethargic double. Moments of humor here are welcome. And here he is again, an animated, hand-drawn Kentridge pacing the chapters of the Posthumous Memoirs of Brás Cubas, by the 19th-century Brazilian novelist Machado de Assis, which waver beneath him. Kentridge on the move, then, is going nowhere.

Video excerpt from Notes Towards a Model Opera, 2015.
Video excerpt from Notes Towards a Model Opera, 2015. Photography: © William Kentridge

The best comes last, a film called Sibyl based on a chamber opera (Waiting for the Sibyl) commissioned by the Teatro dell’Opera in Rome in 2019. It is screened behind an almost bare stage, and we are at the entrance of the Underworld, where the anxious would leave questions, written on sheets, inquiring about their fate for the Sibyl to answer. She also wrote her responses on sheets, but no one could tell to whom her responses were addressed. Kentridge’s Sibyl mixes animation and filmed Chinese shadows, using drawing and life-size projected actors. The sculptures become rotating silhouettes and the silhouettes become drawings. The characters become trees and the trees become birds. The transitions are lovely. A solitary, frenetic and passionate dancer becomes a drawing by Goya, a bird, an electric fan. Trees dance across an inordinately enlarged page alongside the Sibyl’s often enigmatic responses. “You will live longer than a horse but not as long as a crow.” “Begin to die, diligently, wisely, optimistically. Waste no time. Screens fall, spin and fold into each other, and people move among windblown scraps of paper, as in a gust of wind. “Starve the algorithm”, say the newspapers, and “the execution site is never empty”. Beautiful voices rise and fall in the music composed by Nhlanhla Mahlangu and Kyle Shepherd. Relentless, vertiginous and amazing, I found myself unexpectedly moved in this game of illusions and shadows.Sibyl is Kentridge at its best.

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Paul Clements on the Lindisfarne Gospels – The Irish Times https://www.scaffoldingboards.org/paul-clements-on-the-lindisfarne-gospels-the-irish-times/ Sun, 18 Sep 2022 18:31:17 +0000 https://www.scaffoldingboards.org/paul-clements-on-the-lindisfarne-gospels-the-irish-times/

Few who visit are unaffected by its deeply atmospheric nature and Lindisfarne, or Holy Island, on Northumberland’s rugged coast is filled with a spiritual magnetism. For those who choose to walk the causeway barefoot in a straight line following a line of poles, this is a serene place of pilgrimage – provided you have determined the correct tide times for a safe crossing.

Regularly, visitors and vehicles are rescued after becoming stuck on the tidal causeway. Coastguard teams and the coastal lifeboat are called upon to rescue motorists stranded at high tide who have climbed back up to the shelter of the refuge hut; often, depending on the level of salt water infiltration, their car is a write-off.

Lindisfarne has a fascinating religious, military, cultural and natural history. When the Kingdom of Northumbria was ruled by Oswald, he met Irish monks from Iona, including St Aidan, inviting them to settle on the island in 535 AD. They established a monastery on the Irish model, considered a wooden church, with huts and a large communal building. Aidan was the first inhabitant whose name is known but he was eclipsed by St Cuthbert, who became Prior of Lindisfarne and was buried there in 687. Famous for his piety and healing powers, his name is synonymous with the island.

Cuthbert’s cult inspired one of the most renowned books in the world – the ornately decorated Lindisfarne Gospels created at the priory and depicting a golden age of design, craftsmanship and literary innovation. The Gospels are thought to have been written around 715-720 when Eadfrith, Bishop of Lindisfarne then at the height of his powers, began working on sheets of cowhide vellum. Vellum comes from velin, an Old French word for a calf, and the book required the skins of over 100 calves.

Eadfrith produced the complex Latin transcription of an illuminated copy of the four Gospels dedicated to Saint Cuthbert who had been forced to flee the island in 793 following Viking raids. He used a script known as Island Capital, first developed in Ireland, which came to Lindisfarne with Aidan. The gospels then went to Durham Cathedral, built to house Cuthbert’s body, and in the 10th century a priest named Aldred added the oldest Anglo-Saxon translation between the lines of the Latin text.

Shaped when there was a thirst for knowledge at a time when the arts were flourishing, the book is a symbol of cultural identity with its distinctive iconography and the precision of its intricate design. Normally kept in the British Library in London, it has survived in near perfect condition for over 1,000 years. Now, for the first time in over seven years, it is temporarily returning to its roots, returning to the North East of England where it will be on display at the Laing Art Gallery, Newcastle upon Tyne, until December 3. The idea behind this is to allow people outside of London to see the manuscript first hand. But only one section of this precious relic will be displayed over two pages, although a replica is permanently at the Lindisfarne Center on the island.

The Lindisfarne Gospels, which established the shape of modern books, have inspired artists throughout the centuries. A gallery exhibition on its significance today examines its relationship to themes of identity through events and workshops as well as film, light and sound installations. Paintings, drawings and photographs examine how art and spirituality have developed since the creation of the book.

St Cuthbert is said to have offered refuge to eider ducks on the nearby Farne Islands in the North Sea and this association survives under their traditional local names of ‘Cuthbert Duck’ and ‘Cuddy Duck’. But for today’s visiting birdwatchers, there is sadness attached to these small, uninhabited islands as they are currently off-limits to landing parties. In an attempt to reduce the spread of bird flu which has had a devastating effect on the seabird population, people have been asked not to visit the archipelago. The virus has killed at least 3,000 birds on the island group and had severe effects on roseate terns on Coquet Island.

Lindisfarne itself, however, remains a vibrant community open for business. Aside from the 13th century priory with its red sandstone walls, pillars and rainbow, there is plenty for antique dealers, historians, hikers and the simply curious to explore. Walk around the axe-shaped island through its pristine bays, shimmering sands and dunes and admire where land and sea meet a vast sky. Catch the right day, sip a glass of mead or Holy Island rum, and as you drink in the chiaroscuro of light around the Heugh or through the Crooked Lonnen, the stark beauty will live long in your memory. www.laingartgallery.org.uk

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Kickie Chudikova unveils his installation “Spiral of Life” in DUMBO https://www.scaffoldingboards.org/kickie-chudikova-unveils-his-installation-spiral-of-life-in-dumbo/ Fri, 16 Sep 2022 18:54:12 +0000 https://www.scaffoldingboards.org/kickie-chudikova-unveils-his-installation-spiral-of-life-in-dumbo/

Most park benches barely command a glance, let alone offer meditations on their surroundings, but designer Kickie Chudikova decided to change that. His public sculpture, spiral of lifeoffers a sinuous contrast to its linear backdrop under the Brooklyn Bridge, and was unveiled before an intimate crowd on September 15 as the winner of NYCxDESIGN’s inaugural IMPACTxDESIGN competition.

As part of the IMPACTxDESIGN competition, designers were challenged to use Caesarstone material in new ways to foster public and community engagement—spiral of life does exactly that. Chudikova’s sculpture, which doubles as a conversation starter, appears to be always in motion given its undulating form made of waterjet-cut pieces from Caesarstone’s outdoor quartz collection.

“The idea was to give people a playground to sit down however they want,” Chudikova told Debbie Millman, host of The Mic podcast, during a panel discussion later that evening at the DUMBO office. of the BIG-Bjarke Ingels group. “It’s such a challenge to design something three-dimensional out of two-dimensional tiles.” She shared that a childhood toy of a dinosaur skeleton served as inspiration. Like the toy, his modular bench consists of bony pieces connected by a single metal structure.

Chudikova takes place on her piece. Photograph by Nicholas Kuhn.

The form of the installation also nods to the gentle waves of the Hudson River and the sculptures of Isamu Noguchi. This project, says Chudikova, offered “an opportunity to work with quartz in a new and exciting way without fear of fading and staining.” Chudikova’s reliance on the material is evident in her choice of colors – the bench is a shade of eggshell white.

NYCxDESIGN and Caesarstone brought the installation to life in collaboration with the New York Department of Transportation’s Art Program, Dumbo Improvement District, and Design Trust for Public Space.

Spiral of Life contrasts with the linear form of the Brooklyn Bridge and surrounding buildings.
Spiral of Life contrasts with the linear form of the Brooklyn Bridge and surrounding buildings. Photograph by Nicholas Kuhn.
NYCxDESIGN and Caesarstone brought the installation to life.
NYCxDESIGN and Caesarstone brought the installation to life in collaboration with the New York Department of Transportation’s Art Program, Dumbo Improvement District, and Design Trust for Public Space.
The installation consists of Caesarstone quartz slabs cut with a water jet.  Photograph by Matthew Carasella.
The installation consists of Caesarstone quartz slabs cut with a water jet. Photograph by Matthew Carasella.
A dancer in a white dress and a violinist evolve around the sculpture.
A dancer and musician offers a short performance to celebrate Spiral of Life. Photograph by Matthew Carasella.
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Google Photos update brings a new design for Memories, the collage editor https://www.scaffoldingboards.org/google-photos-update-brings-a-new-design-for-memories-the-collage-editor/ Thu, 15 Sep 2022 02:23:31 +0000 https://www.scaffoldingboards.org/google-photos-update-brings-a-new-design-for-memories-the-collage-editor/

Google just revealed some new changes coming to its Photos app on Android and iOS platforms. The highlight of the latest update is the new design received by Memories, a feature launched by Google about three years ago.

It took a while, but it looks like it was worth the wait. Memories’ biggest update since release not only includes a new design, but also an all-new collage editor to turn those memories into state-of-the-art scrapbooks.

The update is rolling out today, so you should already start seeing more videos and some of your best clips from longer videos that Photos automatically selects and cuts. The update will also add a “subtle zoom” to photos that will make your memories seem vivid.

Full Cinematic Memories comes to the app, a feature that brings multiple still photos to life. These will also have music to make the cinematic experience even more immersive. Also, Google has introduced another new feature called Styles, which automatically adds graphic artwork to your Memories to make them stand out.

At launch, the feature will include limited-time styles from featured artists like Shantell Martin and Lisa Congdon. The graphic art created by these artists has been specially designed for Google Photos.

Apart from the new features and redesign of Memories, Google Photos also provides the option to share these Memories with your friends and family. However, this option is only available on Android at the moment, but iOS and Web will get it very soon as well.

Finally, the new collage editor launched today allows Photos users to create collages that they can share. To create these collages, simply choose the photos you want, select a design (including featured artist styles), then rearrange the layout using simple drag-and-drop controls .

Photos added to the collage can be edited from the editor. This means that you will be able to adjust brightness and contrast, apply filters and much more. Those who own a Pixel phone and Google One members get additional options when it comes to photo editing, as they can use features like Portrait Light and HDR. They also have access to over 30 additional templates.

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Herzog & de Meuron collaborates with Piet Oudolf to design Calder Gardens in Philadelphia https://www.scaffoldingboards.org/herzog-de-meuron-collaborates-with-piet-oudolf-to-design-calder-gardens-in-philadelphia/ Tue, 13 Sep 2022 10:30:00 +0000 https://www.scaffoldingboards.org/herzog-de-meuron-collaborates-with-piet-oudolf-to-design-calder-gardens-in-philadelphia/

Herzog & de Meuron collaborates with Piet Oudolf to design Calder Gardens in Philadelphia