How does your childhood home influence the one you make yourself? Seven leading architects look back at the foundations of their career
Libeskind, 70, founded Studio Libeskind with his wife, Nina, in 1989 after winning a competition to build the Jewish Museum in Berlin. In 2003, his studio moved its headquarters from Berlin to New York, when Libeskind was selected as master planner for the World Trade Center redevelopment
Continue reading...From London's Barbican to Wiltshire and Yorkshire, these cutting-edge properties capture the architectural spirit of the age
Continue reading...On Sunday, with half an hour to spare before my timed entry to the Georgia O'Keefe exhibition, I ventured to Tate Modern's 10th-floor viewing platform (Get some net curtains, says Tate director in row over flats and a not so private view, 22 September).
The view from there is fine if you want to look at modern office blocks such as the Shard and the Gherkin, but if you want to spot Big Ben and the Houses of Parliament you have to twist your body, bend low and put your head on one side, as the view is blocked by the tops of nearby buildings. The Tower of London is mostly hidden too.
Continue reading...the exhibition showcases sherman's engagement with 20th century popular film and celebrity, drawing on cinema's role in the shaping of identity and stereotypes.
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Born and bred in Los Angeles, the photographer has produced a huge and varied body of work over his 45-year career moving from black and white to color, and from photographing people to landscapes and abstract details. San Francisco Museum of Modern Art will feature more than 160 photographs in his first retrospective, that will be on display until 1 January 2017
Continue reading...EAT by Fable, Singapore
colorful and vibrant illustrations by james r. eads have been brought to life chris mcdaniel, known as 'the glitch.'
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The RA's mega overview of abstract expressionism opens this week, along with portraits of dream worlds and pop stars all in your weekly art despatch
Abstract Expressionism
Jackson Pollock, Mark Rothko, Clyfford Still, Willem de Kooning … some of the greatest art of the modern age crosses the Atlantic to awe us with its all-embracing sublimity. What's not to like? See it several times.
• Royal Academy, London, 24 September2 January
on the façade of an 'eye-sore' soviet building by the river, the architect has featured a dynamic display of color and light.
The post ignas lukauskas turns a soviet garage in vilnius into a luminous waterfall appeared first on designboom | architecture & design magazine.
Photographs from the Eyewitness series
Continue reading...Could an outpost on the moon be the next logical step towards the know-how and infrastructure we need to head into the farther reaches of the solar system?
The danger in having a moon village as your vision for the future is that people get the wrong impression. The mind leaps ahead and lands on a movie set: a giant dome shelters a huddle of homes, a bank of generators, and a modestly-stocked shop that doubles as the post office. A lost spacefarer with a PhD in botany clings to life by growing spuds in human faeces.
The idea is so easily misconstrued that Jan Woerner, the director general of the European Space Agency (ESA), makes clear from the start what the moon village is not. “Let me tell you what it won't mean,” he says. “Single houses, a school, a church, a swimming pool, a bakery, an undertaker. This is not what I'm thinking about.”
Consultancy Jaywing has created the place branding for Hull 2017, the initiative marking the northern city's status as UK City of Culture.
The logo is an “H” shape constructed out of a series of geometric lines, used against a colourful palette of purple, green, yellow, blue and pink.
Gavin Shore, creative director at Jaywing, says the idea behind the logo is in creating “a shape within a shape”, which is used as a framing device across the entire brand.
“The idea of the logo came from simple ‘frames', or boxes, that were reinterpreted to create shapes, connections and forms, and to re-frame images, objects, art and culture,” says Shore.
A broad range of colours were used to change the “perception of a ‘grey' northern city at the edge of the world into glorious technicolour”, says Shore. As Hull is a coastal city, Shore says it wanted to bring in the connection to “sea and light” through colour too.
An advertising campaign follows the new branding, which focuses on language to “bring to life the voice of Hull and its inhabitants”.
Hull was announced the winner of UK City of Culture 2017 in 2013, and since then Hull City Council has set it up as a charitable trust. The award is given every four years.
There will be four cultural seasons run in Hull in 2017, including events around theatre, dance, music, film, art and design.
Hull 2017 is still seeking partnerships with funders, trusts and businesses to reach a fundraising target of £18 million. The organisers hope the programme “will make Hull a better place for the people who live and work here”.
The new branding starts rolling out now across merchandise, print materials and advertising, and online.
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Sir John Sorrell has announced that he will step down as chairman of the Creative Industries Federation at the beginning of 2017.
Sorrell established the Federation in 2014. Previously, he co-founded design consultancy Newell and Sorrell in 1976 with his wife Lady Frances Sorrell, and set up charitable organisation the Sorrell Foundation in 1999.
He later established the London Design Festival in 2003, and the London Design Biennale, which is currently in its first year.
He also previously chaired the Design Council, and still chairs the University of the Arts London (UAL), which he has done since 2013. He is also a trustee of the Victoria and Albert (V&A) Museum.
Sorrell takes on a new role at the Federation as founder president.
He says: “I've been working on the project to establish the Creative Industries Federation for the best part of a decade. It is in fantastic shape with great leadership, staff and board, and a good strategic plan.
“It is now time for someone else to take the organisation forward. But I will be proud to remain closely involved.”
Sir Nicholas Serota, director of the Tate, comments on Sorrell's departure: “John Sorrell conceived the Federation and has led it with a deft touch and with imagination, winning the support of government and the creative community. We are all immensely grateful.”
The Federation is currently seeking a new chairman, which is says will be a “sought-after board post across the UK's art and creative industries”.
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Ever since NASA's New Horizons spacecraft flew by Pluto last year, evidence has been mounting that the dwarf planet may have a liquid ocean beneath its icy shell. Now, by modeling the impact dynamics that created a massive crater on Pluto's surface, a team of researchers has made a new estimate of how thick that liquid layer might be.
The study, led by Brown University geologist Brandon Johnson and published in Geophysical Research Letters, finds a high likelihood that there's more than 100 kilometers of liquid water beneath Pluto's surface. The research also offers a clue about the composition of that ocean, suggesting that it likely has a salt content similar to that of the Dead Sea."Thermal models of Pluto's interior and tectonic evidence found on the surface suggest that an ocean may exist, but it's not easy to infer its size or anything else about it," said Johnson, who is an assistant professor in Brown's Department of Earth, Environmental and Planetary Sciences. "We've been able to put some constraints on its thickness and get some clues about composition."
The research focused on Sputnik Planum, a basin 900 kilometers across that makes up the western lobe the famous heart-shaped feature revealed during the New Horizons flyby. The basin appears to have been created by an impact, likely by an object 200 kilometers across or larger.
The story of how the basin relates to Pluto's putative ocean starts with its position on the planet relative to Pluto's largest moon, Charon. Pluto and Charon are tidally locked with each other, meaning they always show each other the same face as they rotate. Sputnik Planum sits directly on the tidal axis linking the two worlds. That position suggests that the basin has what's called a positive mass anomaly—it has more mass than average for Pluto's icy crust. As Charon's gravity pulls on Pluto, it would pull proportionally more on areas of higher mass, which would tilt the planet until Sputnik Planum became aligned with the tidal axis.
But a positive mass anomaly would make Sputnik Planum a bit of an odd duck as craters go. "An impact crater is basically a hole in the ground," Johnson said. "You're taking a bunch of material and blasting it out, so you expect it to have negative mass anomaly, but that's not what we see with Sputnik Planum. That got people thinking about how you could get this positive mass anomaly."
Part of the answer is that, after it formed, the basin has been partially filled in by nitrogen ice. That ice layer adds some mass to the basin, but it isn't thick enough on its own to make Sputnik Planum have positive mass, Johnson says.
The rest of that mass may be generated by a liquid lurking beneath the surface. Like a bowling ball dropped on a trampoline, a large impact creates a dent on a planet's surface, followed by a rebound. That rebound pulls material upward from deep in the planet's interior. If that upwelled material is denser than what was blasted away by the impact, the crater ends up with the same mass as it had before the impact happened. This is a phenomenon geologists refer to as isostatic compensation.
Water is denser than ice. So if there were a layer of liquid water beneath Pluto's ice shell, it may have welled up following the Sputnik Planum impact, evening out the crater's mass. If the basin started out with neutral mass, then the nitrogen layer deposited later would be enough to create a positive mass anomaly.
"This scenario requires a liquid ocean," Johnson said. "We wanted to run computer models of the impact to see if this is something that would actually happen. What we found is that the production of a positive mass anomaly is actually quite sensitive to how thick the ocean layer is. It's also sensitive to how salty the ocean is, because the salt content affects the density of the water."
The models simulated the impact of an object large enough to create a basin of Sputnik Planum's size hitting Pluto at a speed expected for that part in the solar system. The simulation assumed various thicknesses of the water layer beneath the crust, from no water at all to a layer 200 kilometers thick.
The scenario that best reconstructed Sputnik Planum's observed size depth, while also producing a crater with compensated mass, was one in which Pluto has an ocean layer more than 100 kilometers thick, with a salinity of around 30 percent.
"What this tells us is that if Sputnik Planum is indeed a positive mass anomaly —and it appears as though it is—this ocean layer of at least 100 kilometers has to be there," Johnson said. "It's pretty amazing to me that you have this body so far out in the solar system that still may have liquid water."
As researchers continue to look at the data sent by New Horizons, Johnson is hopeful that a clearer picture of Pluto's possible ocean will emerge.
Johnson's co-authors on the paper were Timothy Bowling of the University of Chicago and Alexander Trowbridge and Andrew Freed from Purdue University.
The Daily Galaxy via Brown University
International teams of astronomers have used the ESO's Atacama Large Millimeter/submillimeter Array (ALMA) to explore the distant corner of the Universe first revealed in the iconic images of the Hubble Ultra Deep Field (HUDF). These new ALMA observations are significantly deeper and sharper than previous surveys at millimeter wavelengths. They clearly show how the rate of star formation in young galaxies is closely related to their total mass in stars. They also trace the previously unknown abundance of star-forming gas at different points in time, providing new insights into the "Golden Age" of galaxy formation approximately 10 billion years ago.
In 2004 the Hubble Ultra Deep Field images, pioneering deep-field observations with the NASA/ESA Hubble Space Telescope, were published. These spectacular pictures probed more deeply than ever before and revealed a menagerie of galaxies stretching back to less than a billion years after the Big Bang. The area was observed several times by Hubble and many other telescopes, resulting in the deepest view of the Universe to date.
Astronomers using ALMA have now surveyed this seemingly unremarkable, but heavily studied, window into the distant Universe for the first time both deeply and sharply in the millimetre range of wavelengths. This allows them to see the faint glow from gas clouds and also the emission from warm dust in galaxies in the early Universe.
Astronomers specifically selected the area of study in the HUDF, a region of space in the faint southern constellation of Fornax (The Furnace), so ground-based telescopes in the southern hemisphere, like ALMA, could probe the region, expanding our knowledge about the very distant Universe. Probing the deep, but optically invisible, Universe was one of the primary science goals for ALMA.
ALMA has observed the HUDF for a total of around 50 hours up to now. This is the largest amount of ALMA observing time spent on one area of the sky so far.
One team led by Jim Dunlop (University of Edinburgh, United Kingdom) used ALMA to obtain the first deep, homogeneous ALMA image of a region as large as the HUDF. This data allowed them to clearly match up the galaxies that they detected with objects already seen with Hubble and other facilities.
This study showed clearly for the first time that the stellar mass of a galaxy is the best predictor of star formation rate in the high redshift Universe. They detected essentially all of the high-mass galaxies and virtually nothing else.
Jim Dunlop, lead author on the deep imaging paper sums up its importance: "This is a breakthrough result. For the first time we are properly connecting the visible and ultraviolet light view of the distant Universe from Hubble and far-infrared/millimetre views of the Universe from ALMA."
The second team, led by Manuel Aravena of the Núcleo de Astronomía, Universidad Diego Portales, Santiago, Chile, and Fabian Walter of the Max Planck Institute for Astronomy in Heidelberg, Germany, conducted a deeper search across about one sixth of the total HUDF.
Some of the new ALMA observations were specifically tailored to detect galaxies that are rich in carbon monoxide, indicating regions primed for star formation. Even though these molecular gas reservoirs give rise to the star formation activity in galaxies, they are often very hard to see with Hubble. ALMA can therefore reveal the "missing half" of the galaxy formation and evolution process.
ALMA's ability to see a completely different portion of the electromagnetic spectrum from Hubble allows astronomers to study a different class of astronomical objects, such as massive star-forming clouds, as well as objects that are otherwise too faint to observe in visible light, but visible at millimetre wavelengths.
"The new ALMA results imply a rapidly rising gas content in galaxies as we look back further in time," adds lead author of two of the papers, Manuel Aravena (Núcleo de Astronomía, Universidad Diego Portales, Santiago, Chile). "This increasing gas content is likely the root cause for the remarkable increase in star formation rates during the peak epoch of galaxy formation, some 10 billion years ago."
The results presented today are just the start of a series of future observations to probe the distant Universe with ALMA. For example, a planned 150-hour observing campaign of the HUDF will further illuminate the star-forming potential history of the Universe.
"By supplementing our understanding of this missing star-forming material, the forthcoming ALMA Large Program will complete our view of the galaxies in the iconic Hubble Ultra Deep Field," concludes Fabian Walter.
The image at the top of the page shows a trove of galaxies, rich in carbon monoxide (indicating star-forming potential) were imaged by ALMA (orange) in the Hubble Ultra Deep Field. The blue features are galaxies imaged by Hubble. This image is based on the very deep ALMA survey by Manuel Aravena, Fabian Walter and colleagues, covering about one sixth of the full HUDF area.
The Daily Galaxy via European Southern Observatory
Image credit: B. Saxton (NRAO/AUI/NSF); ALMA (ESO/NAOJ/NRAO); NASA/ESA Hubble
Credit: B. Saxton (NRAO/AUI/NSF); ALMA (ESO/NAOJ/NRAO); NASA/ESA Hubble
NASA Goddard Photo and Video posted a photo:
This image, taken by the NASA/ESA Hubble Space Telescope, shows the colorful "last hurrah" of a star like our sun. The star is ending its life by casting off its outer layers of gas, which formed a cocoon around the star's remaining core. Ultraviolet light from the dying star makes the material glow. The burned-out star, called a white dwarf, is the white dot in the center. Our sun will eventually burn out and shroud itself with stellar debris, but not for another 5 billion years.
Our Milky Way Galaxy is littered with these stellar relics, called planetary nebulae. The objects have nothing to do with planets. Eighteenth- and nineteenth-century astronomers called them the name because through small telescopes they resembled the disks of the distant planets Uranus and Neptune. The planetary nebula in this image is called NGC 2440. The white dwarf at the center of NGC 2440 is one of the hottest known, with a surface temperature of more than 360,000 degrees Fahrenheit (200,000 degrees Celsius). The nebula's chaotic structure suggests that the star shed its mass episodically. During each outburst, the star expelled material in a different direction. This can be seen in the two bowtie-shaped lobes. The nebula also is rich in clouds of dust, some of which form long, dark streaks pointing away from the star. NGC 2440 lies about 4,000 light-years from Earth in the direction of the constellation Puppis.
The material expelled by the star glows with different colors depending on its composition, its density and how close it is to the hot central star. Blue samples helium; blue-green oxygen, and red nitrogen and hydrogen.
Credit: NASA, ESA, and K. Noll (STScI), Acknowledgment: The Hubble Heritage Team (STScI/AURA)
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Our moon is a laboratory: "An archive of solar system history, the signatures of meteorites, comets and the solar wind are written in the dust. A moon village would give scientists the means to explore the body, a lump of the ancient Earth, much as Antarctic bases have opened up the southern continent."
The European Space Agency (ESA), under diretor Jan Worner, sees the moon as the obvious next venture after the $150bn International Space Station plunges back to Earth in a fireball above the Pacific Ocean leaving astronauts with nowhere to go. The “village” Worner describes to The Guardian is a diverse community of public and private organisations that work on the moon together. A band of nations might build a telescope on the far side of the moon, where observations are shielded from Earth's electromagnetic din. A single agency could test whether robots can make radiation-proof habitats from lunar regolith. A tech firm could extract water from polar ice and turn some into hydrogen, oxygen and rocket fuel. Another might break into lunar tourism.ESA's vision is of a moon village intended to grow incrementally as an open, international effort. "In time," Woerner says, "it would build up the vital infrastructure and practical know-how that humans will need to head more safely into the farther reaches of the solar system."
“The question is what to do after the space station,' says Ian Crawford, professor of planetary science at Birkbeck, University of London. “Either nothing follows and you shut down human space exploration, or you build another space station and it's hard to see the point of that or you go somewhere else, and I strongly believe the moon is the next place to go.”
Before we head to Mars, or any other faraway body, Crawford says, humans must learn how to thrive in dusty, high radiation environments. “To send people to Mars you have to be very confident in all aspects of the technology,” he says. “Going to the moon is risky too, but the advantage of learning and trialling all this stuff on the moon is that if something goes wrong, you can bring people back. The moon is only three days away. Abort options exist.”
“A lunar base isn't a distraction from our desire to visit and explore Mars,” says Katherine Joy, a lunar scientist at Manchester University. “What we learned from Apollo is that touch-and-go-style missions are exciting, and scientifically rewarding, but they don't lead to a sustained human presence on an alien world.”
The Daily Galaxy via The Guardian: Read more Here
Burrowing bug (Amnestus sp.) collected in Rouge National Urban Park, Ontario, Canada, and photographed at the Centre for Biodiversity Genomics (sample ID: BIOUG13927-G09; specimen record: http://www.boldsystems.org/index.php/Public_RecordView?processid=SSROB5610-14; BIN: http://www.boldsystems.org/index.php/Public_BarcodeCluster?clusteruri=BOLD:ACN9624)
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1970s Japanese poster for a Marx Brothers Festival
Artist: Akira Mouri
Poster source: Heritage Auctions
See more posters of the Marx Brothers at Movie Poster of the Week at MUBI