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valiantchopshopharmony · 4 years

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Starting a Photography Business Will Be Easier With These 30 Free Tips

When you are a keen photographer and you've got the urge to devote your working life doing something you like such as photography, then it will be a pity if you did not pursue it further would not it? You truly don't need to combine an institution or cover thousands of bucks to begin either. You merely want the fire to understand and persist.

It is correct that there's riches to be made from photography and I am not planning to down play that make a pitch to the contrary since in each instance, it's been around the person. Meaning - it depends on what style of photography they select, how long they put in the company, Photography Course in south Delhi do they have a business bent, are somewhat more arty than normal etc.. These points come to play when achievement in a photography company or studio is contested.

I really don't need to make some false hopes by that last paragraph since victory will need some hard work, patience and tolerance. These subsequent thirty tips should help you on the way.

Where do I obtain information about constructing a photography company?

1. Apart from that, the world wide web is the largest source of advice and can supply you with various career opportunities or more info on starting a photography company.

At which level would you like to begin your photography company?

2. This is actually the trickiest question a individual considering starting a company experiences. It's essential to determine what sort of photography company you would like to ensure the applicable requirements and (occasionally ) finance could be muscled up. short term photography courses in south east delhi

When is the ideal time to initiate a fully-fledged photography company?

3. After deciding what you want and some additional necessary equipment that's required to prepare the basic infrastructure, then you'll have to think about carefully your primary instrument - the camera, be it film or digital. You also have to consider carefully a trusted, high quality PC and great relevant software to control your photos using special effects. If the company has been undertaken on a huge scale then perhaps a growing lab has to be established and planned.

O what type of places will yield actual income to your enterprise?

4. A newly established company in photography demands a confident place or a beat (working anyplace ), as in journalism. Once recognized, company may also be diversified into a lot more fields.

O Assembling a photography portfolio

5. It's always very important to compile a fantastic portfolio so far as photography is concerned. A portfolio must have an assortment of applicable photographic work which you think to be remarkable. Ensure photographs are unusual in nature and are from varied fields. Your portfolio has to have the ability to impress the customer from the very first assembly.

6. Just keep your very best work from the folder so you don't embarrass yourself or wind up needing to describe photographs that are not applicable.

7. Publish spontaneous photographs that you think are of fantastic quality. You would be amazed how many men and women respond favorably to individuals expressions when they're great shots.

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8. A canvas backdrop of minimum 7-9 foot along with the background colours should be navy or white as minimal requirements to begin using; a well-branded studio lighting system like that of Norman & Speedtron; accredited picture manipulation applications like Photoshop, Corel Paint Shop, etc..

Is there a demand for establishing a cosmetics studio as a portion of your photograph studio?

9. Makeup and photography frequently go together. Wherever cosmetics is involved it can be known as trick photography since cosmetics is capable of entirely changing somebody's character, and at times significance to some product in the event of advertising photography.

What type of photo-editing applications available on the industry?

10. Photo-editing applications by which particular effects and total adjustments to a photograph are possible and may also frequently save the demand for a shoot.

11.

Is storage and therapy of photos crucial in building photographs company?

12. Never embrace laxity whilst archiving or handling photos. You may regret it afterwards. Storage and accessibility efficiency will improve or enhance your working atmosphere. Often elderly photographs become more precious with time.

How can be photos be stored readily aside from the traditional method?

13. Today's cameras are exceptionally versatile and enables transfers and downloads from exceptionally surprising devices such as your cellphone but images may also be saved onto a CD's, USB's and DVD's too.

O picking a Camera

14. Stick to w ell recognized manufacturer. The degree of mega pixel provided and high quality of this zooming facility has to be looked into carefully.

15. The majority of the cameras are compatible with all printers and computers and because we use memory sticks, so we're free to work invisibly.

O what type of a site does one person must get?

16. Your assortment of photos have to be correctly categorized under different categories. Visual look of your site will work amazing things for your company so consider establishing one with semi automatic automation in which the upkeep and challenging work is done for you enjoy photostockplus.

17. Don't forget to continuously update and maintain your site so that every time people encounter your site, they will discover nice something fresh and intriguing.

18. Copyright is the right protects the individual who owns who shot the photos. A smart exercise if you're seeking to utilize some inventory homes for business purposes.

O What's a company card useful?

19. In each company, visiting cards are all useful. It's very helpful in for folks to get in touch with you after your initial meeting. It has to include all of your contact details. If you are a photographer, a smart impressive graphic or an image of yourself along with your gear is greatest. Your telephone number or email has to be simple to read. I've seen cards which have big names and graphics and the telephone numbers are so small they're hard to read. Ridiculous! Make your telephone number the most significant thing about the card that's what most folks will use it to get.

O Which things have to be considered as you intend to construct a wedding photography company?

20. Wedding Photography is another artwork unto itself. There are various things to consider for a really prosperous wedding shoot. I've prepared another guide to manage this in more detail and it is about --Wedding Photography. --

O Benefit of mission photography

21. Assignment photography is that division of photography in which a individual has been engaged or consigned to catch pictures of something striking and extraordinary, including in the case of advertisements or portrait photography; this can supply you a steady income once you have learned the principles.

O Benefit of stock photography

22. This is sometimes a slow haul but when your photos are nicely thought out, it may be the origin of a continuing income. --My favourite is istockphotos--.

O Other areas where you are able to sell your photographic series?

23. Art displays are the ideal platform from wherever your imagination and work will probably be really appreciated because in these areas you will get some niche clients which have a sharp eye for actual talent. Such areas are proven to attract immediate fame.

24.

O Costs to be billed from the customers

25. At the first phases of your organization, do not attempt to charge exorbitant sums otherwise it'll give the incorrect impression and you'll possibly lose a precious long-term customer. Tread slowly. Ring other research and photographers. Five telephone calls must perform it.

Advertising Your photography company

26. You have to attempt to advertise your work at important areas. Pictures may also be printed on the net. Book over the net will boost customer enquiry. Do not forget to hunt for appropriate regional markets and find the snaps published in a local journal or paper and constantly exhibit your contact number carefully - consistently!

27. Placing and popularizing a company is a difficult call but should you embrace a correct marketing plan. Nowadays, Advertising is just one of the most well-known mediums of marketing. Advertising can be placed on sites, online phone directories, magazines and papers, etc.. Find out more about the ideal mediums until you rush into. Occasionally fantastic prices get in the method of recognizing the ideal advertising car.

28. You are able to create a site of your own to efficiently market your photography company but something that has to be considered is never neglect to add a testimonial segment and assess the reaction of the folks going to the site. Enable them to make remarks.

29. People interested in putting together a photography company can start their career by turning into a photo journalist. Appealing and unconventional photos can be provided to papers, magazines, sites and also the photography business is flourishing to this extent that international media organizations will provide you with great money in exchange for infrequent and high quality photos.

30. There are several more jobs also linked to photography than that there was formerly and as a result of the diversity and versatility of digital photography, even more respect was connected to the profession.

Proceed and make yourself a hot drink and a have a long think about where you are likely to begin, in other words, in case you have not already begun.

This guide has been provided courtesy of Roy Barker. Roy has provided further detail about the aforementioned subject matter at starting a photography company and is devoted to training you on how to begin your own photography business. You might even acquire photography tips, help (mainly free) or just a Digital Photography.

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openbookunedited · 5 years

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Rhythm + Flow On Netflix Is The Push Rap Needed To Give New Artists Life

I can't change, I can't change, I can't change, yea... Shout out to Londynn B for that banger! I’m lowkey too hype writing this---but I swear Netflix was on to something when they got Cardi B, Chance Tha Rapper, and T.I. to host a gimmicky yet certified Hip-Hop show searching for the next Rap superstar. Superstar might be a stretch, but Rhythm + Flow got all the juice. In the words of Snoop Dogg, “This ain't The Voice muh fuckah!”

Off rip, the A-List trio gathered equally established A-List stars to help put on for their cities. Guest judges such as Snoop Dogg, Big Boi, Quavo, Jadakiss, Twista, Fat Joe, Lupe Fiasco, Killer Mike, and star producers such as Tay Keith, Hit-Boy, London On Da Track, SounWave, and more, advised and worked with each artist as they help develop them across 10 episodes of the binge-worthy series. The late Nipsey Hussle was also in an episode schooling new talent.

Flow’s episodes featured everything from cyphers and battles raps, to music videos and samples. T.I.’s vocabulary didn't disappoint and Cardi’s unfiltered personality made her a national treasure. (Pause) Cardi’s unfiltered mouth is a gift to humanity! #CardiB2020 (Continue) At the time of writing this, the R&B collaborations episode was my favorite but the finale also came with the heat. The Collaborations episode allowed us to rock to fresh remixes of classics by Ty Dolla $ign, Teyana Taylor, Jhene Aiko, and Tory Lanez. D Smoke set flames to the stage and by the end of the episode I was at home yelling, “Talk that shit Smoke! / Walk that shit Smoke! / Bark that shit Smoke! / Argh, Argh, Argh, Argh!,” after his Skywalker collab with R & B star Miguel.

Rhythm + Flow offered undiscovered artists from across all regions of America the chance to perform live on Spotify’s Rap Caviar and $250,000k if the took the season 1 crown. Not to be a complete spoiler, but the final episode included Londynn B, Flawless Real Talk, D Smoke, and TroyMan, each performing originals with full creative control. TroyMan murdered the game and everyone who followed demonstrated why they made it to the finals. Flawless Real Talk delivered a heartfelt performance while Londynn B burned the stage down with a medley of London On Da Tracks produced bangers!

In the end, D Smoke came out on top after his assortment of hits which featured production by the Academy Award-nominated SounWave. Smoke’s blend of Spanish and conscious rap exhibited a unique style that was rarely duplicated as he danced on the fine line of art and street in every bar. Even though everyone didn't win, most walked away with the opportunity to continue recording projects with the superstar producers and have noticed a huge spike in social media.

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kerrilewellen450-blog · 6 years

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Kevin Gates Net Worth Entire Career

This Post is specifically for Kevin Gates Net Worth, Kevin Gates is his Nick name for the stage. His borned name is Kevin Jerome Gilyard. He is from Louisiana and popular rapper of the Era, Kevin Gates is maybe best known for his hits, Really, Really, Time for That, and 2 Phones. He start his career from his teen age in music industry. His first album released in 2007 that was "Pick of Da Litter. Later there more two tapes before going to prison.

Kevin gates net worth can discuss after knowing his path to success. Gates have since figured out how to put himself progressing nicely, with 15 consecutive releases in the vicinity of 2012 and 2017. A couple of features incorporate, Stranger Than Fiction, By Any Means, Luca Brasi 2, and Murder for Hire, all of which topped on the US record outlines. His introduction collection titled, Islah was discharged last January, to positive audits.

An up-and-rising craftsman, his quality in the rap scene has been developing consistently finished the previous couple of years. Starting at 2017, as compared to kevin gates net worth, Gates has more than 15 million fans over his diverse web-based social networking accounts.

How effective has the most recent couple of years been for him? What amount has he figured out how to bank from his rap profession? As per different destinations, Kevin Gates net worth in 2018 is assessed to be around $1.5 million. What are his distinctive wellsprings of wage? We should discover.

Kevin Gates Net Worth 2018 – $1.5 Million

How did Kevin Gates net worth raised ?

Conceived on February 5, 1986 in Baton Rouge, Louisiana, Kevin Gates' (Real Name: Kevin Jerome Gilyard) childhood was for the most parts, turbulent. Experiencing childhood in a neediness stricken region, wrongdoing was wild; for a certain something, the area was loaded with street pharmacists. Strangely enough, he even had desires of being a medication master at a certain point. Getting himself into inconvenience, he was captured out of the blue at thirteen years old for "joyriding" with a couple of companions.

As an understudy, he went to two or three diverse secondary schools in the territory including Lee and McKinley. Regardless of the way that he exceeded expectations in class, his scanty participation record prompted a drop in his evaluations. Purportedly, eighth grade was the latest year that "[he] had finished." Coincidentally, it was around that time that he composed his first rap track. A major fanatic of music, he tuned in to a variety of classifications growing up including south shake, punk shake, shake and roll, and hip bounce.

By his late teenagers, Gates had chosen to seek after music as a vocation. Marking to Dead Game Records, he discharged his first mixtape named, Pick of Da Litter in 2007; he later turned out with his second venture, All or Nuthin' in 2008. Before he could continue his account be that as it may, a conflict with the law drove him to be imprisoned at Rivers Correctional. A sentenced criminal at the time, he had been gotten with a gun by officers who had pulled him over.

Regardless of the sentence in the slammer, Gates expressed that "being detained was the best thing that could have happened to [him]." During his chance at Rivers, he read at whatever point he could; a portion of his most loved titles included Art of Seduction and Celestine Prophecies. Through a jail program that was accessible for prisoners, he in the end even earned himself a graduate degree in brain science. Altogether, he served four years previously being discharged for good conduct in 2011.

Following his stretch in jail, he got ideal back to his music. Inside a couple of months, the rapper had discharged a mixtape titled, I Don't Know What 2 Call It (Vol. 1). From that point, he launched three extra undertakings (e.g. Make Them Believe, In the Meantime, The Luca Brasi Story) before picking up himself an impressive group of onlookers with his 2013 mixtape, Stranger Than Fiction. we were not able to configure kevin gates net worth for the said years.

Read also: Youn Thug Net Worth

His first push to achieve the US music outlines, Stranger Than Fiction included fourteen tracks, a couple of which highlighted visitor appearances from Juicy J, Wiz Khalifa, and Starlito. Among the 14-tune track list were Don't Know What to Call It, Thinking with My Dick, Die Bout It, White Tan, 4 Legs and a Biscuit, Strokin, and Smiling Faces.

His first release with Atlantic Records, its generation was dealt with by a few people including Arthur McArthur, Dun Deal, DJ Spins, The Feather stones, among others. Gates' first tolerable hit, Stranger Than Fiction wound up cresting at number 37 on the Billboard Top 200, and at number 11 on the Top R&B Albums graph.

Coming back with more music the following year, Gates discharged By Any Means in March 2014. His second business mixtape, it not just sold more than 17,000 duplicates in the US yet in addition entered the Billboard Top 200 at number 17. Including visitor appearances from Doe B, 2 Chainz, Rico Love, and Plies, the track posting accompanied the titles, Just Want Some Money, Get Up On My Level!, Keep Fucking With Me, Can't Make This Up, Wish I Had It, and Posed to Be in Love. Applauded as an "unforeseen brilliance", the undertaking accumulated great surveys from a few music faultfinders.

His next huge hit, Luca Brasi 2 was discharged in the winter of 2014. Delivered by Mark Kragen, Nic, Rico Love, Kane Beats, and The Runners, and numerous others, it offered ascend to eighteen tracks including Word Around Time (Feat. Rich Homie Quan), Pourin the Syrup, Break the Bitch Down (Feat. K Camp), Wassup with It, Don't Panic, Perfect Imperfection, and Out the Mud. In the US, the mixtape entered the Billboard Top 20 at number 38 with around 26,000 deals in the principal week; it later additionally topped at number 5 on the Top Hip Hop Albums outline.

Beginning the new year on a new note, the rapper turned out with his presentation collection, Islah on January 29, 2016. Upheld by four singles, it immediately accumulated boundless recognition from pundits upon its discharge. Commended by various distributions including Spin and Vice Magazine, it entered the Billboard Top 200 at number 200; inside the principal week alone, it had sold more than 93,000 duplicates in the US. In the end, Islah additionally diagrammed at number 2 on the Top hip-Hop Albums graph and at number 7 on the Top Tastemaker Albums outline.

In charge of a spike in his ubiquity, Islah bragged 15 tracks including Kno One, 2 Phones, Time for That, and Really, all of which stay to be his best singles to date. Inside a couple of long stretches of its release, the collection had sold more than one million duplicates locally, procuring it platinum accreditation from the RIAA. So it is quite easy asses kevin gates net worth with his success rate.

Gates' next outlining mix-tape, Murder For Hire 2 was made accessible in May 2016.

Not quite the same as his past endeavors in that it was entirely for retail purposes just, it contained eight tracks, Click House (Feat. OG Boobie Black), Great Example, Off da Meter, Showin' Up, Lil Nigga, The Prayer, Believe In Me, and Fuck It. Upon its discharge, it appeared at number 12 on the Billboard Top 200, with 20,000 unadulterated deals before the finish of the primary week.

From that point forward, Gates has discharged another mixtape titled, By Any Means 2. A continuation of his 2014 task, it offered ascend to over twelve new tracks including No Love, Do U Down, Imagine That, Came Up, Jus Wanna, and Beautiful Scars, the remainder of which highlighted PnB Rock.

While it just bodes well that Gates earned some from the above titles, it's by all account not the only wellspring of wage that he has. Another enormous cash creator for the rapper comes as shows and visits. As you can likely envision, it's simple for a craftsman to round up a couple of hundred if not a couple of thousand for each show which raised kevin gates net worth.

Since his presentation, the Louisiana local has put on various exhibitions over the world. Simply a year ago, he left on a show visit which saw him hitting many scenes from the United States to Germany. While he didn't visit this year, he put on a modest bunch of shows in the US from Arizona to Florida; his latest execution was at the Providence Medical Center Amphitheater in Bonner Springs, Kansas.

As of now, it doesn't look like Gates has any up and coming shows arranged. Stay tuned!

Over that, the craftsman likewise pulls in a better than average sum from his Youtube channel, which has near 3 million endorsers. Since he propelled it in 2012, his recordings have been seen well more than 2 billion times!

Starting at 2017, his most prominent video, the official MV for his melody 2 Phones has been played in excess of 225 million times. Changing over that to dollars, that works out to be well finished $180,000 in advertisement income alone! A portion of his other best transfers incorporate the official recordings for Really, Satellites, Get The Mud, Posed To Be in Love, and Don't Get Tired.

Altogether, what amount has Gates earned from his Youtube? Accepting that not as much as half of his aggregate view tally is monetized and that he makes at any rate $2 per 1,000 perspectives, he would have officially made $1.6 million (preceding Google's cut)!

Kevin Gates' Personal Life

Kevin Gates has been hitched to his significant other Dreka for a long time. Subsequent to dating for more than 13 years, the two got married in 2015. Presently, she functions as the rapper's reserving manager. He has two kids with his significant other. Little girl named Islah Karen Gates (whom he had named his studio collection after) and a child named Khaza Kamil Gates.

Kevin Gates did not head off to college. Having said that, he managed to acquire himself a graduate degree in brain research amid his opportunity in jail from 2008 and 2011.

Where Does Kevin Gates Live? Pictures of Kevin Gates' House

It's accepted that he right now lives in Louisiana with his significant other and two kids. Shockingly, we don't have any photos of his home as of now. Since his spell in jail, Kevin Gates has substantiated himself on numerous occasions that he's a skilled craftsman. Not exclusively does he have a studio collection that went platinum. But at the same time he's released over twelve taps, a modest bunch of which advanced onto the US music graphs.

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architectnews · 3 years

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Arup: Architecture + Engineering, Engineers

Arup Engineers, Architects, Architecture, Studio, Global Engineering Projects, Designs, News

Arup, Engineers : Architecture + Engineering

Contemporary Buildings + Structures – News: Expansion in the Americas

post updated 20 August 2021

Arup News

Arup news updates on e-architect:

Global Firm Appoints Two Directors From Nottingham Office

Two members from Arup’s Nottingham office have been appointed as directors of the global engineering firm, representing a huge achievement for the company’s presence in the city.

Steve Fernandez and Vicky Evans are just the second and third members of the Nottingham team to have both been promoted to one of the firm’s highest positions, signifying their knowledge and expertise in their fields and future potential.

Steve Fernandez and Vicky Evans: photo : Ian Hodgkinson / Picture It

Between them, the pair have worked on major local, national and international projects, including the shopping and food destination Coal Drops Yard in King’s Cross, the stunning St Pancras Chambers development in London, the Defence and National Rehabilitation Centre near Loughborough, and the Government’s £3.6 billion Towns Fund.

Neil Harrison, associate director at Arup, said: “We are absolutely delighted that both Steve and Vicky have been promoted to director– a huge boost for us in the region and indicative of the hard work and expertise they put into the business.

“The interview process for the role is extremely rigorous, and for the Nottingham office to have two directors appointed is a huge achievement. We’re very proud of the work we do from Nottingham – we’ve been here for 30 years, we’ve got more than 100 staff based in the city centre and we are highly committed to the city.”

Steve joined Arup as a graduate in 1999, working in Sheffield, London, Doha and Moscow and is now based in the Nottingham office. He is recognised internationally as an expert in his fields, leading the firm’s civil and structural engineering team across the Midlands, and is the building retrofit leader across the UK, Middle East, Africa and India.

He is also passionate about educating the next generation of engineers, acting as a STEM ambassador, and has been recognised as an ‘inspirational UK BAME innovator in science and technology’ by UKBlackTech and Goldman Sachs.

He has designed and delivered a variety of iconic buildings and structures, ranging from a new school in Loughborough, the transformation of the listed Newton and Arkwright buildings at Nottingham Trent University, a 60,000-seat football stadium in the Middle East, a state-of-the-art research and university campus in Moscow, and a timber pavilion inspired by school children which was on display in Old Market Square in Nottingham.

Steve Fernandez, from Arup’s Nottingham office, who has been appointed a director of the global engineering firm: photo : Ian Hodgkinson / Picture It

Steve said: “It is a huge honour to be appointed as a director of Arup. Having worked in the Nottingham office for many years now, I’m relishing the new opportunity and helping the industry and our clients following the challenges of the last year. I am a designer at heart – I love design and working with clients to develop an idea and then seeing our work come to fruition is a great pleasure of the job.”

Vicky Evans, from Arup’s Nottingham office: photo : Ian Hodgkinson / Picture It

Chartered town planner Vicky joined Arup in London in March 2006 and since then has also worked for the company in South Africa, Dubai and the Seychelles. Having studied geography at the University of Nottingham, Vicky said she has always had a strong connection to the area and decided to move back to the city in 2015.

A specialist in housing, strategy, policy and economic development, Vicky works across all aspects of the built environment at a regional and national level. She also leads the residential business for Arup across the UK, Middle East, India and Africa.

“My work has become increasingly strategic, meaning that I’ve been able to influence decision-making at the very early stages of a project, which is really exciting,” said Vicky. “I’ve been doing a lot of planning and strategy work in the East Midlands – which is indicative of our region really putting itself on the map.”

As well as her work on the groundbreaking Defence and National Rehabilitation Centre at Stanford Hall, Vicky has been working with the government on the Towns Fund, which is investing billions in UK towns as part of the levelling up agenda. She oversaw the development of 26 town investment plans in the Midlands and East region.

She was also involved in the establishment of the East Midlands Development Corporation, set up to create new employment and housing opportunities across three key sites at Toton, Ratcliffe-on-Soar and East Midlands Airport.

Vicky said she had enjoyed the ‘robust and challenging’ interview process which led to her promotion to director, which she said was ‘a real honour’.

“It shows great confidence in me and my leadership capabilities but also indicates that Nottingham and the East Midlands is an area for growth for Arup,” she said. “Our office has grown in size in the past five to ten years – testament to the draw of Nottingham as a place to live and work.

“I’m looking forward to continuing to help clients solve their most complex challenges here – turning exciting ideas into tangible reality. Net zero, levelling up and improving infrastructure are all challenges we need sustainable, socially valuable and equitable solutions to, which are specific to the region.”

For more information on Arup, visit arup.com/offices/united-kingdom/nottingham

14 Nov 2017 Oman Botanic Garden Design, foothills of the Al Hajar Mountains, Seeb, Oman Design: Arup, Grimshaw and Haley Sharpe Design (hsd) picture ©Arup/Grimshaw Oman Botanic Garden Buildings The breathtaking Oman Botanic Garden will be revealed to the world today by Arup, Grimshaw and Haley Sharpe Design (hsd), who have collaboratively delivered the engineering, landscaping, architecture and interpretative designs. Covering over 420 hectares, Oman Botanic Garden will be the largest within the Arabian Peninsula and in the world.

4 Sep 2017 Arup’s Jo da Silva wins The Institution of Structural Engineers’ 2017 Gold Medal picture courtesy of Institution of Structural Engineers The Institution of Structural Engineers’ 2017 Gold Medal Jo da Silva, Director of Arup’s International Development Group and Arup Fellow, has been awarded The Institution of Structural Engineers’ 2017 Gold Medal. The Medal recognises the outstanding leadership she has provided as both a structural and humanitarian engineer, and for her distinguished and cross-sectoral work on urban resilience. Among her many achievements, Jo co-ordinated the efforts of over 100 humanitarian agencies to provide transitional shelter in Sri Lanka following the Indian Ocean Tsunami in 2005, constructing 60,000 shelters in six months.

28 Aug 2017 Masterplan for Jurong Lake District, Singapore Design: KCAP Architects&Planners ; SAA Architects ; Arup ; S333 & Lekker picture © KCAP/SAA/Arup/S333/Lekker Jurong Lake District Masterplan The Singapore Urban Redevelopment Authority unveils the masterplan for Jurong Lake District in Singapore, the city’s future second Central Business District. The JLD masterplan is exhibited till mid-September and invites the public to share their views.

11 Jul 2017 Centre for Music in London Competition Engineers Shortlist, London, England, UK

We are pleased to announce the shortlisted firms for both the Civil and Structural Engineer contract and the Building Services Engineer contract, these are:

Civil and Structural Engineer – AECOM – AKT – Arup – BuroHappold Engineering – Ramboll – WSP UK LTD

Building Services Engineer

– AECOM – Arup – BuroHappold Engineering – Hoare Lea – Max Fordham – WSP UK LTD

Centre for Music in London Competition Engineers News

7 Jun 2017 Northern Arc – Hyperloop One Global Challenge, UK Design: Ryder Architecture / Arup image courtesy of architects Hyperloop One Global Challenge: Northern Arc The Northern Arc proposal was revealed as one of nine shortlisted routes spanning the continent as part of Hyperloop One’s global challenge, at it’s Vision for Europe summit held at in Amsterdam.

24 Apr 2017 Arup Balances Aesthetics and Engineering in New Arts Venue: The Chrysalis

Location: Merriweather Park, Symphony Woods, Columbia, MD, USA

Defined by a series of asymmetric arches, the open-air pavilion offered the firm a unique opportunity to showcase its unparalleled range of specialized technical services

NEW YORK, NY, April 24, 2017 —Known for its work on major infrastructure projects and expansive developments, Arup, the global design and engineering firm for the built environment, has recently completed a project of a far different sort: an innovative gem of an outdoor performance venue located in Columbia, MD at Merriweather Park at Symphony Woods.

The 5,000 sq. ft. “Chrysalis” shelters a world-class stage beneath a steel and aluminum-shingled shell, forming a captivating collection of complex curves and arched openings to the forest beyond.

The Chrysalis design by Arup

7 Apr 2017 Northeastern University Interdisciplinary Science & Engineering Complex, Boston, MA, USA

Arup Implements Comprehensive Energy Strategies at New Northeastern University Interdisciplinary Science Complex

Northeastern University Interdisciplinary Science & Engineering Complex (ISEC) photograph © Warren Jagger

Using advanced computer modeling to integrate the design of the building systems and facade, Arup significantly reduced operational costs and improved energy efficiency, putting the project on the road to LEED Gold status—an exceptional achievement for a laboratory facility.

BOSTON, MA, April 7 —Arup, the global design and engineering firm for the built environment, celebrated the opening of the Interdisciplinary Science and Engineering Complex (ISEC) at Northeastern University in Boston. Arup was selected by the architecture firm Payette to provide mechanical, electrical, and plumbing engineering, as well as energy modeling, façade consulting, sustainability and lighting design services for the 234,000-square-foot project. The integrated design process has resulted in a high performance laboratory facility for Northeastern.

“We are extremely pleased to be a partner in such an extraordinary project at Northeastern University.” said Julian Astbury, Arup project manager. “Sharing Arup’s resources and expertise in sustainability and technology with the team made the experience a true collaborative process—a work of total design.”

Ambitious energy goals, innovative solutions “The facilities department at Northeastern wanted the most energy-efficient building possible,” said Mark Walsh-Cooke, Arup principal in charge. By using advanced energy modeling software and building information modeling (BIM) early in the design process and holding biweekly workshop meetings with the architects and university representatives, Arup empowered the client to make better, more informed decisions about the design, enabling them to reach their sustainability goals.

The Massachusetts Stretch Energy Code calls for new buildings to perform 20% better than required by base code. The ISEC surpasses this requirement, achieving 33% energy-cost savings over code and 75% energy savings compared to typical laboratory performance. To accomplish this, Arup engineered several major energy conservation measures, among them:

• The cascade air system is the biggest contributor to energy savings at the ISEC. “This technology was new to the client and contractor, so our advanced energy modeling software studies were critical,” said Astbury. In a typical scenario, laboratories have a dedicated HVAC system, an expensive feature to construct and operate. At the ISEC, the cascade system recovers conditioned air from the offices and atrium of the building, then transfers it to the lab, saving energy and reducing costs. • Arup used performance and life-cycle analysis to optimize the façade design, ensuring both occupant comfort and energy efficiency. The northern part of the ISEC complex, which houses the energy intensive labs, is the focus of thermal improvements; at the southern exposure (where low-energy functions such as offices are located), triple-glazed windows and a shading system work to maximize daylight while minimizing energy consumption. • Using active chilled beam technology significantly reduces the energy consumption compared to conventional air conditioning. In this system, supply air to the space is directed through nozzels on either side of a heat exchanger coil, creating a pressure difference. This pressure difference pulls air from the space over the coil, cooling or heating it, and then mixes with the supply air to be delivered to the space. Arup’s comfort-modeling software balanced the downdraft and the ambient temperature to ensure a pleasant environment. • Arup designed a hydronic run-around coil system to recovery energy from the lab exhaust air to pre-condition the outdoor air, targeting the heating as needed to either the offices or labs, and optimizing the efficiency of the system. The coils are designed to minimize the size of the fan motor and extract as much energy as practical before the exhaust is discharged. • To optimize the efficiency of the chiller and heating system, Arup installed a heat-recovery chiller, which simultaneously generates heating hot water and chilled water. This reduces the run-time of the boilers for laboratory re-heat in the summer and shoulder seasons and for pre-heat of the domestic and laboratory hot water systems. • The winter outdoor air heating demand to the atrium is reduced by using a passive solar collector to preheat the outdoor air using radiant energy from the sun.

The ISEC will be open to outside researchers in the interrelated fields of computer science, basic sciences, health sciences, and engineering. Attracting talent from beyond the campus raises the university’s profile and diversifies the academic leadership and curriculum. The project benefits the surrounding community as well; a pedestrian bridge (currently in design by Arup’s structural engineers in collaboration with Payette) spans the commuter-rail tracks to allow residents, workers, and students to easily and safely navigate their way through the site.

8 Feb 2017 Jurong Lake District Masterplan, Singapore Jurong Lake District Masterplan The ambition is to develop the area into a new mixed-use business precinct and home to the future HSR terminus, which will further anchor Jurong Lake District as ‘a district of the future’ and as Singapore’s second Central Business District.

5 Jan 2017 Second Avenue Subway Stations in New York, NY, USA Design: AECOM-Arup photo © Charles Aydlett courtesy AECOM-Arup JV Second Avenue Subway Station Buildings The first major expansion of New York City subway system in nearly a century, the 1.8 mile stretch of track runs between 63rd and 96th streets and consists of three new stations, plus one upgraded station.

4 Oct 2016 Global First: Arup Develops New Benchmark For Seismic Construction

In a Global First, 181 Fremont in San Francisco Awarded New Earthquake-Resilience Rating

picture © 181 Fremont

Developed by Arup, the REDi resilience-based design guidelines establish a new benchmark for seismic construction–far exceeding current code criteria–that focuses on quick recovery and continued operations in the aftermath of an earthquake

181 Fremont in San Francisco

22 Sep 2016 Arup Welcomes Felicia Cleper-Borkovi to its San Francisco Office

Renowned architect and healthcare-design specialist to focus on advancing the integration of operational effectiveness with design innovation for healing and working environments.

SAN FRANCISCO, CA—Arup, the global design and consulting firm for the built environment, is pleased to announce the addition of Felicia Cleper-Borkovi, AIA, to its San Francisco office. As a principal and expert medical planner, she will play a pivotal role in the firm’s healthcare business, strengthening its ties with the healthcare community and advising owners, designers, and operators on synchronizing strategic operational improvements with innovative design.

“We are very excited to have Felicia on our team,” said Bill Scrantom, Americas Region Healthcare Leader, Arup. “Her expertise and insight will enhance the advice and solutions we provide our healthcare clients to further target efficient, positive clinical and operational outcomes. Throughout her career, she has been a pioneer in redefining, de-institutionalizing, and modernizing medical facilities. Felicia’s addition will benefit both our Owner and architect clients and is the obvious next step for our growing practice.”

Cleper-Borkovi’s award-winning healthcare projects innovatively integrate architecture, clinical planning, landscape, interior architecture, lighting, art, and environmental design. Her past projects include Li Ka Shing Foundation Cancer Hospital of Shantou University Medical College, Laguna Honda Replacement Hospital in San Francisco, Kaiser Permanente Santa Clara Medical Center, Meyer Children’s Hospital in Florence, Italy, the New Acute Hospital for the SouthWest in Enniskillen, Northern Ireland and Norris Cancer Hospital and Research Institute at University of Southern California, Los Angeles.

Prior to joining Arup, she held leadership positions at Anshen+Allen in San Francisco and London and Aditazz. “Having previously collaborated with many of Arup’s offices around the globe, I am thrilled to join the firm,” said Cleper-Borkovi. “With its extraordinary resources and commitment to shaping a better world, I’m looking forward to strengthening our leadership in the healthcare sector.” Felicia Cleper-Borkovi is an architect with specific expertise in medical planning and in orchestrating inter-disciplinary healthcare design teams. She has a Master of Architecture degree from Ion Mincu Academy of Architecture and Urbanism in Bucharest and post-graduate degrees from the Royal College of Art in London, Domus Academy in Milan, Stanford Graduate School of Business and Said Business School at Oxford.

Felicia discusses the relationship between creativity and design in Doggerel’s Sound bites: Maintaining the creative spirit in design.

22 Jul 2016 Torre Reforma Mexico City Skyscraper Design: L. Benjamin Romano Arquitects (LBRA) + Arup image © Torre Reforma Torre Reforma Mexico City Skyscraper – “Arup has been indispensable in helping to transform my architectural vision into an efficient and buildable structure,” said Benjamin Romano, principal of LBRA. “They have provided innovative solutions to the complex seismic issues in Mexico City.”

26 Apr 2016 New Lucerne Theater, Switzerland image from architect New Lucerne Theater Building Arup Study Sets the Stage for Innovative New Performing Arts Venue in European Cultural Hub Interdisciplinary design and planning firm help project stakeholders define a facility that supports exploration and experimentation in the future of dramatic performances with music.

23 Apr 2016 Long Beach Civic Center Reaches Financial Close Design: Arup with HOK image from architect Long Beach Civic Center Building Arup was the City’s Lead Advisor providing comprehensive services integrating financial, commercial, real estate, design, engineering, and cost consulting. The City of Long Beach and Port of Long Beach has reached financial close for the USD$520 million Long Beach Civic Center Project.

9 Mar 2016 Engineering Innovator Arup Names New Director of Arup University

Mahadev Raman to lead Arup’s global research, learning, and knowledge-sharing program

NEW YORK, March 9, 2016 — Arup, a leader in interdisciplinary engineering, consulting, and design services, has named Mahadev Raman as Director of Arup University, the firm’s program to foster innovation, research, learning, and knowledge among its 13,000 staff members. Following his term as Chairman of the Americas Region, Raman brings his distinctive experience and perspective to the position.

“Arup University is an important part of our strategy. With his background in engineering design, expertise, and vision, Mahadev, who cares passionately about our professional skills and the quality of work we offer our clients, will make it even better,” said Gregory Hodkinson, Arup Group Chairman.

Raman, whose career at Arup began in 1978, is a Principal, a member of the Arup Group Board, and Sustainability Director. He has provided engineering design leadership for multidisciplinary teams on a wide variety of projects worldwide and has been named an Arup Fellow, an honorary title awarded to exceptional members of the firm who are considered role models with world-class vision and initiative. Raman is also a member of the Advisory Board for the Architectural Engineering Program at Worcester Polytechnic Institute and a Visiting Lecturer in mechanical engineering at Princeton University.

In his 1970 Key Speech, firm founder Ove Arup said, “It is up to us to create an organization which will allow gifted individuals to unfold.” Forty-six years after that statement was made, Arup University is a realization of that principle. Because the firm is owned in trust, with its employees as beneficiaries, the innovation generated by Arup University advances not only its team members, but its clientele and related industries, as well.

The mission of Arup University is to empower Arup’s people by supporting the firm’s goals – enabling greater design skills, creating better leaders, and fostering innovation. The firm has dedicated significant people, technical, and financial resources to achieve these goals.

In addition to sponsoring research and foresight studies, Arup University offers online educational modules, structured workshops, and partnerships with more than 150 schools and colleges. True to the firm’s culture, employees of every level of expertise are encouraged to engage in the program, furthering the company’s investment in its people—and in turn, delivering exceptional value to its clients.

“At Arup University, our work is balanced between the now, the new, and the next,” said Raman. “I am excited and honored to lead the program, which continues Arup’s commitment to shaping a better world.”

24 Feb 2016

Engineering Innovator Arup Names New Global Aviation Leader

With decades of experience, Susan Baer will lead strategic planning and master planning for some of the biggest aviation projects in the world.

Arup, a leader in interdisciplinary engineering, consulting, and design services, has announced Susan Baer has been named Global Aviation Business Leader. With a comprehensive knowledge of the field—and its future—she brings an exceptional set of qualifications to the role. Baer’s predecessor, Peter Budd, is retiring, and will continue to support the aviation team in an advisory capacity.

“The aviation team at Arup is without equal, led by exceptional professionals in the regions where expert aviation teams plan, design, and commission the best airports in the world,” said Baer. “I look forward to continuing the vision for global aviation established by Peter Budd, whose leadership, business acumen, and client understanding were unparalleled.”

Baer joined Arup in 2013, heading up its aviation business in the Americas region and directing global aviation planning. Through her superior negotiation and communication skills, she ensures that collaborations between planners, engineers, airport operators, and airlines are focused on the successful delivery of projects in the best interests of all stakeholders.

In her new position, Baer will capitalize on one of Arup’s key resources: its ability to mobilize its experts around the world. The firm is a local as well as a global presence, bringing people together in various locations throughout the world to produce universally beneficial work. Baer will harness the firm’s pockets of different capabilities worldwide, and then strategically deploy Arup’s collective expertise in pursuit of shaping a better world. Arup’s aviation projects currently under development include some of the biggest new airport projects ever undertaken, such as the Abu Dhabi International Airport, Heathrow Terminal 2, Hong Kong International Midfield Concourse, Perth Airport, and Taoyuan Terminal 3 (Taiwan).

Previously, Baer spent 37 years with the Port Authority of New York and New Jersey, where as Director of Aviation she oversaw the safe, efficient, and profitable operation of the busiest airport system in the U.S. There, her diverse achievements ranged from managing a $2.3 billion operating budget to negotiating airport-based retail developments to implementing a model customer service program. Baer was the first person in the agency’s 92-year history to manage each of its major airports: JFK International, LaGuardia, Newark Liberty International, and Teterboro.

Such unmatched credentials provide Baer with a keen command of all aspects of the aviation business. She is leveraging this experience to bring a new perspective to Arup’s well-established aviation competencies, including planning, security, IT, operations planning, strategic and business services, acoustics, operations readiness and training, transaction advice, and more. In a series of short videos posted to Arup’s online magazine, Doggerel, Baer shares her thoughts on the state of airport design today and in the future.

“From airports to airlines and private customers, fulfilling the needs of our diverse clients is the most exciting part of this role,” said Baer. “It is my goal as Global Aviation Business Leader to make sure that Arup’s vast global skills and capabilities continue to evolve to meet the needs of this dynamic, ever-changing industry.”

About Arup

The preeminent provider of interdisciplinary engineering, consulting, and design services, Arup drives the world’s most prominent projects, from city-building to iconic architecture. The firm opened its first US office over 30 years ago, and now employs 1,300 people in the Americas. Since its founding in 1946, Arup has pioneered groundbreaking strategies, technical excellence, and social purpose. As a responsive and respectful business partner, Arup honorably serves its clients and shapes a better world. For additional information, visit Arup’s website at www.arup.com and the online magazine of Arup in the Americas at doggerel.arup.com.

13 + 12 Jan 2016 Engineering Powerhouse Arup Names New Leadership as Firm Expands in the Americas

Andy Howard named Chairman and Leo Argiris named Chief Operating Officer

Renowned for its engineering acumen, Arup is addressing today’s most complex challenges—city building, transportation/mobility, resiliency, and energy—by broadening its project and program management, planning, and advisory services

LOS ANGELES — Arup, a global leader in multidisciplinary engineering, consulting, and design, announced today that Andy Howard has been appointed Chairman of the Americas Region and Leo Argiris has been named Chief Operating Officer of the Americas Region. Their appointments reflect the firm’s forward thinking and its capacity to embrace change: Arup routinely rotates its leadership to bring fresh perspectives to the firm’s growth and development in the Americas and worldwide. Outgoing Chairman of the Americas Region, Mahadev Raman, has been named Director of Arup University, the firm’s forum for keeping skills at the cutting-edge, overseeing the firm’s research, professional-development, knowledge and foresight activities.

photograph courtesy Arup Associates

Gregory Hodkinson, Arup Group Chairman, said, “Arup’s strategy is to do the best quality work for our clients across all specialties to achieve a positive impact on our world. Andy Howard and Leo Argiris have the right skills to advance this mission in the Americas, a region that offers incredible opportunities and where the firm has worked on some of the most complex and progressive projects for some of the most demanding clients.”

The new management team aims to bring the world’s best ideas and advice to clients in the Americas. By leveraging digital technologies to provide clients with efficient and inventive solutions, Howard will both drive the vision for the firm’s future and serve as a steward of Arup’s legacy. “Because our firm is owned in trust, with its employees as beneficiaries, we have the opportunity to invest heavily in innovation for the benefit of our clients and industry. This is a powerful motivator for me and the entire Arup team to continue to develop transformative ways of working,” said Howard. Arup’s clients also benefit from the company’s high rate of employee retention, which ensures sustained, focused research.

As Howard and Argiris lead Arup into the future in the Americas, prospects are exciting on a number of fronts. For FYE 2016, revenues for Arup in the Americas will exceed $350 million (the firm’s global revenue is $2 billion), and the group is anticipating double-digit growth annually for the next five years. “For Arup, growth is not a target, but an enabler that allows us to provide the best services to our clients and interesting opportunities for our staff,” said Argiris.

BSkyB Believe in Better Building design by Arup Associates, Architects: photo : Simon Kennedy

Arup in the Americas

Going Forward: Arup in the Americas

Looking ahead, Howard believes that Arup is ideally positioned to capitalize on the tremendous potential offered by harnessing automation in new ways to facilitate the design process. Arup’s ability to compile and quickly analyze information on ever-larger scales is transforming the management of complex projects and development of creative solutions. In city-building, for instance, Arup synthesizes and manipulates data on resiliency, traffic congestion, pollution, and energy usage with great speed and accuracy to produce smart, real-time models that yield results of much greater impact and efficiency than traditional linear-style design. Areas specifically targeted by Howard that can benefit from this advanced approach include transportation networks and infrastructure projects.

Howard views technology as a driver for positive change within the AEC community and will work to solidify Arup’s position as a strategic leader in this rapidly evolving scene. “At Arup, we’re looking at expanding our capabilities,” said Howard. “We have become advisory experts, giving our clients broader advice on solutions. We define our value by the positive impact we have on stakeholders and the world at large.”

Setting goals to continue the company’s organic growth and creating new opportunities for staff are also on the firm’s agenda for the future. Arup is planning to expand its 15 offices in North and South America and is currently evaluating several locations for new branches.

Arup

The preeminent provider of interdisciplinary engineering, consulting, and design services, Arup drives the world’s most prominent projects, from city-building to iconic architecture. The firm opened its first US office over 30 years ago and now employs 1,300 people in the Americas. Since its founding in 1946, Arup has pioneered groundbreaking strategies, technical excellence, and social purpose. As a responsive and respectful business partner, Arup honorably serves its clients and shapes a better world. For additional information, visit Arup’s website at www.arup.com and the online magazine of Arup in the Americas at doggerel.arup.com.

14 Sep 2012

Arup Zero-Energy House

Micro-algae prove ideal for making green facades

• Algae ‘bio-reactors’ provide shade and a source of green energy • Commercial-scale algae bio-façades set for production

(London) A zero-energy house under construction in Germany is set to provide the first real-life test for a new façade system that uses live microalgae to provide shade and generate renewable energy at the same time.

Bio-adaptive façade: images from Arup

The world’s first ‘bio-adaptive façade’ will be installed in the ‘BIQ’ house for the International Building Exhibition (IBA) in Hamburg, which runs through 2013.

The façade concept is designed so that algae in the bio-reactor façades grow faster in bright sunlight to provide more internal shading. The ‘bio-reactors’ not only produce biomass that can subsequently be harvested, but they also capture solar thermal heat – both energy sources can be used to power the building.

In practice, this means that photosynthesis is driving a dynamic response to the amount of solar shading required, while the micro-algae growing in the glass louvres provide a clean source of renewable energy.

The shading louvres for the BIQ house in Hamburg are being fabricated in Germany by Colt International on the basis of bio-reactor concept and design work led by the international design consultant, Arup, in cooperation with SSC Strategic Science Consult of Germany. The BIQ house was designed for the IBA exhibition by Splitterwerk Architects of Graz, Austria.

Arup’s Europe Research Leader, Jan Wurm, said, “To use bio-chemical processes for adaptive shading is a really innovative and sustainable solution so it is great to see it being tested in a real-life scenario. As well as generating renewable energy and providing shade to keep the inside of the building cooler on sunny days, it also creates a visually interesting look that architects and building owners will like.”

Simon O’Hea, Director at Colt, said, “It’s been a very rewarding scheme to be involved in. We have put a lot of work into meeting the technical challenges and we now have a commercial-scale, effective solution that uses live algae as a smart material to deliver renewable energy. You can’t get greener than that.” Once completed in March 2013, the BIQ house will allow scientists, engineers and builders to assess the full potential of the system as a green alternative providing dynamic solar shading alongside sustainable, renewable energy.

Key Recent Arup Projects

Featured Buildings by Arup, alphabetical:

AAMI Park, Melbourne, Victoria, Australia 2010 Design: Cox Architects and Planners with Arup photo : John Gollings AAMI Park Stadium – information + images added 25 Jun 2012 Arup brought unrivalled skills and global experience in structural and civil engineering design to the development of Rectangular Stadium, employing structural ingenuity to support the architectural vision.

Health & Wellness Facilities, Education City, Doha, Qatar 2010- Design: GHD Global Pty Ltd image © Reid Fenwick Asociados Health Wellness Doha – 25 Jun 2012 The Health and Wellness Facilities in Doha, Qatar is a spectacular project which is conceived to be the main sports facilities for the Education City Complex. The objective of the project is to develop an existing site designated within the overall Masterplan, for a Sports Facility to service the students and staff of the University Campus of Education City.

Estadio Espanyol, Cornalla, Barcelona, Catalonia, Spain 2007 Design: Reid Fenwick Associates & Gasulla Arquitectura Integral photo : Luca Orlandini_Arup Estadio Espanyol – added 25 Jun 2012 Located in the city of Cornella, this stadium has several commercial and sport services, library and a hotel in the corners. For this stadium, Arup developed the fire protection strategy and the structural design during the basic project phase. This included the design of both the stand and foundations as well as the roof, made of reinforced concrete and steel respectively.

Major Buildings by Arup

Beijing Olympics – The Water Cube, China Design: PTW with Arup photo © Arup_Ben McMillan Water Cube Beijing – National Aquatics Centre – Beijing Olympics Venue ETFE bubble-pattern façade – Architecture Competition win 2003 The National Aquatics Centre, also known as the ‘Water Cube’, will be one of the most dramatic and exciting sporting venues for the Beijing Olympic Games in 2008. Enclosed within the blue bubble walls are five swimming pools, including a wave machine and rides and a restaurant, along with seating and facilities for 17 000 spectators.

More projects by Arup online soon

Location: London, south east England, UK

Arup Practice Information

Architecture + Engineering offices based across the world

photo © Arup_Ben McMillan

Arup is a world-class firm of designers, planners, engineers, architects, consultants and technical specialists working across every aspect of today’s built environment. The company, which has its headquarters in London, is the creative force at the heart of many of the world’s most prominent projects. It employs 6,000 people across 17 UK offices, and thousands more worldwide, with a presence in more than 30 countries. Its business in Nottingham has been making a positive contribution to the city and the East Midlands for more than 30 years.

Arup Associates

Arup Advanced Geometry Unit

Arup Associates Unified Design Unit

Website: www.arup.com

London Architecture Designs

Architecture Studios

Buildings / photos for the Arup page welcome

The post Arup: Architecture + Engineering, Engineers appeared first on e-architect.

#e-architect

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deanfosters · 3 years

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Ancestry Academy: Check New State Classes and Short Courses

They Still Live a journey into the discovery of yourself. What does it mean to White, European, Black, Native American, and others? How am I different from Denver artists? Alisa Anthony and Thomas Detour Evans ask all these questions that have shed light on a dialogue about heritage through a picture sequence pairing African art relics, from the Paul Hamilton collection with African Americans from the Denver community.

Each sketch is designed to make a new conversation on ancestral heritage and origins and tells the story of the Ancestry DNA results. Ancestry took the interview of Paul Hamilton, an African Studies academic and previously was Colorado State Representative and famous collector of African masks. African Art asks him why this display is so difficult to the conversation of ancestral origins and identity.

While gathering African art, one of the discoveries was that the origin of Modern art was African art. Paul says Picasso and other’s artwork were influenced. Amidst Paul’s prized work is a Dan collection that boosts nearly 100 masks that are costly in the art world. Another workpiece is Buddha Dogo that originates from Mali. The Dogons have rich and deep scientific and astrological knowledge from more than 500 years ago.

Paul admits, I learned to despise Africa, as it was thought to be uncivilized. It was not unless he began studying history, finally becoming a history professor at college, he started a life-changing journey to discover the truth on Africa and its deep and rich history. Based on the research, Paul went to write African People’s contribution to World Civilizations.

After taking the Ancestry DNA test, Paul confirmed his ancestors or forefathers were from West Africa, and coincidentally, a large part of his art collection belongs from this region, including pieces from Liberia, Nigeria, Mali, Ivory Coast, Sierra Leone, and the Republic of Congo. Before the Ancestry DNA journey, Paul heard from family legends who suggested his great-grandmother was half Native American, but the DNA result does not provide any sign.

Paul was not surprised by the effect of European Ancestry that seems in many results and can use his DNA results to provide support to his previous research. Paul says this is unique that provides an opportunity for all people to examine how their ancestors affect us, whether we know it or not. By presenting traditional African art in a modern setting, Paul hopes it will motivate positive conversations for others who are interested in discovering their ethnic heritage. Despite the political climate, Paul hopes that They Still Live show will be a small step towards progress and moving our nation forward.

Paul had dedicated his life to the arts and conservation of some of the finest works from Africa. Outside the statues and masks, The Hamilton Library Collection includes nearly newspapers, magazines, audiotapes, 2,000 books, videotapes, and educational materials focused on African, African-American cultural, and historical issues and concerns. The collection includes 1960’s magazines (Muhammad Speaks, Negro Digest, Black Panther newspapers, and Black Scholar) and newspapers and the journal from 1916-1970. There will be an opening reception for the They Still Live exhibition and Ancestry DNA results for each model will be announced on reception.

Ancestry DNA results uncover 46 years of questions

Leslie H. was adopted in 1970 after her adopted parents were not able to have a child. It was a dinner party one night, and members discussed the possibility of adoption when another guest said he knew a woman wanting to give up a baby. After a few months, Leslie was picked up from the hospital by the family attorney and taken to her parents three days old. Leslie said she knew that she was an adopted child, and my parents never hide it from me. She added I was brought up in a loving home with loving parents and two sisters.

My mother got pregnant after adopting me, and they had a healthy pregnancy. My mother delivered a baby after 13 months after I was born. I was the only adopted child in the home. Due to adoption, she thought that finding out the identity of my parents would be impossible. After Leslie’s daughter was born in the 1990’s, she started to find out the truth about her biological family.

After successfully requesting the court, they released the records. She got the name of her biological family with the help of a third party. After discovering her mother had remarried, Leslie tried to trace her married surname, so Leslie put her research on hold. She started her research by signing up to Ancestry and took the Ancestry DNA test. Her results offered her ethnicity estimate and connected her with cousins.

Having only her mother’s married surname and maiden name, she messaged a few matches, and one of those matches confirmed that she knew her biological parents as a child and provided their names. She finally got to know her biological father’s name. She matched the information provided by her cousin, and from the Ancestry DNA test, she talked with large online adoption databases only to find out that she had half-siblings from her parental side looking for her.

Within hours, Leslie received a call from her half-sister, Jessica. Their stories merge, and Jessica said they were also looking for Leslie for years. Leslie came to know that her biological father had passed away, but she had two younger half-brothers. They are in touch, and Leslie now knows more of her cousins and several aunts. After discovering her parental family, Leslie went to social media to see if she could not find her birth mother.

Leslie messaged a woman whose profile matched her surname. The woman replied and confirmed that she was her biological mother and provided loads of family history. This past January, Leslie met her half-brother, and a few weeks later, she met her biological mother in EI Paso, and they spent some hours together. It has been a fantastic journey, and it was not possible without the help of Ancestry DNA and Ancestry DNA testing. Leslie says I will be grateful forever.

Ancestry releases State Classes and Short Courses

Ancestry Academy had released new classes and short courses. We will be giving you quick tips on one topic in 4-5 minutes or less and start with some basics of the US. Federal Census.

Pre 1850- Census

1850 Census- An Intro

1890 Census- Where is it?

1880 Census- An overview

Introduction to the 1940 Census

You can watch these short courses and classes free, and you need to create a login if you are watching Ancestry Academy Classes for the first time. If you have ancestors from Vermont, Michigan, Illinois, and Massachusetts. See the premium classes below:

The Green Mountain State: Vermont Research with Catherine Desmarais, CGsm

Illinois- Research in the Prairie state with David McDonald

Michigan: Family history in the Wolverine state with Kris W Rzepczynski, MLS, MA

Massachusetts: Research in the Bay State with Marian Pierre-Louis

Hi Guys! My name is Marc and I’m an Archaeologist. I live in Texas USA. Things about history have always fascinated me. That’s why I chose to activate my Ancestry DNA kit. It helped me learn key details about the birthplace and journey of my ancestors. I’ll recommend it to all the people who are curious about their family history. Visit To know More: Ancestrydna.com/activate

Source: Ancestry Academy: Check New State Classes and Short Courses

#ancestry #ancestrydna #dna #ancestry login

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craigwinslow · 4 years

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2020: 🌘 Perpetual Pause

Every year, I enjoy making this animated map portraying my movement as a display of energy and progress through the year. Compared to a wildly active 2019, this year strikes a much heavier tone.

Ironically, the mantra I set for 2020 focused on slowing down, but this wasn’t exactly what I had in mind. Cancelled, postponed, delayed. Like many other people, the majority of my work for 2020 was filed into one of these categories.

That said, I’ve been fortunate to continue work remotely, having spent most of the year getting frugal, and looking forward to whenever this ends. Aside from two camping trips, and one trip to the coast, I’ve been in Portland ever since May.

Everything considered, I strangely accomplished what I meant to do in 2020. Hunkering down led to developing a solid daily routine— a far cry from my typical pace the past few years, but one that has helped manifest normalcy and structure. It became a year to truly slow down, realign, unlearn, and reassess. The best way I can describe this year is a 9-month weird dreamscape living in perpetual pause.

Here’s what I ended up doing in 2020:

Brilliant! Jackpot (Postponed)

Right after the Tim Burton exhibit launched, The Neon Museum and I knew we wanted to follow up with a brand new, drastically bigger, better version of Brilliant! called Jackpot. The plan was to install in April, so I was fully immersed in Brilliant! Jackpot the first three months of 2020—creating the most exciting, diverse, and nostalgic version of this exhibit. Everything was ready to install in March, and then the COVID-19 shutdowns began. We remotely installed the original version of Brilliant! while we put an indefinite hold on Jackpot.

This is when everything flipped sideways.

Lockdown in Los Angeles

The biggest positive of this year? It brought my partner and I much closer together. Looking back, I can’t believe we flew to Hawaii in February, but I’m so glad we did. Early March I flew down to LA, and cancelled my return flight. Jessica and I had only been dating for a few months, and suddenly found ourselves moved in together, during the start of a pandemic. It was either going to work out, or it wasn’t.

Fortunately for us, it really worked. I lived down in LA for two months, during which Jessica lost her job due to the pandemic, and we ended up advancing rough plans for her to move up to Portland. On May 1st, we made the 15-hr drive from Los Angeles to Portland, and only stopped 3 times for gas (and one time for In-N-Out).

XR Talk Interview

I was very thankful to join Paul and Spencer on this podcast shortly after the world drastically changed due to COVID-19 shutdowns. This conversation happened as my focus turned from in-person projections to safe and distanced artwork and the ways I could take advantage of virtual mediums to bring people together. Watch here

Lockdown Letterheads

The first-ever virtual Letterheads! I previously attended Letterheads in Tokyo and London, which were wonderful experiences in their own right, but Lockdown Letterheads was special. A virtual meet-up with 24 hours of programming that any sign painter and guilder from around the world could attend! Sam Roberts, who has organized Letterheads in the past, asked me to co-host with several other Letterheads Alumni. I also led a presentation about Light Capsules, ghost signs, and shared some of Dr. Ken Jones' work.

The Wild VR Interview

I had a fantastic conversation with the team behind The Wild, a product instrumental in creating the Tim Burton exhibition at The Neon Museum in late 2019. This case study focused on my process of implementing immersive team collaboration in VR to build the exhibit from across the world before installation—an ideal tool for 2020. Read it here.

youtube

The Neon Museum 360 Virtual Tour

We had an opportunity to create a virtual tour of the boneyard thanks to global virtualization due to the pandemic. For the first time, the museum could give anyone across the world access to experience the museum. I built and shipped a Matterport kit, then worked remotely with Steve Siwinski of The Neon Museum to execute a full scan of the main boneyard. Working with their archival team, we created over 120 informational hot spots so virtual visitors could view historical photos and information about each sign along the way.

Pre-Visualization in Ventuz - under NDA

A continuation of a secret ongoing client project, due to launch to the public next year. I've been part of a team working on real time graphics and a new playback platform for a large scale integration. The creation of a custom pre-visualization environment led into the production phase of this long-term project.

Rise Up, Show Up, Unite

A call to action in support of the Biden/Harris campaign, started by Jessica Hiche and Adé Hogue. I created this 3-dimensional looping graphic in a day, first designing in illustrator, animating and modeling in Blender 3D, then exporting from Premiere. It was inspiring to see so many other creatives using different mediums come together and express their support using the same prompt. You can see more at riseupshowupunite.vote.

Intel Creator Spotlight

It's always exciting to dive back into a previous project with newfound hindsight and experience. For this artist spotlight with Intel, I discussed my concept design and creative direction for the pre-game intro with the Trail Blazers for NBA Playoffs 2018.

Thanks to Intel for the opportunity and the editors at Art of Visuals for making magic out of the interview, b-roll, and behind-the-scenes footage we provided. Filming this in the middle of a pandemic was an interesting— but not impossible—challenge! Intel dropped off a lighting kit, and my partner, Jessica, filmed everything in 4K using her commercial photography gear.

This home studio structure ended up being advantageous for the next project...

Adobe MAX 2020 - Behind the Light, with Takuma Nakata, Sponsored by Intel

Dare I say... the most exciting thing that happened this year?! The opportunity to have a keynote spot at Adobe MAX, a conference I attended many times over the years, was quite an honor. I got to have a conversion with fellow Adobe Residency Alumni, Takuma Nakata, about where our work intersects and how light, design, and art inspire us. We wanted to push the limits of a typical virtual video interview by recording 3D point clouds simultaneously that Takuma combined together in a nature-driven point cloud backdrop. It created a very interesting and exciting way to bring us together from Portland and Kyoto in a virtual space.

ATypI 2020 All Over Conference - Light Capsules and Lettering, Projection Mapping with Craig Winslow

Another virtual conference I spoke at this summer. I dove deep into the process behind Light Capsules with a live demonstration and discussed the next iteration of the project.

Concept: Beacon

As a result of my interview with XR Talk, HELO, a global talent agency, reached out with an opportunity to pitch a project bid. This led to some exciting creative conceptual design work for a potential client.

Concept: Telescope Tree

Another conceptual design worth sharing for a project bid that was brought to me through HELO. Sketches and 3D modeling came together quickly for this concept, which was pitched as "an artistic interpretation of a holiday display."

Vivid Coffee

For the past 5 years, I have led design at Vivid Coffee, creating everything from branding and packaging to merchandise.

Vivid recently moved into a gorgeous cafe space in downtown Burlington, Vermont. We’ve been busy creating menu boards, exterior signage, neon art, as well as dozens of new roast labels, and a expansion into Snapchilled Coffee. I also helped design a mug with art by Keenan Bouchard to benefit Honduras after the Santa Barbara region was devastated by multiple hurricanes.

The list of exciting things to come in 2021 is long, as I continue to help with creative aspects to building out the new cafe.

‘Glow’ with Hueman

Dr. Mabrie and his team reached out after seeing the Lightform AR Mural I created with Gemma O'Brien for Lightform. They proposed a collaboration with Oakland-based artist Allison "Hueman" Torneros on a brand new mural for their Union Square office in San Francisco.

Hueman painted this entirely in B&W and the rest of the color was added with light. I worked closely with Hueman to brainstorm and define direction, responding to her vision as the artist to create all custom content to augment her work as a living, projection artwork.

Perhaps the most '2020' feat was creating this work entirely remotely. With help from Dr. Mabrie's team to get measurements, I built the office in 3D, and used Disguise One to show an example of the final installation. After printing a scaled-down version of the mural, I built a mirrored set-up in my home studio in Portland, for testing and perfecting the animations in person. Once the mural was painted and placed, a local installer mounted the projector, and I utilized beta cloud tools in Lightform Creator to scan, deploy content, and publish updates remotely.

Representation with HELO

After a few conceptual design bids for projects, HELO and I started to discuss what official representation would look like. They were excited about my approach, and the cleverness of my previous projects. I’m pleased to share that I officially signed on with them as my EU and US representation! Excited to see what projects we collaborate on together next year, as I set goals for dream clients and projects.

2021

I’m proud to have done so well this year, despite... 2020. My growing focus on 3D pre-visualization really thrived in this new virtual world.

I’ll admit, it’s hard to look forward to 2021. It’s going to begin the same way 2020 ended, but I remain hopeful that by summer or fall things will get moving again. Until then, I’ll continue to focus on working remotely, finding new projects, and expanding creative outputs.

An ideal 2021 for me is one where I get to see family and friends. I’m also turning my attention to my dear project Light Capsules in multiple ways: the first permanent Light Capsule installation, an augmented reality iOS app as an extension of the project and a platform for future AR capsules, alongside new projection installations.

It’s also safe to say we’ll finally see the new Brilliant! Jackpot in 2021, whenever it’s safe to bring our talented team from around the country to beautiful Las Vegas.

My mantra for 2021: Be healthy, stay inspired.

It’s a hope I share not only for myself, but for everyone else. It’s been one brutal hell of a year. —Craig

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artdjgblog · 4 years

Photo

Innerview: Cathy Fishel / Print Magazine August 2005 Image: Print Magazine Note: Interview for the Print Regional Design Annual.

Introduction: Cathy…Sorry you missed me. Sorry to miss you. Thanks for the message (sorry it cut you off in the middle of your phone number). Things are a bit intense as summer brings a new definition of BUSY. Work. Work. Work. Many thanks for the kind words about my work and I. It means so much. Yeah, I am sure it is chore to sift through all of the junk I’ve been dumping on the PRINT headquarters every March for the past three years or so…(I feel like a true failure if I send less than fifty entries). It is funny because just last week I was thinking about the upcoming PRINT Regional Annual and how I had not heard back on if I was selected…and I guess I have been…how many? And what? I am very curious. I had pretty much written it off. Thanks for informing me…I suppose I was supposed to receive notice upon that a while back…what happened there? Same thing happened to me last year. Out of curiosity I called somebody at PRINT last year and sure enough they had contacted me at the wrong address or something like that…I hope that wasn’t the case again. We need to get that straightened out…indeed. Certainly, I am thrilled to participate in this little questionaire. Wow, i’ve always wanted to. You don’t have to worry about smearing my name from anything said. I don’t care. Here we go… 01) How has the pace of business/number of jobs been in the past year as compared to the previous year? The pace is as thick as I want it and when I have sleep to deprive. I’ve always held other jobs and currently work a massive sixty-two hour weekly schedule as a groundskeeper and a janitorial supervisor…thus, cramming design into my pockets…and whenever I can squeeze it in my free time or find it under the pillow in the wee morning. I never actively seek my work due to time constraints and exhaustion…not yet, at least…and besides, the majority is word of mouth. Most of the time I just make stuff. Some of the time I get a nice little call or email and then just make more stuff. 02) Why is it up or down? The numbers (ups/downs) are slim if you stack them to my three previous so-called “professional” years…of course it’s due to my lack of time…fatigue…getting older…and mostly because I don’t really have a definite connection with my clients like I used to…and I don’t live with bands, attend concerts or am around my clients as much as I used to…(in case you’re wondering, my primary source of work is in the local independent music industry). Also, I am not as twenty-four-seven-gung-holike I was when I first started. I’ve accomplished most everything I set out to do at this point…(perhapsI’m just settling and need to mark a new planner?). 03) Has there been any surprises in the past year? Good or bad? Surprises in my work and thoughts come quite often. Sometimes it’s mush. Sometimes they come as sneakeries. The only real surprises come when I get random calls/emails from kind Print editors, designers requesting copies of posters, people wanting to put me in their books, seeing my work in books/magazines next to my inspirations/peers…and recent college graduates persuing job opportunities with my bedroom design operation. It’s all good…never bad…well, the only bad thing would be that I have to shell out good money for the good books that I’m in. 04) Has there been an influx of a new sort of work or client in your office? In the design community as a whole? Honestly, the only new things I approach are the things that come with each new day and in thought. I try to treat each design day new. Nothing I do is new to the worlds, other than in my own. I do thumb magazines a bit and I am a bit of a junky with design/culture and such…and I do keep my eyes open at all times…though, sometimes too much of it can make me not like design or anything. It’s getting to be way over-impacted with the idea that everyone thinks themselves to be a designer. Most of the only new sort of work that really kicks me (or I even consider new) comes from scraps of paper I find and hand painted ghetto signage. Though, if we’re talking professional work, I guess there is some good stuff coming out of the local climate. And of course I guess there is always good stuff coming out of the woods everywhere. Others might lump me in there somewhere. I don’t really know or care. 05) What is the economic climate like there in general? I was bummed when Quik Trip ended their “Cheap Drink Summer” so soonly…however, I’ve always got the Hostess thrift store two blocks away. I always find free junk in the streets and at work in the trash…and I always find great deals on paper and “whatevers” at thrift stores. No matter if I don’t cash in on design…I’ve always got cheap fuel to burn…and I will always barter for goods and services…if the price is right/not right. 06) Have any large clients closed or left the area? Who? Most of the rock ‘n’ rollers are skinny little dudes and I’m the one that’s gaining the weight around my belt and portfolio pit. There have been a few bands that have broken apart and some that have decided to play musician-designer to save money. And combined roles like that don’t always produce wickedly pretty offspring. 07) Has there been any changes in the ways that clients do business with designers (good or bad)? Not really any changes in clients. People still owe me money. Most people still don’t want to pay much or even pay at all for design…though, they are eager to push the products I slap myself onto and I give them free press in books/magazines. Oh well, that’s part of the deal and I knew that from the get go. It’s more than thant anyway. And I still love them…I am sure they still love me…I just don’t make enough from it to eat. But, I do have some wonderful clients that I hope to cradle and/or have them cradle me for a long time…we’ll see. 08) Is the design community tight-knit? Competitive? Friendly? What? I don’t really associate with other designers due to a lack of time and sometimes, simply want. I do have a few I check in on…but mostly I stick to my own guns. Therefore, I constantly hope my cats and girlfriend understand what the heck I’m talking about. It’s mostly mumbles I’m trying to say though…at least I’m entertained. In terms of the local design community…well, I guess the art/design here in Kansas City is looking pretty good. Even though i’m only in my fourth year, through the visual clutter I can see a few improvements. From what I understand, there is a tight-knit community that I’m not really associated with physically. From the outside, the knit appears to be extremely tight though. These days I like to sit at home and hunch my shoulders…and I like to think and be around people/places/things that aren’t necessarily directly connected to the design world, but they are in my personal one (whatever that means). In competitive terms I guess I fell victim to that last December. One of the best things I’ve ever done was stolen at an exhibition. Poor Mortimer was an only child and I’ve nothing to document him. Either I’m getting somewhat popular or I have a backlash. I’m also getting tired of most of the announcement boards to post posters being smaller than one of my posters (time to break out my little hands). 09) What exciting things are going on in the design community? Honestly, I couldn’t tell you. Well, I’m kind of excited to see where this city is headed to as a whole. There are a lot of expensive things being built…new downtown developments/arena…and a ridiculous addition to the Nelson-Atkins Museum of Art that looks like a giant trash bin and/or trailer home. 10) What are you looking forward to in the next year? Any big changes? Anything that you hope will happen? Well, I am getting married this Fall and thus must condense my apartment. I must lovingly adapt to sharing my artifacts, junk, libraries, wall space and work space with a woman. I also plan to start sleeping on a real bed again…and to quit my night job. She is a good one though. 11.) Why is where you are a great place/lousy place to be a designer? Since I’m a one man show, I can take my design anywhere. Though, it helps to have an outlet to a music community…I guess…if I want to continue with that. I guess with this question, it’s mostly all behind the controller. You’ve really got to chop some trees down to be heard…or just put your head down, barrel through them and not really pay attention. And my real dream is to live in the woods outside of a small town near a big city and have the requests come to my porch via arrows…and to make things for myself. I’ve never been one to worry myself about if I’m in the right place or not. As long as my brain is not too sloshy and polluted, I will be fine. 12) What advantages does the midwest hold as a design source for clients? I was born and fed here. It is ok (at times a bit too honky and wonky). I’m happy with the way things have gone so far. I’ve got a meager following here that I suppose “gets it”…and the norm that says, “That’s different.” Though I haven’t really ventured off much in my design life, or simply, life in general. I hear it’s a mighty treat to get out. And I also hear good things about the midwest’s hospitality and friendliness from outsiders and/or people who get out. Perhaps I’ll pack it up one of these days and try some new turf to ooze between my toes. 13) What is the level of student/job applicant talent? Is young talent staying in the area or leaving? It’s really flattering, funny and somewhat depressing to me that I’ve received many offers from recent design graduates who desperately want to work for me. Some are really talented too…and I must paint my sad tale of no funds or time for me to even consider full-time employment with myself. Maybe I’ll just have them move in for therapy…or start my own school with fire poles to slide through the floors of my apartment building and heaping pile of posters to burn for warmth. -djg

#innerviews

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sarahunit11 · 5 years

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PERSONAL STATEMENT

This week I signed up to UCAS and filled in my personal statement to apply for teh Universities that I apply for.

Does your previous or current studies relate to the course(s) that you have chosen?

My current study does relate to the course that I have chosen because I am studying level 3 UAL photography at Nottingham College which is equivalent to 3 A levels. I have chosen to do further study in photography as I would like to get a degree in photography and gain more skills within this region of work to have my own business in the future.

Have you taken part in any other activities that demonstrates your interest in the course?

I have not been to any open days however photography wise I have been to many exhibitions and had many opportunities to take photos.

I went to format festival 2019 which had the theme of Forever/Now which had many photographs from many photographers to show their views on the theme of Forever and Now, I went to format festival on the open day due to one of my images being in the exhibit and I also went with college to help me with my FMP project for what to do within the project. Within format there was another section which was project 16 which was based on 16 year olds and how they live their lives to show how their lives are being impacted to this day.

Within the first year of my course I went to Rotterdam with college as well as having many photo opportunities I also went to museums which had many excellent pieces of work, I went to for the Rijks museum, Van Gogh museum, Stedijk museum and Foam. I had an excellent time in Rotterdam and learnt a lot which went towards one of my projects. I also went to London for the day with college and visited museums here too which helped me with one of my projects as well with research, the museums that we visited were The Natural History museum, Saatchi museum and the Victoria and Albert museum.

Lastly, I have been to the Nottingham contemporary museum twice, the first time was during the first year of my college course which I took compositional photos of the art work within the exhibit that we saw to have research within a project which also helped us take compositional photos throughout the whole year as well. The second time I visited with this year during the first project which helped me research and identify different ways to create experimental images for this year digital and non digital.

Skills and achievements:

Skills

I would say that I have many skills that I have gained from work experience and being on this course however I would like to expand and gain more experience within the skills that I have got.

Communication skills

Technical skills - working with a camera and knowing many experimental techniques

Studio - health and safety

Software - photoshop, adobe bridge, lightroom

Darkroom - able time develop film and enlarge images

Good time management - on time to class and placements, meet deadlines on time

Able to work with a lesson timetable

All of these skills are important especially with some jobs as communication skills are needed due to communicating with people you work with and the clients that you will need to communicate with when selling them the services that you are doing.

Also being punctual is important because if you are not punctual the course or the job you’d like to do won’t allow you on due to you not being good at being on time, especially with deadlines on projects that need to be done.

Being able to use language within my work is important as it helps me annotate my work in an understanding way as it helps people who see my work understand how I created my work and my own opinion of my work as well as how I’d improve my work if I was to do it again.

Lastly, presentation is key as I have to be able to explain my work to a group of people to tell them how I created my work also what I like about my work, within the presentation I also have to be able to take criticism as it will help me improve my work in the future.

Achievements

I have had a few achievements within the past few years such as one of my images being exhibited in Format Festival Forever/Now which I was very proud of myself for as I didn’t expect my work to be shown within the exhibition.

I have also had three of my images put onto the Nottingham college photo Instagram account, my three images that were put onto the Instagram page was my three images of eyes which I used a macro technique to capture the detail within the eyes.

Lastly, I had the opportunity to take photos for Base 51 in Nottingham for their website which showed what the people do at base 51 as well as their counselling places within the building, these photos were taken to try to improve the amount of people visiting base 51 for help and socialisation.

Hobbies and interests

For my hobbies and interests I would say that I am interested in videogames especially survival games as they help teach us how to survive in different situations, and photography is one of my hobbies that I would like to turn into a career as I enjoy doing it as well as travelling and taking photos.

Work experience

I have done a few placements for work experience such as volunteering at a primary school a few times which has made me gain new skills, as I am working with young children as well as adults. I have worked with a range of children from nursery up until now which I am working with year ones and nursery with reading and helping year ones with their work in the mornings. With this experience I have gained the knowledge of how children work and how they manage with different tasks as well as teaching them how to read. During the mornings I work with a few individuals who need extra help with their work which has gained me more experience with patience as it is needed within this setting.

If you know what you’d like to achieve after completing the course, explain how you want to use the knowledge and experience that you gain. How does the course relate to what you want to do in the future?

After completing the course with the knowledge and experience that I have gained I would like to have my own photography business, this course relates to my future job because it allows me to gain more experience within photography before I create my own business to get me prepared for what I would like to do within my business.

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coppolafrancis · 5 years

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Auction Houses Grow a Different Kind of Jewelry Sale

The Hong Kong designer Dickson Yewn has been preparing for an exhibition and sale in what, until a few years ago, would have been considered an unusual setting. The group show, curated by Vogue Italia, is scheduled at Christie’s auction house in New York rather than a downtown gallery or glitzy boutique.

“The Protagonist,” scheduled Dec. 10 to 13, is to include Mr. Yewn’s bangles of reclaimed wood accented with diamonds as well as ceramic and diamond versions of his signature rectangular rings. Also on display: creations with emeralds and wild tagua seeds by Alexandra Mor of New York, the show’s creative director; sustainably farmed pearls from the New York-based designer Ana-Katarina Vinkler-Petrovic and a white topaz ring with other gemstones by the Italian jeweler Alessio Boschi.

Auction Houses Grow a Different Kind of Jewelry SaleBangles made by Dickson Yewn of reclaimed wood, with brilliant-cut diamonds set in 18-karat white and yellow gold. He plans to sell them at “The Protagonist,” an exhibition and sale at Christie’s New York from Dec. 10 to 13.CreditIsaac Lawrence for The New York Times.

Auction houses have held such contemporary art jewelry exhibitions and sales since the late 1990s. But, as they mine new methods of reaching clients and scale their efforts to welcome larger groups of potential buyers, what previously might have been private appointments or intimate dinners now are being mounted as public events.

Sotheby’s, for example, has sold contemporary jewelry like Hemmerle earrings or diamond necklaces from Stephen Webster for more than 10 years. But Laurence Nicolas, the house’s global managing director of jewelry and watches, wrote in an email that “we had a number of high profile sales and exhibitions recently which put the emphasis on this aspect of our business,” such as staging a sale in coordination with the house’s design and contemporary art departments in January in Geneva. It also has scheduled one at the same time as its retail boutique, called Sotheby’s Diamonds, to begin Nov. 30 in London.

Ms. Nicolas said it was the December 2017 sale of Shaun Leane’s personal archives, including the jeweler’s collaborations with Alexander McQueen, that really was a watershed moment for the auction house.

Other auction houses, like Artcurial in Paris, have pursued links with contemporary jewelers but are not going so far as to sell their work in exhibitions. To have regular sales exhibitions, “you have to have the capacity of clients to pay,” said François Tajan, Artcurial’s deputy chairman, noting that Monte Carlo with its rich international crowd would be a better location for such events than Paris.

But Artcurial did have the Parisian jeweler Elie Top curate a fine jewelry sale in July 2016. And Mr. Tajan said the house would like to have two or three contemporary jewelry exhibitions a year, each for two to four days.

“We would be happy to promote other people separately not involved in the auction market. We would like to have three Elie Tops every year,” he said.

“The financial side is at the center of the system,” Mr. Tajan said, “but with selling exhibitions or presentations like we did with Elie, the financial side is not the target. It’s just a question of image.”

Image, yes, but also attracting new customers.

Earlier this year Phillips scheduled its first contemporary jewelry exhibition sales. Susan Abeles, head of jewelry in the Americas at Phillips auction house, said the events, which featured Lauren Adriana, a London-based jewelry maker, and Ana Khouri, a Brazilian designer who works in New York, attracted visitors 30 to 50 years old “who may not have known us before.”

The shows drew more women than usual, and Ms. Khouri’s show was on the ground floor of the auction house’s New York space so it attracted more passers-by. “We are increasing our notoriety,” Ms. Abeles said.

Forging connections with art jewelry makers also reflects a long-term commercial imperative: “We have to widen the net from heritage jewelry,” said Julie Valade, associate director of jewelry at Artcurial, “because to find jewelry is increasingly difficult because we can’t sell jewels from retailers. We’ve got to get them from someone.”

And as David Warren, Christie’s senior international director of jewelry, said, there now are more auction houses, with more locations — including in newly developing regions, like Southeast Asia — vying for stock and for customers. As a result, competition for both have been increasing and pieces have been spread more thinly, he said.

However, Louisa Guinness, founder of her eponymous contemporary jewelry gallery in the Mayfair section of London, said she is optimistic about the effects of auction houses exhibiting today’s designers — even though work by Eliane Fattal, one of the designers in Ms. Guinness’s current group show, “Things That I Love,” (to Dec. 21) also has been showcased at Sotheby’s.

“They are just helping with the marketing of these jewelers,” Ms. Guinness said in an email. “The more people interested in jewelry and original design, the better for me and my gallery. If they can help the market grow, my gallery and my artists will benefit.”

And, “the better we do,” Ms. Guinness added, “the more younger designers we can support and that is only a good thing.”

Jewelry designers themselves say that, for the most part, they also benefit from the auction house sales.

As Daria de Koning, a Los Angeles designer whose handmade one-off creations also are to be displayed in the Protagonist show at Christie’s, said, “There are very few retailers that are taking a gamble on artist designers or they don’t have that clientele or they don’t understand artist jewelry.”

And for jewelers, like Mr. Yewn, who has his own boutique in the upscale Landmark Atrium shopping mall in Hong Kong, auction house events offer a different kind of opportunity than a shop or even art fairs. “In the boutique,” he said, “you sell to unknown people who walk in randomly, whereas private sales-led exhibitions are targeted and you have to know the customer.”

(Although, he added, the designers don’t get to develop relationships with auction house clients. “I don’t get to know customers of Christie’s and I’m not supposed to ask for contacts,” he said of the solo exhibitions he has done at Christie’s in London and Singapore).

Designers have to pay for their participation, as well. The Protagonist show is charging each designer $7,500, and there will be shipping costs. Ms. de Koning said she expects to pay a little less than $10,000 in all for the event. “It’s a calculated gamble,” she said.

In the end though, Mr. Warren of Christie’s said, an increase in exhibitions selling contemporary jewelry is fueled by demand. “We’re selling contemporary jewelry because people like it,” he said, “and if there is a demand we want to be supplying it.”

If you are in search of diamond earrings for women then please contact us and send your queries.

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withoutarchitect-blog · 8 years

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Wil Aballe Art Projects (WAAP), Vancouver, Canada.

Sanie Irsay: What is it like working an art fair?

Wil Aballe: Yes, it’s a funny thing to do. It’s essentially like a travelling exhibition so you have to choose the art fair. For years this was the gallery’s goal – to come to this art fair vs any other art fair in New York. And what kind of presentation? So you know, you can do an installation, like this with Partick Cruz, which is primarily one artist’s work, or you can do a group presentation which is a totally different feel for an art booth. So depends on what philosophy you adhere to in terms of what to present at the fair. It’s always a balance of commercial decisions (as to what you think will sell) and what the local viewer, the people within the fair, will be able to appreciate (and it’s different for every single fair) vs. doing a presentation that is as close to the artist’s vision as possible, which in case of Patrick’s work is the direction that we went. We did consider the commercial aspect of it, but very quite aware that this is more financially risky than doing a group presentation of works by artists that will do well.

S: Yes, I definitely see one artist’s vision –

W: Yes, it’s also closer to what the gallery does when it’s in Vancouver. The gallery’s sort of developed a reputation for very strong presentations of work that are conceptually rigorous. So in terms of its approach and cohesiveness, we wanted to do that kind of presentation here so the people who come to the fair are aware of how the gallery programs the majority of the year. This is quite indicative of that we don’t really do group presentations too often – maybe one or two slots a year we’ll do a group presentation. The majority of the time we work with an artist to realize something in a solo presentation so we felt that might be the best foot forward here.

S: Can you tell me about Patrick Cruz and his work?

W: Partick is Filipino-Canadian. So at least in Canada there is a realization that we need to present a diversity of artistic output, having historically the majority of artists in museums, for instance, being white males – it would be good to show female perspectives, sexuality-diverse perspectives and other cultures. Patrick’s work specifically addresses this feeling of diaspora that happens when somebody migrates across the globe from one culture to another. And I understand because I’m Filipino myself. He moved from Manila to Vancouver. In Canada we are so fortunate – there’s not really an assimilation that happens, you’re kind of embraced, but there’s still tension, you know.

S: Of course.

W: As a person who’s coming to Canada, you do give up certain aspects of your past life to be able to make it work. It’s a personal decision and everybody makes that call individually, and everyone takes a different approach. There is sort of an assimilation that happens on a micro level, so the energy Patrick comes up with in his imagery…I don’t know if they’re necessarily so much about the image in most cases as much as the energy that you get, the sort of grungy, organic dynamic energy of a third world functioning urban city. If you’ve ever been to Manila and you’re in a bar, it’s the feeling that you have where everything sort of happens all at once and it’s got a relative harmony to the madness. These paintings have a manic energy, possibly, one could read it that way, that there is so much going on but it also works, coheres. It’s really nice to be able to represent a feeling of a place, of a type of place, as an art installation to speak to some ideas around globalization and global migration.

He won the RBC Painting competition two years ago, so he basically got to the level that most emerging painters want to get to in Canada and got that prize. But these paintings…they don’t feel very Canadian to me, aesthetically, and the jurors I think took a real chance on him because a lot of people up in Canada don’t necessarily understand his work. It’s taken people a lot of time to process what Patrick does. I think they’re starting to, because he has begun in the last couple of years since the prize to show at major institutions all across Canada. There is this desire to bring this into the discussion of Canadian paintings, because it is a country people from people of different countries, so why not? This addresses it abstractly…we are all entering the work with our own personal experiences and it’s a very Canadian experience to immigrate. No one outside of the Indigenous people really have a different experience, I think everyone is aware that they came from somewhere else.

[…]

S: You mentioned globalization and global migration – what role do you think art fairs play, or where do they stand in these conditions?

W: Well, art fairs...I hate art fairs. I hate doing them. I dislike them very much.

S: Great, that was going to be my next question!

W: I find that they’re the hardest thing to work. It’s so intense, and when you do an art fair you have to plan for what you’re going to do and what art you’re going to bring, make sure it’s packed up and brokered properly. But you also have to bring your nails, bring your screws, bring your tools, figure out the crate, how are you going to open the crate, how you’re going to de-install, do you have bubble wrap…we count out or screws, we count out our nails, we count out everything. All of the information is sent out ahead of time, we do .pdf’s of the price list, we have red stickers – all of those things have to travel with you, it’s a travelling gallery. I find them super exhausting. I would rather not do them. Unfortunately I think the reality of the situation is that if you don’t do art fairs as an emerging gallery, then you’re destined to run a gallery that is regional. And regional is a really dirty word.

S: Really?

W: Yes, I personally revel at the fact that the gallery is in Vancouver and that it shows primarily Vancouver artists. I’ve had many opportunities to work with international artists and bring them into Vancouver, but I’ve actually kind of resisted that because I feel like there is a real community building that’s happening where the younger generation of Vancouver artists are doing such interesting work. We got lucky, we have a great contemporary art history in the forty years, where more artists are internationally active and are in super big deal galleries, and they’re still around. So I want to cultivate this regional dialogue, but if I’m not careful my artists will be known as regional artists and its really important for the work to be seen in an international contemporary setting. So, unfortunately, to do right by the artists, I need to be here and put up with these horrible weeks [laughs]. You know, I had a great time in New York, I love New York. You choose what you like and where you want to be, so even if the work is frustrating…it’s a performance, sitting in these booths for four days. There is a lot that’s dreadful about it, but we’re in New York, and it’s great, we’re far away from home, we’re meeting people we don’t normally meet. Yesterday […] and […]* were in the booth at exactly the same time. On the first day Roberta Smith Instagramed us as one of the highlights of the fair.

[…]

It’s great exposure for the gallery to be seen with those pacemakers, so it’s good to be here.

S: I used to work for a gallery owner who also participated in art fairs, and I got the sense that it’s a great commitment, of course if the gallery does get in in the first place.

W: Yes, you have to be let in. This is not our first time applying to NADA, so we finally got in, a couple times later. And it is a financial commitment. I was sold by a gallerist in Canada that one shouldn’t do an art fair if they can’t pay for it right off the bat. So if you have to sell the art to be able to afford the art fair, you have to say no. And it’s like buying a house, fundamentally the timing of when to buy a house should be according to when you’re ready to buy the house, when you really want to buy it and everything lines up. So it’s the same thing with an art fair, it’s the right time for us to be here now and it happened to align with an application that NADA appreciated and let us in with. So it’s great. The fact that we’re in New York and we don’t know the people means that this likely will have to be a multiple year commitment – and that’s a little more scary. But I did come to year 1 here at the fair thinking that this might be a three year plus deal before it turns into anything significant. That’s really what galleries have to think about – the long term deal, because otherwise we’re all just selling, I don’t know, paintings of like Pikachu or something. You know, whatever’s cool that the kids buy nowadays, that feels contemporary. Or like paintings of Jean Claude Van Damme, I don’t even know. It’s not flowers and landscapes, but you know, the new flowers and landscapes. That would make for such dreadful art to see all in one place if everybody brought the same saleable stuff.

* These are names I can’t make out from the recording – I’m guessing names I’m expected know.

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markpauldaphotography · 4 years

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Art Avenue Interviews Mark Paulda About Bhutan

Photographer Mark Paulda visited a country that rejects Western values and where few ever visit. And when he returns to Bhutan in June, he’s bringing eight more cameras with him. Paulda was intent on showcasing the beauty, heritage and lush landscapes of this pristine country nestled between China and India in the rugged terrain of the eastern Himalayas—a country whose average annual household income is a mere $1,800 but measures its prosperity through a Gross National Happiness Index. It wasn’t until he made an unlikely friend that Paulda realized he needed to expand his photo project beyond his own viewfinder. After all, who better to reveal the mysterious world of Bhutan, than the Bhutanese themselves? There is such an innocence to the people we don’t see in the western world. We’ve lost it—a genuine kindness that we have to look for because we put up boundaries and guards. To find this untainted world and experience that with the people, it really moved me,” said Paulda. The government of Bhutan didn’t allow television or internet access until 1999, it is a region completely void of commercialization, banning franchises and international advertising. It is one of unique simplicity allowing for its citizens to sustain a traditional lifestyle. Bhutan limits tourism to preserve the culture and maintain its purity, which is a reason why Paulda journeyed there last year. He wanted to observe the intimacy one could have with its people, their traditions and way of life. After spending a month traversing the north, south, east and west of Bhutan with a designated guide, Paulda realized the need to document the this unspoiled, isolated and mysterious land. Kuenga Yonten, Paulda’s tour guide, showed him the entire country and developed a relationship with Paulda that is unknown to most tourists. “I had the opportunity to get close with Kuenga and his family and that was something atypical. It wasn’t a world a visitor could see as I would eat meals with them, watch them interact in their daily routines—sometimes we just spent time skipping rocks across water.” Paulda said he provided a quick tutorial on the GoPro, Kuenga took the video camera home and practiced learning the device on his family. It was through these intimate images that Paulda realized he wanted to create a project where the Bhutanese could show Bhutan through their eyes and not from those of a Westerner. Who better to express the colorful cultural world of the Bhutanese? Paulda set out working on a project with Kuenga that would enlist eight Bhutanese individuals (carefully chosen by the Bhutanese government) and over a six to eight week timeframe provide them a Canon camera at no cost, introduce them to the basics of photography and allow them to document their country through their own eyes. For this project, Paulda needed the government of Bhutan’s approval and soon realized how valuable his relationship with Kuenga would be. Kuenga was very instrumental. I did the proposal bit by bit. He redrafted the words to be more appealing to Bhutan. We edited it and he personally took it to the government to the Minister of Culture and The Tourism Council of Bhutan. It turned out to be an eight- month process of Kuenga pestering them and they came back and approved the project,” said Paulda. We Are Bhutan was the first project of its type to be approved by the government in five years. One of the goals of the Bhutanese government is to preserve the country’s cultural values and lessen the impact of tourism, which is also affirmed by Kuenga. “I am delighted and happy to be born into the Himalaya. Being a Himalayan and Buddhist citizen, I enjoy the old, old cultural values and traditions preserved. The pristine environment and landscape is one of the Bhutanese charms and wealth for the country,” said Kuenga in an email. Cultural aspects to be considered for documentation are the architecture (whose influences can be seen right here in El Paso buildings throughout the UTEP campus) and customs, one of which is to follow a dress code. During the daytime and in public the Bhutanese follow a national dress code known as Driglam Namzha. Men can be seen wearing a knee-length robe tied with a belt, while the women wear colorful blouses over which they fold and clasp a large rectangular cloth called a kira to make an ankle-length dress. A toego, which is a short silk jacket, may be can be worn over the kira. The chosen textiles are indicative of the weather—either cotton in the warmer months and wool in the cooler periods. For special occasions or events they are encouraged to wear colorful patterned silks. Paulda, needing another perspective on teaching the students, went back to London to enlist the assistance of a man who he describes as “a low key, good, genuine soul” and previous mentor, famed photographer Rupert Truman. Truman is currently one of the owners of Storm Studios and says commercial photography has always been important to him, but his collaboration with Paulda on We Are Bhutan is one that he is looking forward to witnessing and assist in its development. “My time has largely been taken up with business related stuff over the past couple of years—book deals, print sales, exhibitions and the like, with a bit of photography thrown in now an then—such is the lot of a business owner! So, the opportunity that Mark has presented me with is very welcome as a break from the usual commercial world I’ve been immersed in recently. I have to say that it’s very nice to see Mark’s career blossom over the years. I couldn’t envisage any of this from the few weeks I spent teaching him all those years ago—and it’s a joy to see,” said Truman. “Of course, it’s got little to do with me, and everything to do with his quiet determination.” Read the full article

#Bhutan #learnphotography #TravelDestinations

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phawareglobal · 5 years

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Iain Hess - phaware® interview 300

In our 300th episode, Iain Hess discusses his lifesaving double-lung transplant he received two years ago on January 17, 2017. Iain is a former pulmonary hypertension patient from Colorado who was diagnosed at age 5.

My name is Ian Hess, and I'm here to share my story.

One year ago, I was standing on top of one of Colorado's 14,000-foot peaks. It was a difficult climb to the top, but overall it was one of the most rewarding experiences of my life. It was something that I'd wanted to do for a long time, but never had the opportunity to, because for 12 years I had lived with pulmonary hypertension [PH]. Doing something like this was just simply impossible. But thanks to my physicians, nurses, parents, people at the pharmaceutical companies, friends, everyone, I was able to do such a thing.

Going back to 2004, two weeks before a planned family trip to India, I was diagnosed with pulmonary hypertension. At the time, I couldn't really comprehend what my diagnosis meant, but the doctors essentially told my parents that if I were to go on a flight pressurized to 8,000 feet, it would be a big mistake. So, 10 days later I had a right heart catheterization, which confirmed that I have super systemic levels and I immediately was diagnosed and had a central line put in and was put on a CADD pump which administered Flolan.

For years after diagnosis, the progression of the disease was constant, but it was not frightening. In a way, it was like boiling the proverbial frog in that I couldn't feel the difference day by day, but overall and after time, my body was taking the damage. There was a lot I could no longer do.

Since I was two years old, my family had started me skiing, but as soon as I was diagnosed I could no longer go to high elevations or do anything of that sort. So initially ,that didn't really affect me too much. But as time went on and my siblings started skiing and my friends started skiing, I definitely felt like I was missing out.

Being connected to a central line and pump obviously had many drawbacks. Number one, it would fail if it got wet. Number two, I had to carry a backpack with the CADD pump in it at all times. This proved difficult when it came to do activities, mainly swimming. I would have to wear a dry suit. For me, that was just one of the biggest pains because swimming was always something that I had wanted to do and always had kind of a passion for. But as soon as I had to put on that dry suit, it just took the fun out of swimming for me.

That dry suit did its job perfectly, but on the few occasions I may have ripped it or something, but water did get in on a couple times, which caused the pump to fail or my Broviac to get wet. Which in many cases, which happened many times, I either had my pump fail, which meant me not getting my medicine, which resulted in the paramedics having to come and do whatever they do.

The worst situation with my central line, overall, was probably when my parents were having a dinner party and the kids were running up and down the house, just having a good time. All of a sudden, my dog took one misstep, stepped on my central line and ripped it right out of my chest, basically causing blood and Flolan to spray everywhere. So, my dad called the paramedics and fortunately they came in time and took me down to the hospital. My dog didn't even bark when about 10 first responders came in just of the shock. In thinking back, my parents had to always be at the ready, so to speak, in case something like this happened because even the smallest situation could turn into a big deal.

Despite many drawbacks, pulmonary hypertension came in handy once or twice during my life with it. Again, once or twice, not often. I would use it to skip a class or turn in an assignment late once in a while. But the biggest positive came from the Make-a-Wish Foundation.

My dream car has always been the Bugatti Veyron. And for those of you that don't know, it was at the time, the fastest car in the world at 267 miles per hour and had a price tag of over $1 million. So, I just loved everything about it. What Make-a-Wish did for me is they sent me to France, to the Bugatti facility in the Alsace region of France in a town called Molsheim. The special thing about this trip, is that it had never been done before, first of all. Bugatti generally only lets their customers on the grounds. So, it was a very one-off experience that I got to have. Yeah, I got to ride in it, which was fun.

Pulmonary hypertension is disease that progressively worsens over time. Like I was saying before, at the beginning of freshman year of high school, I started noticing that walking up a flight of stairs would leave me breathless, gasping for air. You can see in this picture, that my face is very red, number one, due to the constantly increasing doses of vasodilators that I was on. I was also turning a kind of blue color because of the lack of oxygen that I was getting. Basically, at the time I was the color of PH. This is the color of PH.

I dealt with the worsening disease for about two years before my doctors in Denver decided that something had to be done. But what to do was unclear. One option was to pick a transplant facility and go through the application process and then decide based upon that. The other option was to go to St. Louis, Missouri, where they had recently adopted a fairly new procedure in the U.S. called the Potts Shunt.

Essentially what this procedure is just a shunt that basically directs blue blood around your heart protecting it. After visiting various transplant teams, my family and I decided that the Potts Shunt surgery was the best option for me. I can say now that picking St. Louis was the best decision of my life.

During the summer of 2016, my parents took all three kids, both my siblings on a European trip for six weeks. We went to the U.K. and saw family. We relaxed on the Coat du Soir in the south of France and went to various art exhibitions in Italy. Little did I know at the time, though, that my parents had planned this trip out as it may have been our last together. This was the calm before the storm.

I went back to Colorado and then immediately my mom, my dad and I drove to St. Louis. Initially it went pretty smoothly. I had a quick but extremely painful recovery. The incision that my doctor, Dr. Eghtesady had made was called a thoracotomy. It was about a six-inch incision vertically up the left side of my back. In doing the incision there, he had to cut through tons of deep muscle, which just turned out to be extremely painful. So, I was on Oxycodone for months and months afterwards.

The following months after the surgery, unfortunately, proved to be as hard on my body as ever. On one day, October 27, 2016, my memory started fogging up. It was a strange experience, because I couldn't remember, for example, what had happened 20 seconds prior. It was all just a foggy day and it's hard to explain. After that day, I woke up and I felt horrible. I felt the sickest I had ever felt before. I called my dad home. He got home and we checked my oxygen stats and sure enough, they had dropped to an all-time low of 75%.

We quickly took the car down to Colorado Children's Hospital where my cardiologist, Dr. Ivy, unfortunately found out that the Potts Shunt had not worked properly. I was too late, basically. At that point, the only option that I had was to go back to St. Louis to have the double lung transplant.

Two months went by and it was departure day. I exchanged emotional goodbyes with my friends at school and then later with my brother, sister, and mom. Then, my dad and I got in the car and took off for St. Louis. I can remember sitting in the car, looking back at the sunset over the Colorado Rockies and thinking man, I really hope I see this place again.

For about the first month in St. Louis, I had just constant appointments. Once that was done and out of the way, we were just kind of sitting in my apartment for two months and I was bored out of my mind. I accepted it, as even the slightest activity would completely wipe me out. I ended up staying in my apartment, basically just watching Netflix or playing video games. Because at that point, I was living a miserable life, effectively in prison by a failing heart.

When your body is fighting to survive, then there's no energy for you to actually live life. Your mind loses hope and your survival instincts turn on. You lose your sense of empathy for others and focus your energy on staying alive. You start to eat less because your body is physically shutting down. You know that somebody has to die for you to have a chance to live, and frankly and morbidly you wished for that. It's a depressing thought, but it's frankly the truth.

After about two months, of waiting on January 17, 2017, I got the call, a new pair of lungs were on their way in. The day they called me into the hospital was a day I'll never forget, I was just sitting in my room in the apartment, my parents in the room across from me, and all of a sudden, I heard commotion in the other room. I thought, what's going on? It's like 12:00 at night. Then, all of a sudden, my parents came into my room with a video camera on saying that a pair of lungs had been found and that we had to be in the hospital by 2:00 AM.

I got super excited, obviously. I got dressed, I got my shoes on, I got ready to go. I went into my parents’ room and they were still in bed. I was like what are you doing? But they had thought, and rightfully so, that the next couple of days they would be getting no sleep, so they wanted to get a little bit more sleep before we finally went in.

We ended up making it out of the apartment by 2:30, and I thought we were beyond late, but it turns out we weren't really. When we entered the hospital, we found the cardiac floor and they told us to go up, where I was initially met by my first nurse, Alyssa, who put an IV in me and basically told us the same thing, just get some sleep because the next couple of days were going to be extremely long.

Then the morning of the 17th, doctors made their rounds. Basically preop was initiated from the moment I woke up. Various units of the hospital stopped by and then around 12:00 PM they wheeled me to the elevators where I handed off my glasses and gave my parents final hugs, not knowing if it would be the last. Then we went down. The anesthesiologist took me up to the sleepy drugs and that was it.

What happened during the next month and a half are virtually nonexistent. Well, they are nonexistent from my memory. This was due to obviously the many sedative medications that I was on, and I can only recall what my parents have recounted.

Although the lungs were perfect on arrival, I ended up being on the slab for about 17 hours, because the doctors couldn't stanch endless bleeding. During that time, two massive blood transfusion protocols had to be called in, which means it's 50% of your blood replaced over a period of four hours. Only when they could stop the bleeding, which turned out to be about five days later, could they close my chest up. That was really the first battle that I faced during that time.

Soon after this, I was put on ECMO and dialysis because my kidneys had failed. After that, I had pneumothoraxes, ICU delirium, strokes, a seizure. I had vagal nerve damage, which is just basically damage to [the] area around your throat. So, I was not able to talk for a while. I also had something called neuroleptic malignant syndrome, which is a reaction to a specific kind of antipsychotic drug, which basically shot my temperature up to 107 degrees. At 107 degrees, you're very close to melting your brain. And the doctor had actually comforted my mom by telling her that the brain only melts at 108. It was an intense 48 hours of ups and downs, constantly being refrigerated and unheated. Fortunately, I don't remember any of that.

Looking back, my life has been a roller coaster of ups and downs, never knowing when you're going to rise and never knowing when you're going to fall. When I was initially diagnosed, I didn't understand what my life was turning into. Over the years as I grew and gained maturity and awareness, I also lost a lot of hope for the future. I didn't know how long I would live, but that's just something that kind of grew a part of me and I still have that mindset to this day.

At end stage pulmonary hypertension, when my body was dying and my mind weakening, I never gave up. I just kind of accepted each day as it was. In the end, I made it through. The nurses provided miracles, the doctors provided miracles. My friends and family provided plentiful support. In the end, no one knows how long they will live for. So, my overall mindset changed through this process. I kind of asked myself why do I need to rush through life so quickly? I came to the answer -- you don't.

Listen and View more on the official phaware™ podcast site

#pulmonary hypertension #phaware #rare disease #lung disease #clinical trials #podcast #PH #asthma

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theworkofartplacement · 5 years

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Second Visit - 13/11/19

My second visit to the Durham Sixth Form Centre took place on a Wednesday and so there was a different selection of classes and things going on. As with my first visit, Ruth had created a schedule for me which would allow me to experience different aspects of life at the school and in the Art department.

The timetable for my second visit:

The day began with sorting out my DBS certificate (although I forgot my passport so will need to remember to bring it with me next time…!) so that I can be left unattended with the children and not have to wear a ‘visitor’ lanyard. I was also told that they would give me a school login for the computers (and maybe a staff card?) which would enable me to have more freedom and be less reliant on Hannah and her login (a plus for the both of us I’m sure!).

I then joined Hannah in The Hub (where her office is) to begin work on the ‘One and All’ Exhibition which is going to be put up in the exhibition space in the entrance of the Art department building. Ruth prefers to have back to back exhibitions in the exhibition space so that it remains a vibrant entrance to the building and doesn’t start being used as storage space which has apparently happened before. This exhibition is a showcase of the best work from all of the Year 12 students across the various arts subjects (Fine Art, Graphics, Photography, Art, Craft and Design, Textiles). Each student picked their best piece to be placed on a poster with their name and previous school. The One and All exhibition is therefore a great way to showcase student work both for the students themselves but also for prospective students and parents. DSFC has students from over 70 different schools in the North East which on the whole helps create a diverse and passionate cohort as well as underlining its reputation as a prestigious learning institution in the region. So, by including the schools that the students went to on their poster, parents and prospective students can see the range of schools attended by DSFC students.

Hannah and I therefore needed to make the posters with the student’s art in order to be printed and then put up in the space. We started by creating a template on InDesign which we both saved onto our separate computers in order to work on different classes at the same time. We then used this template to input each student’s best piece of work, their name and their school. I managed to complete 2 classes over the course of the day and helped Hannah follow up the students who hadn’t submitted a piece of work. We also needed Ruth to look over all of the images to make sure that the student had submitted their best work. There were a few students who Ruth decided should change their submissions and so we changed the posters accordingly.

Having not used InDesign since some graphic design work experience I did in 2016, I didn’t feel completely confident using the program. Despite this, the task was very straightforward and so I got the hang of it quickly and was able to speed up the process for Hannah. Having access to programs such as InDesign and Photoshop as part of the placement is a really great opportunity that I hope I can utilise more in order to develop (and actually learn…) my skills further.

After this I sat in on Ruth’s Year 12 Fine Art class which was a drypoint etching workshop. The students had attended a life drawing class the night before in which they had done a number of quick sketches and larger scale drawings, one of which they had translated onto a plastic plate in order to make a print. It was fascinating to see how the same body had been drawn and represented in so many different ways by the pupils. Ruth demonstrated the process of drypoint etching which is as follows:

-Using an etching tool, scratch your design onto the surface of the plastic plate.

-Using a piece of old lino and ink, smear the ink onto the plate in both vertical and horizontal movements.

-Scrape off the excess ink with the piece of lino (which also helps to push the ink into the etched lines)

-Using a coarse material such as scrim (which is what Ruth and the students used), wipe off the remaining excess ink in circular motions (which helps to keep ink in the lines).

Demonstration of the ink removal process [taken from: https://handprinted.co.uk/blogs/blog/drypoint-printing]:

For their first couple of prints, Ruth asked the students to try and get their plates as clean as possible in order to just get their etched image on the paper. However, after their initial attempts she encouraged them to experiment with leaving excess ink on the plate to create different effects. A few of the students tried various techniques including printing onto old maps which all created interesting and striking visual effects.

-Remove piece of printing paper from tray of water and blot dry using newspaper so that the sheet feels slightly damp to the touch.

Slightly wetting the paper allows for the ink to be drawn out of the etched lines more easily, however, a page that is too wet causes the lines to blur and smudge, a mistake that a couple of the students learnt from. This was one aspect of the process that I helped the students with as they all had inky fingers that would smudge onto the paper!

-Place etching plate onto bed of printing press and put damp printing sheet on top – making sure that the ink is face up (a frustrating mistake for the students who had their plates the wrong way up!). Then cover the sheet with newspaper and turn the handle in order to roll over the plate and print the image onto the paper.

After a few attempts, all of those printing had a really interesting range of prints they deemed successful and could therefore put in their sketchbooks. I really enjoyed being a part of the lesson and helping the students with their work was really rewarding. It was also very interesting to learn about the process of drypoint etching and actually get to see the demonstration which allowed me to be of more help to the students printing.

Example of a finished print [taken from https://handprinted.co.uk/blogs/blog/drypoint-printing ] :

In the afternoon Hannah and I continued making the posters for the Y12 exhibition until she needed to go and teach a couple of classes. Whilst she was gone, I started to do some general research into Artist in Residence programs, why they’ve been successful and how they would benefit both the school and the students. This research is working towards putting a brief together in order to apply for funding for the program. In an ideal world the department really wants to be able to pay the Artist in Residence (as Hannah put it – there are already enough unpaid artists in the world!) but given lack of funding at the minute they can’t afford to pay their AiR. This is limiting them in a variety of different ways as they feel as though they can’t advertise the program properly as it is unpaid and so at the moment the opportunity is just being given to recent graduates (mainly ex-students) who are just starting out in their careers. Although this is a great opportunity for ex-students, it would be an even better one if they were paid for their efforts and would make the opportunity more desirable to more established artists for example. I began my research by thinking generally about the benefits of an AiR program given the ways in which: it can boost the profile of the school – underlining its commitment to the arts and arts education, help students develop confidence and practical skills (as well as giving them a unique insight into a career in the arts) and provide an excellent opportunity for a local artist to develop skills in the education sector as well as practicing their craft and being able to put on an exhibition. I briefly started looking into actual funding opportunities but it was harder than I had anticipated so will need to commit a bit more time to it now that I have more of a sense of what I would need to be looking for and the ways in which the program should be presented and marketed.

Later on in the afternoon I sat in on one of Hannah’s classes which was a wood carving and printing lesson. She had brought in some of her prints which she had made from woodcarving and having chatted to her earlier in the day about her own art it was really great to actually see some of it in person. It was interesting to compare the techniques of both the printing lessons I went to as they were quite different with the woodcarving being much more difficult than etching onto plastic plates. Woodcarving isn’t usually taught in schools as it is quite fiddly and can be dangerous but Hannah felt like the lesson went well and hopes to make a case to the school for buying some better wood and tools in order to allow more students to try out the technique.

Overall I had a really enjoyable day and felt as though I’d genuinely been useful in a number of different ways as well as having learnt some new skills!

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