#vertical radiators vs horizontal

[kshery-j]

Factors to Consider When Choosing FPV Antenna

When it comes to FPV (First Person View) systems for your drone, one often underestimated but critical component is the antenna. FPV systems rely on antennas for wireless communication between the radio transmitter and receiver, as well as the video transmitter and receiver. In this article, I'll guide you through the key considerations when choosing the right FPV antenna for your drone.

What is an FPV Antenna?

An FPV antenna is an essential component for all radio equipment, enabling wireless communication. It's worth noting that your smartphone also contains various antennas for wireless connectivity. In the context of FPV, an antenna is responsible for converting electrical video signals into radio signals for transmission and receiving aerial radio signals, converting them back into electrical visual signals. FPV antennas are crucial for both the video transmitter (VTX) and video receiver (VRX) on your drone. Without suitable antennas, VTX and VRX cannot function effectively.

Components of an FPV Antenna

FPV antennas consist of three main components:

Active Element: The active element is the primary component responsible for radio transmission and reception.

Coaxial Cable: The coaxial cable connects the active element to the transmitter or receiver.

Connector: Connectors are necessary to interface with your VTX or VRX.

How Does an Antenna Work?

In wireless communication, there are always two essential components: a transmitter antenna and a receiver antenna. Similar to Wi-Fi and Bluetooth on your smartphone, FPV systems also use transmitter and receiver antennas.

Transmitter antennas receive video signals and convert them into radio waves, which are a form of electromagnetic radiation. This conversion is achieved by oscillating back and forth, effectively transforming electrical signals into electromagnetic radiation.

The receiving antenna then decodes these transmitted radio waves, turning them back into electrical impulses. The efficiency and effectiveness of video transmission depend directly on the FPV antenna's performance.

Understanding FPV Antenna

Directional vs. Omnidirectional Antenna

There are two primary classifications of antennas: directional and omnidirectional. While their underlying principles are similar, their methods of signal transmission differ significantly.

Directional antennas transmit radio waves in a focused beam, typically within a 120-degree or smaller angle. If the transmitter is outside the 120° receiving range, the receiving antenna won't pick up any signals, similar to a focused flashlight beam.

In contrast, omnidirectional antennas transmit signals in all directions, much like a light bulb. This ensures that the receiving antenna captures a portion of the video signal, regardless of the transmitter's position, providing ample coverage.

Different Types of FPV Antenna

Monopole Antenna: Monopole antennas use a ground plane and a straight rod-shaped conductor positioned perpendicular to it. They offer a focused emission pattern and are commonly used for point-to-point communications due to their ability to withstand wind, rain, and strong radio frequencies.

Dipole Antenna: Dipole antennas consist of two identical conducting elements, such as metal wires or rods. They are used for both transmitting and receiving antennas. The driving current from the transmitter or the output signal from the receiver powers receiving antennas.

Patch Antenna: Patch antennas are low-profile antennas that can be surface-mounted. They are typically composed of a flat metal or plastic sheet and offer omnidirectional radiation patterns. Patch antennas are commonly used in military, commercial aviation, and satellite communications.

Key Features of FPV Antenna

Antenna Polarization: Antennas come in two main polarization types: linear and circular. Linear antennas transmit waves along a single plane, either vertically or horizontally, while circular antennas emit waves that periodically spiral through both vertical and horizontal planes.

Antenna Gain: Antenna gain indicates the range and coverage angle of a directional antenna. It measures the difference in power between the antenna and an isotropic radiator, which radiates evenly in all directions. Higher gain provides longer range but with a narrower beam width.

Frequency: FPV antennas are tuned to specific radio frequencies. The most common frequencies for quadcopters are 2.4GHz and 5.8GHz. Lower frequencies like 915MHz are used for radio control and video transmission in long-range flight.

Factors to Consider When Choosing FPV Antenna

Receiver Antennas and Transmitter Antennas: Ensure you select the right antenna for each task. Use omnidirectional antennas for your video transmitter due to the drone's constant movement. For the video receiver, directional antennas are recommended for improved performance, especially in diversity configurations.

Antenna Connectors: Pay attention to antenna connectors, such as RP-SMA (reverse polarity SMA) and SMA. Ensure the connector on the VTX matches the antenna's connector. The use of MMCX connectors is becoming more popular for their rotating and swiveling heads, reducing strain on VTX connectors.

Weight and Durability: Antennas vary in weight, with some weighing only a few grams. If you're concerned about weight, consider lightweight options, especially for racing drones. Additionally, keep in mind the durability of your antenna, especially if you're into drone racing or freestyle.

Installation: When installing your VTX antenna, ensure it's positioned away from conductive materials and opt for a rigid antenna. The antenna's placement can vary based on your flying style, such as forward tilt for cruising drones. For long-distance flight, a different antenna positioning might be more appropriate. A more basic introduction to FPV VTX antennae is available here post: https://www.mepsking.com/blog/best-fpv-vtx-for-the-beginners.html

In summary, selecting the right FPV antenna for your drone is crucial for reliable communication and video transmission. Whether you opt for omnidirectional or directional antennas, consider the factors mentioned above to ensure optimal performance for your specific flying style and needs.

[musicboxau]

Why is it essential to have the right type of speaker system to make your event successful

Imagine attending a beautifully decorated and efficiently organized event with good food, music, and lighting but you can barely hear the speaker; the main reason you are there for. Will it not seem like a waste of time to attend an event where you could not hear, let alone understand, the message or purpose of the gathering? Not being able to hear properly what is being communicated to you as an audience, is a major shortcoming of the event organizers and leaves a negative impression on the attendees.

In any sound system, speaker quality plays an important role. Speaker is an output device that converts electronic signals to audible sounds. There are different types of speakers available and each has its strengths and weaknesses. One size fit all is a nice concept but does not fit when talking about event sound. There are too many unique situations for one single speaker setup to adequately cover. Every space is different. There are a lot of variables that play a role in determining the type of speaker best suited for your event. Understanding these variables is crucial for speaker hire Sydney.

The variable that most people consider when it comes to choosing event sound is crowd size. Understanding that larger crowds require bigger, more powerful speakers is simple. Another common factor is room size. Small ballroom vs large gymnasium or conference room is a simple comparison. But don’t be too quick to base your speaker selection on these factors alone. Another thing to keep in mind is the type of music that will be played. Will it be soft soothing music or a loud hip-hop setup? also important is the seating setup. Will the crowd be at the same level as the stage or will it be a stadium seating setup? don’t forget to keep in mind the type of event. wedding clients will require a more aesthetic setup compared to rock band fans.  

Types of speakers

Different speakers have different strengths, therefore, it is important to precisely define the type of event, the location of the event, and the number of people attending the event, to find the perfect fit.  

Traditional speaker cabinets

They most often consist of a wood or tough plastic cabinet containing two drivers, a woofer, and a tweeter. In traditional speaker cabinets, sound radiates straight out from the front of the speaker in the direction it is pointing. These speakers have a wide horizontal and vertical dispersion which means that the sound spreads out across a large area. However, it also does mean sound can become unclear when multiple speakers are used.

Another version of the traditional speakers is the battery-powered version. Battery-powered versions of traditional speakers can be used anywhere, with no outlet required. They are ideal for events like remote wedding ceremonies, cocktail hours in separate locations, and dance parties by the pool. When you need portability then go for battery-powered traditional speakers when looking for a speaker hire Sydney.

Column array speakers

These speakers have an unconventional design, with many smaller speaker drivers arranged in a line. The way these drivers are arranged in these speakers gives a wider horizontal dispersion and a lower vertical dispersion. It means more sound is being produced and less is being wasted. It can cover a wide area and reduces distortion with mid and high-level frequencies.

Column array speakers have a modern and sleek design, ideal for aesthetically appealing events like weddings and high-end corporate events. They are lightweight compared to traditional speakers and hence have higher portability. However, it is not ideal for huge events like public gatherings and school dances.

Subwoofers

Subwoofers are large speakers dedicated to producing the lowest frequencies of the musical spectrum. Much of their effect is felt, as opposed to heard. You probably will not use a sound system consisting of a subwoofer only, but they are important tools to complement your other speaker systems.

Subwoofers are the best fit for venues that are outdoors, have large crowd, is loud, and dance with hip-hop music going on.

Line array speakers

Line array speakers are a more advanced, professional speaker option mostly utilized for permanent installations. In this setup, large speaker boxes are arranged vertically and usually hung from overhead trusting. They are big, heavy, and require a lot of power. It gives powerful and clear audio so much so that the person in the rear can hear at almost the same volume as those in front.

Understanding and knowledge about the type of speakers will enable you to choose the best option for speaker hire in Sydney. The Music Box has a wide range of speaker system equipment to make your event not only visually aesthetic but also acoustically pleasing.

Disclaimer: This is a generic Information & post; content about the services can be changed from time to time as per your requirements and contract. To get the latest and updated information, contact us today or visit our website.

[winloong-blog]

Product structure of LCD (1)

https://www.topfoison.net/lcd/product-structure-of-lcd-1/

1. According to the technical classification of display screen: tft-lcd /Mono LCD(stn-fstn)/OLEDLCD:(Liquid Crystal Display)

Liquid Crystal Display (LCD) is short for Liquid Crystal Display (Liquid Crystal Display). The structure of LCD is to place Liquid Crystal in two parallel glass pieces. There are many thin vertical and horizontal wires between the two pieces of glass.The structure of the LCD is placed in the middle of the two pieces of parallel glass liquid crystal box, the substrate glass set on TFT (thin film transistor), set the color filter substrate glass on, on the TFT signal and the voltage change to control the rotation direction of the liquid crystal molecules, so as to achieve control of each pixel display emergent polarized light or not and to achieve.Create various colors based on white light passing through a color filter.The white light will form basic colors such as red, green and blue after passing through, and the light transmittance of each pixel point will be controlled by an electric current, so as to control the color of the pixel.

TFT-LCD

TFT (Thin Film Transistor) refers to the Thin Film Transistor, each LCD pixels is integrated in the Thin Film Transistor to drive behind the pixels, which can achieve high speed, high brightness, high contrast display screen information, is one of the best LCD color display device, compared with those of the STN TFT has excellent color saturation, reducing power and higher contrast, the sun still see very clear, but the downside is consumed, but also high cost.

Main features (advantages and disadvantages)

(1) good service characteristics: low voltage applications, low driving voltage, solid use safety and reliability;Flat, thin and light, saving a lot of raw materials and use space;Low power consumption, reflective tft-lcd even only about 1% of CRT, saving a lot of energy;Tft-lcd products also have many characteristics, such as specifications, size series, variety, convenient and flexible use, easy maintenance, update, upgrade, long service life and so on. Display quality from the simplest monochrome character graphics to high resolution, high color fidelity, high brightness, high contrast, high response speed of various specifications of video display;Display modes are direct vision, projection, perspective, and reflection.

(2) good environmental features: no radiation, no flicker, no damage to the user’s health.

(3) the applicable scope wide, from 20 ℃ to + 50 ℃ temperature range can be used normally, after temperature reinforcement of TFT – LCD low working temperature can reach 80 ℃ below zero.It can be used for mobile terminal display, desktop terminal display and large screen projection TV. It is a full-size video display terminal with excellent performance.

(4) high degree of automation of manufacturing technology and good characteristics of large-scale industrial production.Tft-lcd industry technology mature, mass production yield of more than 90%.

(5) tft-lcd is easy to be integrated and updated. It is a perfect combination of large-scale semiconductor integrated circuit technology and light source technology, with great potential for further development.

OLED

The OLED, the full name of the Organic Light Emitting Diodes, will emit Light per pixel without the need for a separate backlight or color filter.Each OLED pixel can be assigned red, green and blue, and now some manufacturers have added yellow, but the principle is the same.

OLED is divided into AMOLED and PMOLED

The AMOLED(Active matrix organic light-emitting diode) is a display technology.AM (active matrix body or active matrix body) refers to the pixel addressing technology behind.At present, AMOLED technology is mainly used in smart phones, and continues to develop towards the direction of low power consumption, low cost and large size.

AMOLED has the advantages of self-illumination, wide viewing Angle, high contrast and fast reaction speed.AMOLED has a higher refresh rate and significantly lower energy consumption than passive OLED.This makes AMOLED ideal for power-sensitive portable electronic devices.

Disadvantages: due to the relative immaturity of the manufacturing process, the yield and the relatively mature IPS panel are still relatively low and the cost is relatively high.Because of its small size and short life span, AMOLED is currently only widely used in smartphones and smartwatches that are fast and use only small displays.

The Passive matrix organic light-emitting diode (PMOLED) is the emitting light emitting diode.PMOLED is like STN LCD and AMOLED is like TFT LCD.PMOLED simply forms a matrix of cathodes and anodes, and lights up the pixels in the array in a scanning manner. Each pixel is operated in a short pulse mode to produce instantaneous high-brightness luminescence.

The advantages are simple structure, can effectively reduce the manufacturing cost, but high driving voltage, make PMOLED is not suitable for the application of large size and high resolution panel, with the current development.

Disadvantages: it is not suitable for displaying dynamic images, and its response speed is relatively slow, making it difficult to realize large size. In order to maintain the brightness of the whole panel, it is necessary to increase the brightness of each Pixel and increase the operating current, thus reducing the life of OLED Device.Current Drive is not easy to control.However, because the process is relatively simple, simple structure, relatively energy saving.

At present, the OLED screen we touch, whether it is a smart phone or OLED TV used in the panel is also AMOLED screen.

OLED vs. LCD:Contrast: OLED wins

Contrast refers to the difference between the brightest white and darkest black, while LCD has an advantage in brightness (especially in HDR mode) and OLED has the darkest black.In general, OLED displays tend to have higher contrast because the advantage at the black level magnifies the difference.

Perspective: OLED wins

Most LCD screens don’t perform as well as IPS (especially TVS and smartphones), so with the exception of the top IPS displays, LCD panels tend to perform slightly worse than OLED displays in terms of viewing angles.In front of an OLED TV, the viewer can see the content on the screen with a high-quality experience, regardless of which Angle they are sitting at.

Gamut: OLED winsBrightness level: LCD wins

Because LCD TVS typically use a separate backlight, they generally provide better brightness.In reality, the best LCDS and oleds have a brightness gap of about 400NIT, and overall LCDS are superior in brightness levels.

Color uniformity: OLED wins

The ability to display colors in a uniform way on a flat surface is a very important indicator.Well, since the backlight of the LCD screen usually comes from the edge, the uniformity of illumination is relatively general.If the backlight is evenly scattered behind the screen, then the discrete backlight can bring better effect.Oleds, on the other hand, are much better at this, since each pixel emits its own light, so there is no need for the light source to diffuse.In real life, even OLED displays are not completely uniform, and even flexible OLED displays appear, but they are still superior to LCD in general.

Power consumption: LCD wins

At the same brightness level, LCDS use less energy than oleds.For mobile devices, higher brightness means better visibility outdoors. On the other hand, OLED panels use more power depending on how many pixels there are, so higher resolution OLED screens use more power.

Cost efficiency: LCD wins

At the moment, LCDS are the cheapest way to display, but OLED technology is improving over time.

Summary: OLED is the best, but it still needs to be developed

Overall, OLED has won a big battle in the parameter comparison of image quality, so the future can be said to be a future development trend.But OLED is still limited by production costs and size bottlenecks.Oleds outperform LCDS in most display parameters unless you have specific requirements for brightness.But cost is also a consideration. Smartphones are ok. For a display device as large as a TV, oleds can cost several times as much as LCDS.

[historyfanstudyblr]

Astronomy Notes 2/27/19

For context

When I was at a community college, I was a volunteer note taker for a student in my class thru the accessibility center. I didn’t know who the student was or why they needed someone to take notes for them to respect their privacy, but it was a really cool experience knowing that my notes might help another student learn. While I don’t think someone would try to plagiarize my notes, I figured I’d go ahead and upload them all here anyways. Maybe someone will benefit from them.

Astronomy notes 2/27/19 – chapter 17 cont.

· Flux (E)- the energy received per unit time J/m/s^2 (ex: light received by our eyes or CCD chip)

· Luminosity (L)- energy emitted per second J/s

· F= L/4pi d^2

· Apparent magnitude (m) – how bright a star appears to us

· Absolute magnitude (M) – how bright a star actually is, or its apparent magnitude at 10 parsecs)

· m-M=5log(d/10)

· d=10 x 10^(m-M/5)

Absolute magnitude and luminosity:

· once we know the absolute magnitude, we can find the luminosity of the star

· L= 2.514^4.87-M

· M=4.87-2.5log(L)

· Luminosity of the sun in watts – 4x10^26 W

· To convert from solar units to watts, simply multiply the solar unit by the luminosity of the sun in watts

Stellar temperature:

· Star colors often give an indication of temperature

· To find the temp, we need to use the blackbody curve (a plot of apparent brightness vs. frequency)

· It’s possible to deduce the BB curve by simply measuring the apparent brightness at two frequencies

- Blue filter (B) – rejects all radiation except for a certain range from 380-480nm

- Visual filter (V) – passes only between 490-590nm and rejects all else

Stellar spectra:

· Stellar spectra are the source of all detailed information we have on stellar composition

· Main determinant of a star’s spectral appearance is its temperature

· T>25000K

- Weak H lines

- Singly ionized He and multiply ionized heavier elements (O, N, Si)

· T around 10,000K

- Strongest H lines

- Faint He and N lines

- Singly ionized heavy elements such as Ca or Ti

· T<4000K

- H lines faint

- Strong neutral atoms

- Molecular lines

· To get visible H absorption lines, the electron should be at N=2, when the temperature is really hot (10,000K)

· If temperature is too high, H is completely ionized, so no spectra appears for H

· If too low, the electron will remain at N=1 (or ground state), so no spectra will appear then either

· Stellar spectra has been collected well before the 20thcentury, early astronomers started classifying them according to H line intensities

· Modern classification scheme is OBAFGKM , ordered from hottest to coolest

· The sun is 5800K, making it a G star

· There are subdivisions of 0-9 to further specify temperature (the sun is G2 for example)

Stellar sizes:

· Direct measurement:

- Some stars are so bright and big enough to measure their sizes directly (ex: Betelgeuse)

- Knowing angular size and distance, one can deduce the radius from simple geometry

· RLT

- The size of a star (radius) is linked to its luminosity and temperature

- L=R^2T^4

- L=T^4x4piR^2

· Stars as large as 10-100 R(solar units) are called giants, even larger are called super giants

- If they are low temp, they will be colored red and are called red giants

· Any star with radius comparable to or less than the sun is called a dwarf

- High temp will be white and are called white dwarfs

H-R diagram:

· Luminosity and surface temp are two key variables used by astronomers to classify stars

· Vertical scale is luminosity and horizontal scale is surface temp (temperature increases to the left)

The main sequence:

· Most stars seem to be confined to a well-defined band, called the main sequence

· Temp varies from 3000K to 30000K

· Luminosity varies from 10^-4 to 10^4 times the luminosity of the sun

White dwarfs and red giants:

· Some stars do not lie on the main sequence

- White dwarf region

- Red giant region

· About 90% of stars in our solar neighborhood are main sequence stars

- 9% are red giants

- 1% are white dwarfs

Spectroscopic parallax:

· To determine a star’s distance using SP:

- Determine the stars apparent brightness and spectral type

- Use the spectral type to estimate the luminosity from the HR diagram

- From the luminosity and apparent brightness we find the distance to the star

Stellar luminosity classes:

· A system for classifying stars according to widths of their spectral lines

· Since line width depends on density in the stellar photosphere, and density is correlate with luminosity, this property is called luminosity class

· Spectral type and luminosity class define a star on the HR diagram just as surely at temp and luminosity

Stellar mass:

· Mass and composition uniquely determine a stars internal structure, external appearance, and even its future

Binary stars:

· Visual binary – can see the stars separately because they are widely separated and bright

· Spectroscopic binary – can be perceived from back and forth Doppler shifts

· Eclipsing binary – one star comes in front of the other

Stellar lifetime:

· Stellar lifetime is estimated by mass divided by luminosity

[otalum01]

Aluminium Heatsink Profile

https://www.otalum.com/products/aluminium-heatsink-profile.html

Otalum stocks a wide range of extruded aluminium heat sinks and provide aluminium extrusion heat sink profiles to custom designs, available in a range of finishes. If the existing products are not suitable for your needs, our technical team can help you to design your products and realize them.

 All extrusions can be supplied as cut, drilled, or machined to customer specifications. As a professional extruded aluminum heatsink manufacturer, Otalum operates the latest CNC drilling and machining centres which provide accurately machined, cost-efficient parts on short cycle-times.

 What is a heat sink?

A heat sink is a component that increases the heat flow away from a hot device. It accomplishes this task by increasing the device's working surface area and the amount of low-temperature fluid that moves across its enlarged surface area.  

 Why Aluminium Heat sink?

An aluminum heat sink profile is the most widely used product for thermal solutions. Following are some reasons why it is so popular.

 Characteristics Of Heat Sink

l Good thermal and electrical conductivity

l Low density (about 2.7kg/m³)

l Low weight

l High strength

l Easy malleability

l Easy machining

l Excellent corrosion resistance

l non-magnetic which avoids interference of magnetic fields

l Easy to recycle

 Aluminium VS Copper Heat Sink

1.Thermal Conductivity

Copper is more conductive than aluminum. In fact, aluminum only has 60% of the thermal conductivity of copper.

 2.Weight

Aluminum accounts for only 30% of the density of copper. This means that the weight can be greatly reduced.

 3.Cost

Aluminum is much cheaper than copper. In fact, its cost is about one-third. This can save a lot of cost.

 How a Heat Sink Works

The heat sink must protect the electronic equipment and components from overheating. Therefore, they must be made of certain materials with good thermal conductivity.

Most devices that use power electronic equipment require a temperature-controlled environment. Otherwise, they are in danger of overheating, which may affect performance or, more seriously, become a safety hazard.

Essentially, a heat sink profile is a way to dissipate any heat generated from a device or component. This requires an optimal speed to dissipate heat from the source at the same rate as the rate at which the source generates heat.

In fact, optimization is the key to the success of any radiator system. This affects the choice of materials and basic aspects such as complexity, size, quality, and cost.

Therefore, while the selection of materials is crucial, other factors also need to be considered.

 Where are Extruded Heat Sinks Used For?

Commercial LED lighting

The extruded heat sink provides effective cooling for the LED (Light Emitting Diode) light source. These radiators are very small and can be mass produced.

 Circuit board & PCB (PC board)

By providing a precise combination of vertical and horizontal cooling, aluminum heat sink extrusions provide an effective thermal management process for circuit boards and PCBs. Various thicknesses and customized forms are also easy to achieve.

 Electronic instrument or electronic equipment:

The radiator is an indispensable device for electrical appliances, which can effectively dissipate the heat of the output transistor.

 Automotive equipment, NEV (New Energy Vehicle)

The radiators used in automotive electronic equipment enable high-density components to operate at stable temperatures under a wide range of environmental conditions.

 The purpose of the heat sink is specifically designed to extract heat from the components in the electronic device. The radiator is generally polished, and in most cases, it can be anodized or powder coated to improve surface protection and corrosion resistance.

[20dollarlolita]

Hi again! I need an A-line petticoat and being the Cheap Ass Bitch that I am, I've been looking into alternatives to "oh just buy Classical Puppets uwu it's worth it uwu". I'm probably going to just make my own, but out of curiousity, what are your thoughts on using (sometimes modifying) petticoats not meant for lolita? Like not just That One Malco Modes Petti™, but like, would it be possible/viable to buy $12 "rockabilly" pettis of Amazon and make them bend to your will? :O

To get to this, we’re going to have to get ready for Petticoat Theory Part 4 (or 3? I didn’t count, I just made up a number).

Petticoat Theory, or “Why poof—why poof DO that?!” is a science that many lolita blogs ignore, possibly because it’s also something I made up.

But before we go into it, let’s go over an important concept in economics.As you mentioned, OP, Just Getting A Classical Puppets Petticoat (uwu) often results in results often generally agreed to be Worth It In The End (uwu).However, this is missing the economic concept of But I Don’t Have That Kind Of Money Or Time, nor the concept of But I Wanted To Make It Myself. When you take all these into account, you realize that even when it’s more work, more stress, and possibly more money in the long run, wanting to do more work and stress for something that will be cheaper or faster in the short run is still Perfectly Valid (uwu) and even relevant to a budget lolita blog (uwu).

How is spending MORE on something relevant to a budget sewing blog? Quick homework, read up on the Sam Vimes’ Boots Theory of Socioeconomic Unfairness, and then let’s get back to making petticoats.

So, let’s take a look at (left) what a good petticoat does, for lolita: It fills the skirt and supports the skirt, giving you the right skirt shape, without over-filling the skirt and distorting the shape. It is also SHORTER than the skirt, so that it will not show. If the petticoat is the same length as the skirt, it will definitely be visible. However, if it is long enough that there’s no drop-off ledge, where you can see that the skirt hangs with no support. If the petticoat is totally the wrong shape (right), there will be spaces where the skirt is over-filled and bulges, and/or it will have space where the skirt is under-filled and hangs without support.

You can usually tell if your petticoat is the wrong shape by looking at the fold lines in your skirt. If the petticoat is the right shape, you will have a few drag lines, which will go in a straight line from the waist of your dress to the hem. How many you have depends on how big your skirt is vs how much your poof is, but if the underlying shape is right, you’re going to have lines that stay straight and radiate from waist to hem.

If your petticoat is too full in some parts (like if you have a cupcake petticoat under an a-line skirt), you will find horizontal drag lines where the skirt is stretched beyond capacity.

If your petticoat is too short (left), your radiating drag lines will turn into vertical lines near the hem, where the support drops off and the ends of your skirt are left to hang.

And if your petticoat has no support near your waist (right) (like if you have an a-line petticoat under a cupcake skirt), but poof at the hem, the skirt will cave in at your waistline. You’ll develop inverted v-shaped drag lines that smooth out at the hem.

Since petticoats and skirts both come in a number of shapes and variations, it’s possible that your petticoat/skirt combo has more than one of these problems.

Your usual Classical Puppets A-line petti has support all the way down. Up at the waist, there’s crin* supporting the very top of the skirt, and the poof increases all the way down to the hem. It increases at a relatively linear, even rate. Even though there are numerous layers, the inner layers are shorter than the outer layers, making it flat on the bottom with no crin draping out from the guts surrounding your legs.

Your short rockabilly petticoat is different. First, let’s take a look at that waist. There’s tricot, but no crin, and therefore no waist support. Then, check out the slant on the sides. Instead of increasing at a steady, linear rate, the amount of crin in each tier increases exponentially. Instead of a straight side, this ends up with a petticoat that has a bit of an inward curve. Now let’s look at the hem. When you’re looking at the hem, two things become very obvious: 1) this petticoat is photoshopped onto this model, and 2) the inside layers are longer than the outer layers (technically, they’re the same length, making them function as longer layers than the outside but let’s not worry about that).

Now that inner layers/outer layers thing is really important, because we need to worry about drop-off on our skirts. If you wear a skirt with this petticoat that’s slightly longer than the outside layers of the petticoat, the inner layers will be visible, because they’re longer than your skirt. If you get a skirt that is slightly longer than the inner layers, the bottom edge of the skirt will experience drop-off, because it will be so much longer than the outer layers providing the support.

Let’s get back to that tricot waist there. There is zero functional support from that tricot layer. You’re going to have cave-in at the top and drop-off at the bottom. Here’s an example of a petticoat where you’ll get two kinds of problems in one. Functionally, what you’re wearing is a donut-shaped swimming pool floatie hovering around your legs at mid-thigh height.

So, how do you make it work for lolita?The game plan is thus: Inner layers: shortened. Waist: reinforced. Overall side slope: balanced. How? Step one: scissors. step two: layers.

One of the main ways that this petticoat gets it’s swoopy exponential growth profile is through that tiny layer on the end. It ensures that the bottom of the petticoat can’t get very close to itself, which adds poof but also adds the wrong poof. The good news is when you cut those inner-most layers off, you’re going to also slice off that bottom frill, so let’s start with that. Measure how long your outer layer is, and then make the innermost layer maybe 2” shorter than that, and the middle layer 1”. You’ll be more accurate if you measure and mark from the waistband of the petti, instead of trying to measure 2” above that frill, but going from the bottom usually feels faster. Cut off a couple of inches, try it on, and see if you need to go shorter on the inside layers. Leave the outermost frill for now.

Now you need to get a petticoat that’s actually the right shape, like this onel . It can be a small one, as long as it’s long enough and has waist support. These might not be fluffy enough to fill out your skirt, but making a top layer with something like this will smooth out the silhouette and hide some of the flaws in your rockabilly petticoat’s shape.

Now try the stacked petticoats on under your skirt, and give it a critical look? Are there shapes too narrow or too full? Is there an overall weird shape? At this point, if you have a bump where the smaller petticoat ends, you might need to cut off that outermost frill. This will make the whole ensemble much flatter, but it might be what you need to get the line right.

Anyway, with something like this, you should be able to get a line that you like without having to buy ten petticoats and stacking them. You can even do a hybrid of buying a rockabilly petticoat and making a single or double layer a-line petticoat, which would be much easier than trying to build a single super full petticoat.

Anyway, good luck, have fun!____*I”m using “crin” to describe all kinds of floof in this post. It’s not totally accurate but I’m sure y’all are smart and flexible folk who will get over it.

[architectnews]

Partenord Habitat Plot, Lille France

Partenord Habitat Plot, Lille Offices, Housing, Shops Building Project, North East French Architecture Images

Partenord Habitat Plot in Lille

24 Jul 2021

Design: Coldefy

Location: Lille, France

Partenord Habitat Plot Mixed-Use Project

At the heart of a dynamic neighbourhood in the Porte de Valenciennes joint development zone (ZAC), the Partenord plot seeks to bring Lille into the third industrial revolution through a mixed project, including the headquarters of Partenord Habitat (Nord Department Public Housing Office), offices, housing, and shops.

The project is situated on a plot in a strategic location at the entrance to the city of Lille, at the corner of Rue de Cambrai and Boulevard de Belfort. The building emerges from the ground along both of these roads in three distinct sections: the offices, the headquarters, and the housing, all tied together with a shared foundation.

More specifically, the project includes: – 50 rented housing units – A collection of rented offices, divided into 7 office spaces – 5 retail units on either side of the headquarters -The Partenord Habitat headquarters – A car park with 232 underground parking spaces for housing, rented offices, and headquarters.

The Partenord headquarters are situated at the corner of the plot, shining like a beacon over the metropolitan area and ensuring its visibility throughout the Lille region.

The project offers a duality between the bold urban façades and the centre of the block, which is sheltered from the city’s hustle and bustle and is an ideal place for users to relax. The multiple balanced outdoor spaces offer pleasant settings for users, tenants, employees, and retailers, looking out onto an environment of biodiversity.

The building is adorned with various sizes and styles of terracotta cladding. A feature is created along Boulevard de Belfort, like an urban window with three sides of reflective glass. This mirror onto the city amplifies the comings and goings of local residents.

More than just architectural touches, the systems put in place offer functional qualities tailored to each project. The simple urban façade establishes structural and functional integrity to meet project requirements in the clearest possible way.

Environmental Process On an environmental level, Partenord is fully aligned with the requirements of the Third Industrial Revolution and the energy transition through the pragmatic implementation of suitable processes for the project: recovery and storage of grey water and excess energy, use of renewable energies like solar panels, and optimized electricity consumption, notably through the use of digital radiators. Eighty percent of the rental housing’s winter heating requirements will be covered by the headquarters’ surplus heat recovery (known as excess energy).

In recovering this energy, building interconnectivity and performance objectives in terms of operation and maintenance (inclusion of BIM) are challenges that were tackled to achieve an energy transition model for the future.

The project embodies a way of rethinking our means of development and the type of society in which we want to live to ensure each person’s development and liberation.

I – The Partenord Habitat headquarters

Structure and façades The general principle of the façade for the project is a cladding system that is unique to each project section: headquarters (and foundation), offices, and housing (except the south façade). This distinction helps to mark out the projects, while maintaining overall cohesion through the use of the same materials, including glazed terracotta and aluminium used in different forms.

The urban window looking out onto Boulevard de Belfort is streamlined with the use of a VEC curtain wall system. It comprises two vertical planes (façades of the cafeteria and north rented offices), and a horizontal plane on the underside of the rented offices.

From the outside, the headquarters are sleek, with proportional layers. From the inside, the office areas are easy to use due to the orthogonal spaces.

The block offers wide outdoor spaces and terraces on different levels (3rd floor and 6th floor in particular). The proportions and layouts of the gardens and terraces at the centre of the block on the ground floor, 1st floor, and 2nd floor are optimized to encourage occupant use, and to accommodate large trees.

Project and functionality The ground floor has an in-ground garden at the centre of the block, a bike shed, a print shop, support facilities, and the atrium. The triple-height atrium is positioned at the corner of the crossroads to mark the entrance to the headquarters.

The 1st floor is home to the shared meeting room area. This area can be divided into 6 rooms with mobile partitions. This floor also has a conference room for hosting up to 50 people, and a private dining room linked with a back door. These 3 strong parts of the building share access to a large 175 m², partially covered terrace.

The headquarters’ cafeteria is located on the 2nd floor, and the atrium sits at the heart of the headquarters due to its community function and functional quality: double-height leading onto a coworking space on the 3rd floor, and a bright dual-aspect area leading onto 2 separate terraces which are bright throughout the day.

On the standard office floors, the project addresses “offices 2030” challenges set by the client: they are mostly shared and feature collaborative spaces.

– Ground floor: Trade union offices – 1st floor: Logistics department – 2nd floor: Rental management department, marketing department, and social development department – 3rd floor: IT department – 4th floor: Legal department – 5th floor: Accounting department – 6th floor: Communication department – 8th floor: Housing technical appraisal department and portfolio department – 7th and 8th floor: Development department

The headquarters’ backbone is focused around a shared core, including a spiral staircase and lifts. It also contains the ducts for utilities, toilets, plant rooms, and rooms for cleaning supplies.

II. Rented offices

Structure and façades The rented offices feature two terraces divided between the office spaces (2nd floor, 4th floor).

The envelope comprises aluminium sunshades which are directed according to exposure. There is a harmonized rhythm across all façades, with a 90 cm pitch adapted to the framework of the offices.

Project and functionality The office spaces are functional and clear. Like the headquarters, the shared core for the rented offices has been condensed to contain all utilities (human, networks, fluids), as well as shared facilities (toilets, room for cleaning supplies), thus freeing up as much floor space as possible.

III. Housing

Structure and façades The housing building has a simple structure, in line with the rest of the project.

Planted terraces are located on the 1st, 4th, and 9th floors.

The 9th floor terrace is dedicated to the building’s shared vegetable garden. The vegetable garden faces the centre of the block, protected from the wind, and can be accessed from the shared areas. There is also a ramp to allow people with reduced mobility to access it as well. A sheltered inner space, separate from the shared corridor, is dedicated to the functioning of the vegetable garden.

A terrace on the 7th floor is available for apartment users, in addition to their respective loggias.

A terrace on the 10th floor has solar panels and an AHU for the housing. There are trumeaux on the north, west, and east façades. The south façade, facing the centre of the block, has a special sunshade.

Functionality The 50 apartments are distributed within the building as follows: 15 x 1-bedroom (1BR), 20 x 2-bedroom (2BR), 10 x 3-bedroom (3BR), and 5 x 4-bedroom (4BR) apartments. – The 1st, 2nd, and 3rd floor of the first level each include 3 x 1BR, 2 x 2BR, and 2 x 3BR. – The 4th, 5th, and 6th floor of the second level each include 1 x 1BR, 2 x 2BR, 1 x 3BR, and 1 x 4BR. – The 7th and 8th floor of the final level each include 1 x 1BR, 3 x 2BR, and 1 x 4BR. – The 9th floor, with the vegetable garden, is divided into 1 x 1BR, 2 x 2BR, and 1 x 3BR. In terms of apartment layouts, the balconies running along the south façade feature loggias.

Villeneuve d’Ascq Private Hospital, Lille – Building Information

Architects: Coldefy Client: Partenord Habitat Partner architects: TAG Architectes, Paindavoine Parmentier Architectes Design offices: TPF.I Engineering, VS-A Envelope design and engineering Landscaper: BASE Paysagistes Construction company: Nord France Constructions Fayat Budget: €29 million Floor area: 14,650 m², of which 9,807 m² offices, 3,970 m² housing, 956 m² shops, 232 parking spaces (30 spaces for the housing, 40 spaces for the offices, 162 spaces for the headquarters) Location: Lille, France Delivery: Delivered September 2020 (winner of 2017 competition) Project: Construction of the new headquarters for Partenord Habitat, shops, offices and 50 rented housing units with a car park. Environmental process: RT 2012, BEPOS Effinergie 2013, HQE, H&E Cerqual (housing), E2C1 (housing) certifications

About Coldefy Thomas Coldefy and Isabel Van Haute are the principals of the Coldefy architecture and urban planning office, founded in 1993. In 2006, they won the Hong Kong Design Institute’s international competition amongst a field of 162 teams. This project is a manifesto which embodies their approach and values.

With offices is Lille, Paris, Shanghai, and Hong Kong, they develop projects at regional, national, and international levels for public and private clients in the domains of education, culture, sport, housing, retail, and urban design.

Photos © Julien Lanoo

Villeneuve d’Ascq Private Hospital near Lille images / information received 240721

Location: Lille, France

Lille Architecture

Lille Buildings – Selection

Lille Architecture

Projet Tourcoing_siège LMH Design: Dietmar Feichtinger Architectes picture from architecture office New Headquarters Lille Métropole Habitat

Euravenir Tower Design: LAN image courtesy of architects Euravenir Tower in Lille

Pavilion, Lille Museum of Modern Art Design: 2hD Architects image courtesy of architects Lille Museum of Modern Art Building

Lille Metropole museum Design: Manuelle Gautrand Lille Metropole museum

New Courthouse in Lille

New Buildings in France

French Architectural Projects

French Architecture Design – chronological list

French Architecture News

French Architect Offices – design firm listings

French Architecture

Northern French Buildings – Selection

Grand Musée d’Art Design: Stanton Williams Architects Grand Musée d’Art Nantes : international design competition

Nantes Tripode Design: Atelier d’architecture Christian de Portzamparc Nantes Tripode

Saint-Nazaire Architecture

Comments / photos for the Villeneuve d’Ascq Private Hospital near Lille page welcome

Website: Villeneuve d’Ascq

The post Partenord Habitat Plot, Lille France appeared first on e-architect.

[vrheadsets]

VR vs. On Speaking Terms

We are officially done with the Game Developers Conference, aka GDC for another year. Well, the one in San Francisco at any rate. I’d like to say the team are on their way back from it, no doubt laden with more interviews than you can shake a stick (with a camera on the end of it) at.  But we’re heading hastily into another event this week courtesy of the fine ladies and gentlemen at NVIDIA. Here we go again, I guess.

GDC 2018 didn’t bring much in the way of truly big news. But then if the industry was, let’s say. a waveform of news we’re sort of in the trough at the moment. Waiting for things to begin building up again as we move towards the release of the standalone generation. That’s not to say GDC didn’t give us a lot to talk about. We got hands on with the Oculus Go, there was news from the three main engines, Peter and Kevin J got to try out a number of videogames that are on their way and we found out a little bit more about Magic Leap too. The announcement about support from Unreal Engine, made before the event, raised eyebrows. One user on Twitter put it that if it has UE4 support, then maybe it isn’t vapourware after all. The secrets and announcements are beginning to spill out of the company now, so it seems the Magic Leap One is definitely something we’re going to cover earnestly in the weeks and months ahead.

Today’s edition of VR vs. isn’t to do with that however, but more something that’s been in my mind for a while.

Terms, abbreviations and acronyms. We know there is virtual reality (VR), mixed reality (MR) and augmented reality (AR).  There’s also a half-dozen immersive classifications sprinkled about the place. Other terms come and go in popularity.  One that feels like it’s back on the rise is XR, I’ve certainly seen it used a lot more in the last couple of months than in the period before that. XR is most often expressed as meaning ‘eXtended reality’, out of place capital X (a conscious decision) included. That seems to have had a few definitions/variations here and there- the most common being either as a combination of elements from AR, MR and VR or as an umbrella term meaning all things related to the three – a reference to the spectrum of things. It’s one of the reasons, if you see any stories I write on VRFocus, you’ll often see me refer to things in the industry as relating to “immersive technology”. It just seems the easiest way to do so without getting potentially confused.

For a great article about XR Inputs incidentally, check out this article by James C Kane on the site from about a month ago.

However, some companies like to muddy the waters of what existing terms and definitions are. Microsoft’s idea of what MR is – thanks to its naming of the Windows Mixed Reality headset range – doesn’t exactly help anyone. It’s effectively them going ‘yeah, we know that’s the definition but we define it as this other thing’.  Then you have companies who, for branding, claim their product inhabits various other terms – Something-or-the-other Reality – purely for branding and trademarking purposes. These tend to come along in groups, and it feels like something of a grab on any poor letter of the alphabet that hasn’t been dragged off screaming. There is certainly enough kicking about the place to probably have a glossary of pointless terms.

To be clear to anybody currently considering concocting such a term for a product they are looking to market, you’re both a) not helping immersive technology in anyway by doing so and b) not fooling anyone either. Any idiot can make up something like that…

Fortunately, we have such an idiot on staff.

To prove how utterly pointless such an exercise is, I’ve come up with my own glossary of clearly highly serious and super official acronyms for the entire alphabet. Thus, all letters are now claimed. Sorry folks.

(For those of you interested in a proper glossary of the standard terms you can find such here.)

AR – Actual Reality: Development for this has been proven to be very slow and expensive, as opposed to developing it in/on a computer. However, the realism is second to none and it’s a proven market having existed for several million years. (Though some dispute this, citing other documentation.)

BR – Break Reality: Not to be confused with a reality that does not work. BR is, just ever so slightly lower than the reality that proceeded it.  Usually by a few millimetres. Can be stacked.

CR – Counter Reality: Immersion that takes the present reality and reverses it in some form. With three forms of this officially defined as existing in a 2D plane with CR-X (a flipping of the horizontal), CR-Y (a reversal of the vertical) and CR-Z also known as CR-XY, which involves flipping along the diagonal). Attempts to define other sub-sections stopped at CR-ZY.

DR – Docēre Reality: A reality expressly concerned with the medical profession and that which operates ‘under the skin’ of the real world.

ER – Emergency Reality: Same as above but for being developed in the Americas. Although in ER any app, program or managerial software undergoes regular drama and critical issues. Any programme you grow fond of will invariably have something catastrophic happen to it that may cause it to permanently leave the system save for flashback cameos.

FR – Réalité Français: Currently being promoted throughout Europe in the light of the ongoing Brexit negotiations, FR takes reality and just converts everything into French. C’est tout.

GR – Gigantes Reality: Applications using GR present virtual objects as real but at exactly 328% their usual size. Early reviews cite wonderous viewpoints not previously explored, although simple tasks such as opening doors in GR have proven difficult.

HR: Often a derisory term, in theory HR is an immersive technology based around organisational activity. In practice it appears to be a reality full of people and programmes that claim to know what they’re doing but very rarely seem to get things right.  Often interfering with the work of functions that would invariably be fine without its presence.

IR – Iridescent Reality: IR experiences produce a reality where everything you see varies in colour according to the exact angle you are viewing it. Still experimental, it is not recommended in conjunction with fast movement.

JR: A now defunct reality that was, regretfully, terminated in the eighties. Though who pulled the trigger on it remains unclear.

KR – Kaleidoscopical Reality: No, this is nothing to do with a children’s toy. In KR, immersive experiences fundamentally alter their shape with every movement. Unfortunately, this means that in theory that one KR experience could become be any other KR experience. The technology is currently on hold, until legal guidance on how this affects copyrights is sought.

LR: Truncated abbreviation of Long Range Ruling Reality or ‘LRRR’, a future-based reality tech, set to conquer the world but with an expected development time of just under 1000 years according to predictions from the Omicron Persei 8 Foundation. Will probably destroy you.

MR – Mirror Reality: Owing to the present level of technology (at the time of writing) an imperfect reflection of what is expected in reality – not to be confused with CR .MR applications and experiences tend to be ultimately disappointing and often involve shiny tops and sashes as well as the addition of a black goatee beard to everything.

NR – Non-Reality: Sometimes called ‘Counter-Immersive Reality’ – again, not to be confused with CR. NR is a response to safety concerns and implications of VR and AR, and whether or not experiences can become so immersive as to appear as actual reality. All virtual objects within NR simulations are officially branded as ‘not being real’ with audible warnings declaring the objects to be not real and visible warning stickers. The stickers naturally all have warning stickers and full disclaimers themselves. As do those stickers – and so on.

OR – aka ‘Substitutive Reality’: A proposed reality presented as an alternate choice to that originally represented.

PR – Public Reality: A reality comprised of what is recommended as being best for you, as determined by marketing committee.

QR – Quick Reality: Another now rarely used iteration of immersive technology, which presents reality a series of squares filed, in turn, with other squares of black and white. Representations can be translated through a camera with correct software on it, however locating one is difficult owing to all such virtual cameras also being patterned squares within the QR space.

RR – Radiolucent Reality: Immersive experiences which are not affected by radiation in any way, meaning your enjoyment is not spoiled in the event of any kind of radioactive spill or nuclear fallout. As proved by the colossal amount of radiation you are subjected to by the experimental plutonium powered RR headset.

SR – Subjective Reality: A personally tailored reality that automatically is shaped to the will of the headset wearer, responding to their emotional state and biological responses.

TR – Taciturn Reality: An in-depth immersive experience that ultimately tells you nothing at all.

UR: A reality with no defined set of rules. Whatever you choose this reality to be it won’t judge you.

VR – Versatile Reality: Immersive technology that creates a representation over the real world which is malleable. Of course, the reality underneath that is still solid, so finding a use for this has so far been troublesome, despite its name.

WR – aka ‘Guinness Reality’: A somewhat quirky implementation of immersive reality, WR operates as in true reality except values within it are dictated solely by the ‘best’ defined value from the real world. So whilst free-movement is supported people can only be stationary or move as fast as the fastest person alive with no middle ground. In the same way as a car can either be at 0 miles per hour (mph) or around 270 mph, the approximate speed of the fastest car in the world. Constantly being updated experiences become better/worse, depending upon your point of view, as values change in reality.

XR – XTREME Reality: Immersive technology that turns everything into a representation of the 1990’s. Signs seem to entirely consist of incorrectly spelt words, often remaining in motion on a background made up of a series of random neon coloured shapes stuck on a rectangle of another colour. Most characters in current XR videogames seem to sport bucket hats, denim dungarees and trainers with flashing lights in them. Hard Rock Cafe XR is particularly popular, which is to say that it is “radical”.

YR: Endlessly argued over, YR is a reality constantly in a developmental state as people debate whether it should even exist in the first place. Forums have threads entirely devoted to trying to get the platform out of the loop it finds itself in. Hence the slogan “YR? Indeed.”

ZR – Zero Reality: ZR experiences express all objects as other objects, never what it in fact is. So, a banana could be anything, at least in theory, except for a banana. There is a standard rulebook for ZR, indicating what item is supplanted by what.  However, it is believed that Microsoft are making up their own non-standard version. Also known as ‘Illusion Reality’ owing to the fact that ‘nothing is as it seems’.

There we go – utterly ridiculous. Fun to write, certainly, but ultimately they mean nothing; and that’s exactly what these new terms created for branding all generally mean. Nothing. Let’s stick with what we’ve got and if the time comes where things evolve enough to warrent a redefinition we can do that.

Until that time though…

from VRFocus https://ift.tt/2pHNyc2

[pilatesplussg]

10 Things You Can Get Out of a Pilates Reformer Class in Singapore

A Pilates Reformer is probably the most recognizable equipment for this type of fitness regimen. Its hulking size may seem intimidating at first, but if you can go past your first impression, you’d be surprised at the range of benefits it provides. Here we break down 8 reasons why a Pilates Reformer Class in Singapore will be a good addition to your fitness regimen.

What is a Pilates Reformer?

Pilates is either performed on a mat or specialised equipment called a Reformer, originally called a “Universal Reformer”. It is one of the 12 original Pilates devices which is designed as a bed-like structure rigged with bedsprings, headboards, and footboards. At first look, it may appear like a medieval torture device, but the overall design is intended to provide resistance when executing Pilates exercises.

Today, a Pilates Reformer comes with a more streamlined design. Different companies add their own spin to it with the intent to make it more efficient. The market now has a range of designs, from a Home Pilates Reformer to commercial-grade machines strapped with all the necessary bells and whistles to improve core strength, flexibility, balance, and stability.

Benefits of a Pilates Reformer

1. A strong core

Centering is the focal point of the Pilates method. It refers to the core of the body, or the “powerhouse,” where all the energy begins and radiates outward to the extremities. The level of resistance is adjusted by the number of springs that are attached. For example, one would provide the least resistance, while five represents maximum resistance that you can get from a standard Reformer.

This versatile, impact-free workout puts emphasis on strengthening the pelvic floor and the deep core muscles. When these muscles are engaged properly, they develop a stronger body with a stable foundation. Research even showed that a Reformer Pilates session can improve core stability in Multiple Sclerosis (MS) patients. With the strength arising from the core, one can maintain good control of the movements performed.

2. Improves overall strength

While targeting the core also allows better execution and command of the different muscles, Reformer classes also challenge the entire body. The pushing and pulling motion experienced by all your extremities against the resistance springs, carriage and body weight gradually builds strength. Without creating so much impact on your joints, it allows you to work all your muscle groups, even up to the smallest musculature in a precise and controlled fashion. This kind of strength training preserves and enhances your muscle mass.

3. Provides a full range of motion

The cables and bars of a Reformer device allows you to move your body with a full range of motion which is something that you might not be able to achieve on your own. It encourages you to extend to the fullest while you follow the track. With usual exercise, and without so much guidance, it will be easy for you to fall back into your old pattern of movements that are not as beneficial, or it may even be detrimental to your posture too.

Regular Reformer work trains your body to adapt to this full range of motion which also helps in proper body mechanics. This will ultimately result in fewer body aches and pains.

4. Improves coordination and balance

With its core stabilizing program, Pilates repeatedly stretches and strengthens the core muscles which maximizes the spine’s mobility and stability. Balance is achieved because a Reformer exercise can help maintain the proper musculoskeletal structure which also protects important muscles that are crucial for balance.

5. Better posture

The Reformer improves your posture because it trains you to develop and use core strength, instead of holding up your position with superficial musculature. It is an effective method in reinforcing movement patterns and strengthening efforts to ultimately improve your posture.

6. Faster results

The resistance provided by a Reformer exercise allows you to get results faster. You can adjust the springs and the moving carriage accordingly to a level that suits you best. As you become more proficient with the current level of resistance, you can proceed from reclined exercises to those that require less contact of your body and the carriage.

Since it encourages your body to assume proper body alignment with the core strength to boot, the results can be achieved much faster than other exercises.

7. Better back health

Core weakness is a recognized biomechanical deficit among those who are suffering from low back pain. With core strengthening comes better spinal alignment and a gentle release for tensed back muscles. Even the simplest Reformer exercise has the capacity to support the deep postural muscles of the trunk.

Having roots that go all the way back to ballet, some of the movements can be quite challenging. This explains why many of the exercises must be avoided if you have degenerative disc disease and significant back pain. It is advised that you consult your physician first before you sign up for any exercise program.

8. Promotes Better Alignment

Reformer exercises also put emphasis on neutral alignment of the spine and the shoulder blades. It levels the pelvis while the lumbar and thoracic curves are neutralized. Without this alignment, it can be difficult to perform other Pilates exercises. The Reformer acts as an assistant to help the person get into position or to perform the move.

9. Improves Muscle Tone

Pilates tones the body without the muscle bulk. With controlled and progressive movements, it can eventually reshape your body. It creates long, strong muscles for that leaner physique instead of a beefier build.

10. A Good Tool for Rehabilitation

A Reformer Pilates machine is great for rehabilitative purposes because it allows the client to exercise in a horizontal plane of motion. It spares the legs from weight bearing and the vertical load, which is particularly beneficial for those who just had knee surgery or a knee injury.

Reformer vs Mat Exercise

A mat Pilates and Reformer Pilates classes in Singapore gives you pretty much the same results. It is done under the principle of essentially building core strength by working against resistance. But if you are looking for more variations and quick results, a Reformer class is for you.

It is superior to mat based Pilates with its repertoire of exercises that offers you with more variety. It works the muscles using a wider range of motion which complements efforts to build and tone your muscles while stabilising your joints. Compared to matwork which focuses mostly on the core, a Reformer Class works the entire body.

While it may seem intimidating at first look because of its appearance, it can be a good fitness partner. With the essential techniques provided by your instructor can be adjusted accordingly to suit your own needs. Therefore, private sessions are preferable at this stage because it allows beginners to get accustomed to the equipment.

How to Get Successful Results Reformer Pilates Class

1. Wear Appropriate Clothing

Since you’ll be using a full range of motion, it is important that you wear comfortable clothing. Stretchable clothing with a good fit, but are not too revealing, helps you assume various positions with ease.

2. Take It Slow

This exercise is not a race, so there is no reason for beating yourself up by pumping up the speed. Doing so can affect the quality of your movements and may end up being incorrect. With slower movements your body demands more energy triggering your muscles to work harder.

3. Maintain Proper Breathing

Breathing helps the body bring the body back to a relaxed state which helps you to focus on your movement.

4. Non-Skid Socks and Gloves Can Help

While going barefoot is the usual practice, some instructors will allow you to wear non-skid socks or gloves. The grips can provide traction and it prevents your feet from slipping on the machine, especially if your hands and feet tend to get sweaty. This allows you to focus on activating the proper muscles instead of focusing your efforts on crunching your fingers and toes to stay in place.

5. Be Mindful of Your Posture

Correct posture helps prevent injury while exercising. Not only will it benefit you while you train, you can also carry good posture even outside your fitness regimen.

Are you ready to experience the benefits of a Pilates Reformer Class in Singapore? Here at the Pilates Plus studio, we want to focus on your specific needs and how best we can tailor-fit our Pilates programs to your needs. You may check out our list of programs, here, and see which would best suit your preference.

Come and try a session with us today! Stretch your way to better health with our Reformer Pilates classes.

[thedetailingmafia]

DIY CAR DETAILING: How to Wax and what should be the Frequency?

No doubt, it might appear like counter-intuitive in the beginning. Regular car wash and waxing is the best way to add life to the vehicles. These processes even help you to ensure that the paint stays shiny and bright for years in the future. There are people who have a belief that frequent wiping and washing off will hamper the paint of the car and after sometime it will surely wear down faster. But let me clear you that, this is not the reality. The most important thing that decides the life of car paint is the quality of the car detailing products. Quality always matters, and along with it the experience of the professional also counts. As long as you are using the best quality products and experts are handling the car detailing task, trust me, they will surely add more years of togetherness between you and your possession.

While most of the population washes off their car very frequently but there are drivers who don’t go for waxing. In fact, car waxing is one of the best car detailing process. Car Waxing is perhaps the most ideal approaches to make it look extraordinary and ensures its outside. Albeit waxing a vehicle takes some honest effort, it's anything but an awful method to spend a bright Saturday. You will be pleased with your diligent work when you see your vehicle glimmering in your carport. Simply follow these means to wax your vehicle to a sparkle.

Few easy Car Detailing Steps for Perfect Car Waxing:

•    Buy an excellent quality car wax. You can discover a variety of vehicle waxes at your nearby enormous box store or at most automobile parts retailers. There are a few national brands of vehicle wax to look over. While there is no compelling reason to spend too much on car wax, it is a smart thought to pick an item that is amidst the value go. The most well-known type of vehicle wax is packed in a little tub, in spite of the fact that auto wax is likewise accessible in spray form.

•    Properly wash off your car. This car wash is important as it cleans your car and prepares your car for waxing. Irrespective of the process, car detailing is an art and you need to handle it with perfection. You are completely free to follow any of the options. Either you can take your love to any car detailing outlet or even wash it off on yourself. Before heading towards the waxing process, ensure that the vehicle is completely dry. For drying up the surface, you can use quality microfiber.

•    Properly go through the mentioned instructions over the car waxing package. Few brands have few defined instructions. Never forget to go through the recommended usage of the product.

•    If you are using the car wax which is available at the store in tub form. Further, open up the package and then remove the pad. There needs to be another lid under the pad. When professionally opened, the second layer should reveal the wax. It is very important to check the quality and sealing of the detailing process.

•    Select the area of the car to start with the car waxing process. Then dip the clean pad in the wax to take few quantities of wax. As per car detailing experts, never apply the wax to the headlights, plastic parts, taillight and other areas described in the manual.

•    Carefully apply the car wax onto the surface using a small and circular motion. The thin layer of this car detailing product must be evenly applied over the complete surface. It is always best to use either vertical or horizontal rows of the circle so as to ensure the complete surface of the vehicle is covered.

•    After you have evenly applied the car detailing product to complete the car’s exterior surface. Leave the surface to dry properly. After drying, it will look matte and you will feel a bit chalky.

•    Using a clean cloth like an old towel or microfiber cloth remove the dried wax residue from the car’s external surface. Using the circular motion is recommended by car detailing experts.

•    The last step is buffing. Using a buffing machine get the ultimate shine over the car paint.

How Often You Need Car Waxing?

Despite the fact that a great many people have their very own thoughts on the recurrence and booking of cleaning and waxing a vehicle, there are no strong guarantees made by makers. Accordingly, it can regularly be a smart thought to adhere to the general standard guideline of waxing once per three-month time frame. With these tips, you will probably spotless and wash your vehicle without scratches or scrapes. Your mileage may shift the extent that recurrence is worried, obviously; car highly exposed to fluctuating climate and other environmental components, for example, dust, snow, road salt or rainfall, ought to be waxed all the more oftentimes

Touchless Sealant VS. Car Wax:

Vehicle owners at first utilized common waxes to secure these early vehicle wraps up. Everything started in the mid-nineteenth century when waxes planned with creature fat secured the finish on pony carriages. Carnauba wax gained popularity for vehicle paint security. It is one of the hardest of the common waxes. Carnauba wax originates from a Brazilian palm tree called the "Tree of Life." Some car detailing formulation likewise included beeswax from honeycombs. In the mid-twentieth century, synthetic waxes seemed to ensure the polish and acrylic completions of the day.

In general, car detailing experts suggests that all the silica-based sealants take care of the painted surface of the car. When compared to waxes, these sealants are better resistant to:

•    Heat

•    Fluctuating Climate

•    UV radiation

•    Harsh Chemicals

•    Any external Contaminants

Waxes basically need both buffing and drying time to get the desired shine and gloss of the painted surface. By contrast, touchless sealants simply deliver the quotation of “spray-on, rinse off”.

For understanding car detailing services better, you can get connected to us on 80-100-44000 or visit https://www.thedetailingmafia.com/.

[iahald]

Wk8 Lecture: Lighting for art display by Emrah Baki Ulas

Jørn Utzon (Danish architect)

• Breakthrough international design was the Opera house - breaking the norm at the time of angular modernist architecture

• Use of daylight and artificial light working together

• The difference between the utilising 

• Contrast of interior exterior design, industrial sharp 

• Using verticals to bounce lights off large curved surfaces

• Simple elegance in harmonising the space with the use of congruous materials and form

• The designing of interior including furniture and other details, for example piano, light fittings, carpets, cutlery etc.. 

• Light bulb interior Chrome coated to bounce light back and create a diffused yet exposed light bulb 

Lighting for art display:

• includes a wide range of multifaceted design parameters

Provides good overview of using light for determining the appearance of objects in an environment where viewing experience is of utmost  importance

applicable methodologies in various design principles

Preserve vs. Present

Key Lighting Design Considerations for sustainable art display

• Spacial Experience 

- Architectural Fabric -Some spaces you want to disassociate the space for the work or visa versa

- Adaptation - step by step as visitors pass through space 

• Conservation 

- Visible Spectrum (sometimes limiting full display for material conservation requirements)

- Ultraviolet Spectrum (penetrates at a molecular level and damages/ fades the work over time. Blue light is more damaging than warmer colours) 

- Infrared Spectrum (light doesn’t usually effect however the moisture caused but the heating can damage

• Display  

- Spectral Quality 

- Form and distribution

• Infrastructure 

-System and light sources 

- Control

• Operational Requirements 

Conservation - Classification of Photodegradation Responsivities of Exhibitions Materials

• Irresponsive 

(rocks, metals)

• Low Responsively:  600 kluxhours/year  ~200 lux

(most good contemporary oil paintings 

• Medium Responsively: 150 kluxhours/year  ~50 lux 

(more durable organic material animal bones, older paintings) *would avoid space with any daylight

• High Responsively: 15 kluxhours/year  ~50lux

(silk, fabric, newspaper, feathers etc) *Cannot be in space with any daylight

Eg. 

300 days x 10hours/day = 3000hrs/yr

150000 luxhours/year

:

3000 hrs/year = 50 lux

• This discussion will occur between the curator, conservator and lighting designer to find a happy medium

- Sometimes solutions use spacial design such as draws or covered works that visitor has to reveal 

Other considerations

• Daylight and security lighting can also come into play, eating away at your light and therefore should be motion sensored, and point away from works 

Possible strategies for conservation management

• Sources with minimised UV and IR Radiation

• Use filters, gels to block the radiation from light sources

• bouncing off surfaces to create diffused light source

• Managing light sources

• First 3:1 Rule of thumb 

- if gradient is low 3:1 you would still read it to be a uniform surface 

whereas if the gradient is higher eg 7:8 lux will be a harsh line

5:1 much more obvious contrast

20:1 Glare 

• Second light positioning 3:1 Rule of thumb 

- Distance eg 3m height (wall) : 1 metre from the wall (light position) 

8m wall height : 6m ceiling light positioning

• Lighting wall directly at 90º creates a more even display of tone, whereas diagonally angled lights with loose some details creating shadowed sections

- Drama and atmosphere or detail 

• Difference light sources

- Framed spotting (spotlighting with sharp particular shape)

- Accent spotting (less sharp spot lighting)

- Flood lighting / strip flushing (horizontal strip of light)

- Wall washing (uniform light washed across works)

• Angles of ceiling light is very important

- minimise glare - trying always to minimise the light reflecting into the eye-level 

- minimise uneven texture from sharply angled 

- make sure viewer doesn’t shadow the work they are looking at

• Some example solutions within gallery space

- Inset ceiling floodlights 

- display lights within cabinets 

- backlit display 

- track lighting

• Be able to cater for differing orientations and partition walls etc

Reflection:

Within gallery space, the longevity of the work and they type of space will determine the conservation requirements paramount to the lighting design. There is a fine balance that must be achieved, to present the artwork as faithfully as possible while also maintaining safe conditions. Utilising formulas to calculate safe exposure time under certain lights means that viewing flexibility can be adjusted accordingly. 

[parkerjonesacoustics]

Bite-size Acoustics – Airborne vs Structure-borne Sound

Acoustics A to Z​

B = Building Acoustics

Share

Share on facebook

Facebook

Share on twitter

Twitter

Share on linkedin

LinkedIn

Author

Chris Parker-Jones

January 2, 2020

The aim of our articles are to break down acoustic terms and concepts as simply as possible, without going too far into the mathematics and every nitty gritty technicality, that acousticians usually love to get stuck into.

So please, if you’re an architect, contractor, developer, planner… or really anyone who occasionally needs to dabble in acoustic design and assessments… then read on…

Got a question?

Is there an acoustic, noise, or vibration related topic or problem that you would like explained?  Send us an email and we’ll write an article about it.

chris@parkerjonesacoustics.com

What do you mean Building Acoustics?

B gives me another excellent topic which I’m very familiar with, which is… Building Acoustics. Now I appreciate that it looks like every topic in this A to Z will be a different word simply followed by the word ‘acoustics’, but I promise… it’s not going down that road, there will be some variety!

Anyway… a common misconception (along with eggboxes on walls) is that Building Acoustics means designing concert halls and recording studios, types of space which have a strong connotation with good acoustics and quality of sound. However, it’s also an important aspect for any building which contains ‘noise-sensitive’ spaces, which is most buildings, i.e. our homes, places of work or education, healthcare facilities and places of recreation and leisure. It can have a huge impact on our living comfort, health and wellbeing, productivity and communication.

So, what is Building Acoustics? 

Well, the clue’s in the name, so you’ve probably already guessed that it’s to do with the acoustic design of buildings… but still, what does that mean? Let’s briefly look at some of the different aspects of Building Acoustics (and bear in mind, I’ll cover most of these in more detail later in this A to Z series).

Airborne Sound Insulation – The control of sound transmitted through the air, such as speech, television, music or the next-door neighbour’s dog. We usually want a decent level of airborne sound insulation from the room next door so that we don’t hear private conversations or have to listen to their music. We achieve this by specifying wall and floor constructions which have good sound reducing qualities, making sure they all connect together without leaving weak points for what’s known as ‘flanking sound’, and sealing any ‘penetrations’ like ducts and pipes which may run through the separating wall or floor.

Impact Sound Insulation – Impact sound occurs when an object impacts the structure, typically the floor, such as footsteps and chair scrapes. Carpets and ‘resilient’ underlays help to dampen the impact, as do rubber or spring mounts on raised floors. In most cases, we’re dealing with vertical transmission across intermediate floors from above to below. But in high impact areas, such as sports halls and gym floors, we can also have impact noise transmitting horizontally. 

Room Acoustics – How sound behaves in an enclosed spaced, in particular, how reverberant a room is, which refers to the length of time that sound takes to decay. For example, think of two contrasting rooms, firstly a large sports hall with lots of hard surfaces such as vinyl flooring and concrete block walls, which has a very ‘live’ feel. Secondly, a small control room at a recording studio, with plenty of soft surfaces (which absorb sound) such as carpet, foam wall panels, ceiling tiles and furniture, which has a very ‘dead’ feel. The former has a much longer reverberation time, resulting in poor speech intelligibility and high levels of noise build up. If you think of a classroom, an office or a bedroom, this is somewhere between these two extremes. This is important, after all, can you imagine working in an office as reverberant as a sports hall?

Indoor Ambient Noise – This is the background noise level in each room of a building, when unoccupied but operational, or if you like, when you sit in silence with the television off. In this case, we might hear the sound of passing traffic outside, noise from a nearby school playground, maybe the air conditioning, and perhaps the sound of water rushing through the pipes. So, the aim is firstly to control noise ingress from outside by specifying façade constructions that have sound reducing properties, and also considering the ventilation strategy, i.e. will open windows let too much noise in? Secondly, we need to limit the noise generated by the building services, avoiding noisy mechanical ventilation units in sensitive spaces, using silencers in ductwork, and perhaps lagging pipework or encasing it with plasterboard. We need low enough indoor ambient noise levels to avoid sleep disturbance in our bedrooms, and to work or learn without distraction from noise (although in open plan offices, some background noise can actually be beneficial in masking the sound from our colleagues, and providing comfort to ourselves, after all, no-one wants to feel like the whole office is listening to their phone conversation, especially if you can otherwise hear the proverbial pin drop). 

Rain Noise – As you can probably guess, this is the control of noise generated by rain impacting on the roof, particularly if it’s a lightweight roof, and especially if it has rooflights. If you’ve sat in a conservatory when it’s raining heavily, you’ll know it can get very noisy.

Structure-borne Sound – This relates to vibrations through the structure which then radiates sound into a room. Indeed, impact sound is a form of structure-borne sound. But it might not be a sudden or intermittent impact, structure-borne sound could be excited by a continuous source of vibration. Examples of this might be mechanical plant with moving parts (such as a fan unit), which if not installed well and isolated from the structure, can cause continuous vibration to be transmitted through the floor, walls and fittings, which then radiates noise into rooms nearby. Or, the vibration could arise from the foundations, particularly if the building is close to a railway line.

Noise Pollution – This perhaps fits under the area of Environmental Acoustics rather than Building Acoustics, but as I’ve referenced noise and structure-borne sound generated by building services, it’s worth mentioning. This mainly refers to controlling the external noise emissions generated by the mechanical plant of a proposed building, to ensure it does not adversely impact on those that live and work in the surrounding area. But we also must consider how ‘activity’ noise might impact on others, particularly if a building has high noise level spaces (i.e. music rooms, dance studios, workshops, etc).

Credit: Acoustics of Schools: A design guide – IOA (2015)

Is good Building Acoustic design needed for all buildings? 

Well, ideally yes… but the necessary level of detail in the design and the performance will vary for different types of buildings, rooms, and adjacencies. If we live in an apartment, we’d want a good level of sound insulation from the flat next door, but we probably wouldn’t be so bothered about it between the rooms within our dwelling. If we live above a nightclub, then we’d definitely want a VERY good level of sound insulation! Low indoor ambient noise levels in our bedroom are important for sleep, but not so important on the dancefloor of the nightclub downstairs. Many guidelines exist (in the UK) which govern the acoustic design of different buildings, such as Approved Document E (Part E) of the Building Regulations (residential), BB93 (education), HTM 08-01 (healthcare), BCO guidelines (offices) and BS 8233 (multiple building types).

When does Building Acoustic design occur? 

With the exception of assessing external noise ingress through the building envelope, where a site with high external noise levels might not be suitable for a sensitive building unless designed and mitigated appropriately, and perhaps some high-level internal design as part of a feasibility study, the bulk of Building Acoustics design is usually (though not always) done after gaining planning permission, depending on the project. So, this is on new construction or refurbished developments from RIBA Stage 3 onwards. That is, detailed design, technical design, and construction stages. We may also have to ‘test’ the building at handover and completion, to demonstrate that the acoustic design criteria have been achieved. Occasionally some input from an acoustic consultant may be needed for developments that have been in operation for years, in response to a complaint from the occupant, usually as a result of a refurbishment or a change in the surrounding environment.

I hope you enjoyed this short article, and keep an eye out for more articles on the common questions that I get asked by clients in my job as an acoustic consultant.  Feel free to connect and message me through LinkedIn, send me an email at chris@parkerjonesacoustics.com, or through our Contact Us page.

Share

Share on facebook

Facebook

Share on twitter

Twitter

Share on linkedin

LinkedIn

Tags

Building acoustics

Other A to Z

A to Z

Acoustics A to Z – C = Construction Noise and Vibration

What do we have to do about construction noise? Our guide to construction noise management, planning, and monitoring, for planning apps and S61 applications

Read more »

November 26, 2019

A to Z

Acoustics A to Z – B = Building Acoustics

Building acoustics, how does acoustics and noise effect our buildings? Sound insulation. Reverberation. Internal Noise… what does it all mean?

Read more »

October 24, 2019

A to Z

Acoustics A to Z – A = Acoustics (what is Acoustics and how does it affect us?)

An easy and obvious topic to start the A to Z… Acoustics! What is it and how does it affect our day to day lives?

Read more »

September 17, 2019

The post Bite-size Acoustics – Airborne vs Structure-borne Sound appeared first on ParkerJones Acoustics.

from WordPress https://www.parkerjonesacoustics.com/insights/airborne-vs-structureborne-sound

[glenmenlow]

7 Ways Ueber-Brands Define A New Era Of Prestige

Five years ago we embarked on an extensive research into what drives the success of certain class of premium-priced brands that seem to flourish, rather than fade as time goes by and we get to know them more. We observed a shift in how the need for –and expression of– Lifestyle and Prestige through brands manifests itself – across categories and countries. Old rules of prestige brand making – price, provenance, precious materials…are still present but new ones have established themselves next to them, sometimes in defying opposition. Classic categorizations like ‘luxury’, ‘premium’ or ‘mass’ are in flux with new ones like ‘affordable luxury’, ‘masstige’ or ‘super-premium’ coming and going. How do you define ‘Supreme’, the brand that sells limited edition fashion and apparel items at outrageous prices to skateboarders – or rather those who want to feel like those cool members of the skateboard, hip-hop, punk rock and youth culture scene? The average skateboarder hardly has the money to buy these items. What do you call it when Damien Hirst puts his art on one of their boards or when Louis Vuitton launches a Supreme collection that outdoes the classic in hype and price? We are living through times of change, much contradiction in our market- and branding-dominated worlds – but also excitement and intrigue.

New Marketing For The New Prestige

A new kind of prestige has emerged and with it a new kind of marketing it is taking hold, with new mantras, mechanisms and a new language. Of course, much of this is about evolution rather than revolution. Maybe that is how it seems to have crept up on brand builders on either side of the luxury to mass spectrum striking many as a revelation today. Brands without distinguished family trees appropriate strategies that were supposed to pertain to ‘luxury brands’ as French Luxury marketing professor Jean Noel Kapferer would define them. Supreme sells but through a very select number of mostly own stores… including its web-store, of course. And established luxury brands acting in less expected ways, venturing into previous no-go areas with gusto – like social media. Embracing digital technology and social media is famously credited for the turn-around of British luxury brand Burberry. The very ‘haute jouailler’ Chaumet sh/r-ocked its brand and audience with a teasing ‘Double Take’ of the ‘Jeune et Jolie’ actress Marine Vacth just after she made a splash at Cannes for playing a teenage prostitute in the film Young and Beautiful. What an unconventional way to rejuvenate a firmly conservative luxury jeweler.

Ueber Brands Go Above And Beyond

This new mixing of models makes for a rather motley crew ranging from long-established and rarefied Hermès craft to popular behemoth Red Bull … soda?, from small but high-minded Aesop beauty products via activist Patagonia outdoor gear to rather fun and funky MINI cars, living and breathing prestige in modern ways as they are growing in categories and at price points as diverse as their generational- or cultural appeal. Which is why we coined the new term “Ueber-Brands“. Their prestige extends beyond traditional notions as they set new standards for this very old concept that take our hearts and minds and their markets on a journey into the future. They are a cut above the rest – in a word, they are ‘Ueber’, German for ‘above and beyond’.

Ueber-Brands project prestige less through high prices and celebrating themselves as rarefied, but more so by evoking pride and aspiration through ideals and ideas wrapped in mythical storytelling. Less by building exclusivity through extreme restraint and scarcity, but by mixing these with a dose of inclusivity, sometimes even allowing for ubiquity, astutely balancing exclusion with connection. And third, less through push advertising and more by living brand-specific convictions and radiating them from the inside, not afraid to confront uncomfortable realities rather than glamming it all up. Continuing to tell stories of dreams come true, probably even more than ever, but more as truths enhanced rather than realities faked.

So, what is a premium brand that wants to stand out and stand the test of time to do? Here are seven key elements that – if mastered – can elevate a mere ‘product’ towards becoming an Ueber-Brand in the hearts and minds of people:

1. Mission Incomparable — Have a sense of purpose, a vision that goes beyond sales and making money. This will create meaning for, and a stronger bond with those who buy into this mission vs just buying a ‘product’.

2. Longing vs Belonging — Balance accessibility and ‘togetherness’ with classic elements of exclusivity, proximity and distance. This gives people a feeling of belonging while making them long for more.

3. Un-Selling — Don’t sell, seduce. Ueber-Brands connect with their targets without seeming too eager or needy. Remember, people don’t want to be sold to, they want to buy into something and get closer to the unobtainable.

4. Myth-Making — Don’t just tell a compelling story, tackle what logic and science cannot explain and guide people to a higher truth or social ideal.

5. A Product to Behold! — Yes, it must remain the center of attention. Have a flagship product that is unique and substantial (thus superior) in manifesting your ideals and mission.

6. Create ‘Truth’ — “Live the dream” inside the organization and project it to the outside to fans and followers through everything you say and do. But beware: nothing is as volatile as a dream and the bubble can easily be burst.

7. Grow with Gravitas — Ueber-Brands are masters in growing consistently over time avoiding perceived over-saturation and with it loss of equity and pricing power. Think vertical and horizontal integration vs deep penetration.

Excerpted from: Rethinking Prestige Branding: Secrets of the Ueber-Brands by Wolfgang Schaefer and JP Kuehlwein, in partnership with Kogan Page publishing.

The Blake Project Can Help: The Brand Storytelling Workshop

Build A Human Centric Brand At Marketing’s Most Powerful Event: The Un-Conference: 360 Degrees of Brand Strategy for a Changing World, May 14-16, 2018 in San Diego, California. A fun, competitive-learning experience reserved for 50 marketing oriented leaders and professionals.

Branding Strategy Insider is a service of The Blake Project: A strategic brand consultancy specializing in Brand Research, Brand Strategy, Brand Licensing and Brand Education

FREE Publications And Resources For Marketers

from WordPress https://glenmenlow.wordpress.com/2018/04/28/7-ways-ueber-brands-define-a-new-era-of-prestige/ via IFTTT