The concrete tower of the Deutsches Museum was given an excessively heroic scale and contains a dramatic stairwell. The Foucault pendulum has a 15.5 second period.
Photo by Reinhard Krause.
www.deutsches-museum.de/museumsinsel...
The first record I bought, along with Van Halen's Why Can't This Be Love. Both 7".
www.lenbachhaus.de/digital/samm...
"My lifelong quest is now fulfilled," said Mike Manson, a professor emeritus ofl biophysics at Texas A&M University who started studying the flagellar motor in the 1970s. "I finally understand how this thing I've been studying for 50 years actually works. That's about as satisfying as can be."
www.quantamagazine.org/what-physica...
A kawaii Baphomet concept: "Vlček says his is the only black goat’s milk ice cream available on the Czech market." (2017)
Seems to have been developed for a metal festival.
www.expats.cz/czech-news/a...
Colour photo: late afternoon sun on the entrance to the library of the Deutsches Museum.
Thanks to a space.com article, Gemini thinks Galileo described Saturn as having "love handles":
"Galileo Galilei was the first to observe Saturn's rings on July 30, 1610, using his early telescope, though he did not recognize them as rings. He described them as "ears" or "love handles" (ansae) ..."
Richly painted medieval building, with a fancy astronomical clock.
Rathaus, Ulm, today. Astronomical clock with a dragon hand: by showing the position of the lunar nodes, the dragon hand indicated the date of possible eclipses (it would coincide with the moon hand and a full or new moon on those days)
en.wikipedia.org/wiki/Astrono...
“In Finland, the number of homeless people has fallen sharply. Those affected receive a small apartment & counselling with no preconditions. 4 out of 5 people affected make their way back to a stable life. And all this is CHEAPER than accepting homelessness.”
IT SAVES PUBLIC MONEY to house people.
Meanwhile, Stephen Craig proposes bin houses www.navigart.fr/frac-normand...
Paper depiction of a plastic wheelie bin by the same artist. www.marioneichmann.com/latest-work/...
Something about those modular signs used to indicate location of hydrants, buried services etc. Paper works by Marion Eichmann. www.marioneichmann.com/news/the-pap...
Search of comments on HN showing multiple uses of the phrase "is an eventuality" to mean (apparently) "is certain to happen eventually".
A lot of nerds out there seem to think "eventuality" means "certainty"
Plans to go with that section, from web.
Vertical section model, a low relief in white on white.
Model on the wall in the Weissenhofmuseum. It's a section through the single-family house.
The single and double Le Corbusier / Pierre Jeanneret houses at Weissenhof.
Painting of birches and a grey horse. "A dapple-grey horse grazes beneath trees. Trübner creates a visual connection between the animal's light coat, marked with characteristic spots, and the bark of the birch trunks. At this time, his observation of nature increasingly moves toward pure painting – focused on form and colour – even though the figures remain largely realistic."
commons.wikimedia.org/wiki/File:Wi...
Signage on a building. A red rabbit or hare is carrying a large white faucet. A neon sign starting with the word "Bau" is visible. Lower on the facade is a sign for "city" dry cleaners, showing a cross-legged figure sewing. The figure is a black silhouette on a white circle within a red panel.
de.wikipedia.org/wiki/Mittnac...
Travertine, I think, Stuttgart
A stack of a dozen "Standard" chairs as designed by Jean Prouvé (1934/1950) and recoloured by Hella Jongerius (2013).
New powder-coated colours devised by Hella Jongerius for Jean Prouvé Standard metal chairs, 2013
“My father never used primary colors but preferred a sophisticated palette of shades. Of course – he was the son of a painter” (Catherine Prouvé)
jongeriuslab.com/product/prou...
![In 2009 the Indianapolis Museum of Art acquired Fernando Brizio’s contemporary ceramic, Painting a Fresco with Giotto #3, as part of its effort to grow a collection of modern and contemporary European design objects. The artwork comprises an unglazed white faience vase that has been pierced with 30 brightly colored felt-tip markers whose dried ink stains create a whimsical polka-dot surface.
The vase immediately joined a traveling exhibition, and when it returned to the museum after nearly a year of display, many of the ink spots had faded dramatically, some having nearly vanished. Technical analysis was undertaken to (1) determine the cause of the fading and the composition of its Giotto brand Turbocolor markers, (2) to determine the future fading potential of the object, and (3) to suggest new safeguards to protect this and similar objects from future damage.
Non-destructive analysis of the vase using Raman spectroscopy proved challenging due to the overall application of an acrylic varnish by the artist and the intense fluorescence of many of the marker inks. Using liquid chromatography with mass spectrometry on surrogate pens acquired in 2014, the 30 markers utilized in the object were ultimately determined to contain 9 primary synthetic dyes and numerous synthetic byproducts. The inks are comprised of food colorants, which accounts for their rapid fading. In situ microfade testing showed that the vase is still extremely light sensitive and will fade further under even the most stringent lighting protocols.
An artist interview [...].
The artwork has since been deaccessioned from the museum’s collection but has taken on a new role in gallery didactics focused on the materials of modern design and the ephemeral and changing nature of some artworks. This project highlights the urgency of characterizing the fading rate of potentially light sensitive modern art or directly identifying the colorants used in contemporary artworks prior to their first exhibition.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:b2t4xsc2doon5nbg7fpsskdc/bafkreifshnvhybk6mebpmcxh7y26qamjid7vjduonzb4golwvcmj72idc4)
In 2009 the Indianapolis Museum of Art acquired Fernando Brizio’s contemporary ceramic, Painting a Fresco with Giotto #3, as part of its effort to grow a collection of modern and contemporary European design objects. The artwork comprises an unglazed white faience vase that has been pierced with 30 brightly colored felt-tip markers whose dried ink stains create a whimsical polka-dot surface. The vase immediately joined a traveling exhibition, and when it returned to the museum after nearly a year of display, many of the ink spots had faded dramatically, some having nearly vanished. Technical analysis was undertaken to (1) determine the cause of the fading and the composition of its Giotto brand Turbocolor markers, (2) to determine the future fading potential of the object, and (3) to suggest new safeguards to protect this and similar objects from future damage. Non-destructive analysis of the vase using Raman spectroscopy proved challenging due to the overall application of an acrylic varnish by the artist and the intense fluorescence of many of the marker inks. Using liquid chromatography with mass spectrometry on surrogate pens acquired in 2014, the 30 markers utilized in the object were ultimately determined to contain 9 primary synthetic dyes and numerous synthetic byproducts. The inks are comprised of food colorants, which accounts for their rapid fading. In situ microfade testing showed that the vase is still extremely light sensitive and will fade further under even the most stringent lighting protocols. An artist interview [...]. The artwork has since been deaccessioned from the museum’s collection but has taken on a new role in gallery didactics focused on the materials of modern design and the ephemeral and changing nature of some artworks. This project highlights the urgency of characterizing the fading rate of potentially light sensitive modern art or directly identifying the colorants used in contemporary artworks prior to their first exhibition.
"Disappearing ink! Unraveling the fading of a contemporary design object", 2019 (Gregory D. Smith, Victor J. Chen, Kurt F. Hostettler and Caitlyn E. Phipps)
www.degruyterbrill.com/document/doi...
This design piece turned out to be a conservation nightmare, because the pigments in the felt-tip pens are fugitive:
collections.discovernewfields.org/art/artwork/...
A starry night is seen above foreground mountains. Toward the right is a comet with its head near the bottom center and a long tail extending toward the upper right. Please see the explanation for more detailed information.
🔭 Comet R3 (PanSTARRS) Brightens
Image Credit & Copyright: José Rodrigues
ap260412
Models in 80s leotards and legwarmers posing on and beside the Neue Staatsgalerie in Stuttgart.
Archivists have the term "fonds" for an organic collection of documents that hasn't been organized (except by the original creator). Well, the CCA has a James Stirling fonds with a folder that contains pencil sketches for the Staatsgalerie and then a bunch of these: www.cca.qc.ca/en/search/de...
The Loneliest Job in the World Tony Hoagland As soon as you begin to ask the question, Who loves me? you are completely screwed, because the next question is How Much? and then it is hundreds of hours later, and you are still hunched over your flowcharts and abacus, trying to decide if you have gotten enough. This is the loneliest job in the world: to be an accountant of the heart. It is late at night. You are by yourself, and all around you, you can hear the sounds of people moving in and out of love, pushing the turnstile, putting their coins in the slots, paying the price which is asked, which constantly changes. No one knows why.
"John Tyndall was a keen mountaineer and spent quite a lot of time in the Alps, both climbing and investigating phenomena such as glaciers. This interest in nature can also be seen in many of his other diverse discoveries, including his discovery in the 1860s of why the sky is blue in the day but red at sunset. Tyndall began to experiment with light, shining beams through various gases and liquids and recording the results. He used this simple glass tube to simulate the sky, with a white light at one end to represent the sun. He discovered that when he gradually filled the tube with smoke the beam of light appeared to be blue from the side but red from the far end. Tyndall realised that the colour of the sky is a result of light from the sun scattering around particles in the upper atmosphere, in what is now known as the ‘Tyndall effect’. He thought that the light scattered off particles of dust or water vapour in the atmosphere, like the smoke particles in the tube, but it’s now known that the light scatters off the molecules of the air itself."
Apparatus: glass tube.
www.rigb.org/explore-scie...
