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LeQuier works a with carved glass in layers. Most of his sculptures remind me of waves, therefore movement. It doesn´t move at all, but the singular lines curving make you feel like they are "alive".
It looks really awesome, it's a mix between all the effort you need to carve things in glass and the outcomes he achieves.

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I found this by chance, in a google advertisement, but since it´s audio related i decided to take some time to read about it.
Daniel found a way to automatize sound recording underwater. What he does is record it since the whale sound frequency is very low and can be heard from 500 km away.
Then he converts the sounds into spectrograms so you can see the data. Very much like what we need to do.
I find this interesting because, like my research task, it combines science and visuals. I used a similar way of doing it with audio waves on my video.

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Conheça um jovem apaixonado por música que está usando o aprendizado de máquina para estudar o oceano. | Google

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A paixão pela música levou Daniel DeLeon a uma jornada inesperada pelos estudos sobre o oceano, rastreando o canto das baleias com o aprendizado de máquina.

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Sound here is represented through several different methods, for example the use of vodka reacting to different notes and tones. Or using a Chaldni Plate.
Sound is a vibration, so using the example where it was connected to water (vodka in this experiment), you can produce patterns on the surface, depending on the notes used, you produce different patterns. According to the creator, vodka was chosen because it was almost frozen, therefore thicker. The frame rate of the camera was also adjusted, as the vibration hertz to create this "frozen wave" effect.
The Chaldni Plate has a speaker connected to it, and sand on top of it. So when the sound hits it, the sand on the top also creates patterns depending on the frequency.
What interests me is how it was represented, each and every experiment had connection to science, and can be explained through psyhics.
Using fire and an Electric Keyboard connected, so according to which key is played, the air circulating makes the flame stronger.

Sounds, or music, often make you feel a certain way. But when you see it, when it is given a form, or a visual representation, it feels different. You can "feel" the rhythm, in a different way than when you just hear it.

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CYMATICS: Science Vs. Music - Nigel Stanford

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This was an experiment made with just a tin can, a speaker, a laser, and a mirror. The way it works is that the laser reflects on a mirror inside the tin can, which is attatched to the speaker. Then, by playing sounds, the can vibrates and the laser "draws" the waves.
The most important thing to notice, in my opinion, is that  depending on the sound frequency, the waves are different. This part is obvious. But if the frequency is high, which means a high pitch, the laser is very concentrated at the middle. When the frequency is low, low pitch, the waves are wider and bigger. When you mix two different wave lenghts, frequencies, or amplitudes, you start to see different patterns. For example, if you mix a oval shape, with another, but in a different direction, you will see movement, the shapes start to blend together and create something totally new.
What is cool about this, besides being beautiful, is that you give sound a form, it could be developed in a new form of language perhaps. Because the patterns for certain notes are the same, so it does not change everytime you do it.
To create the same experience as live, you need to pay attention to the camera details, shutter speed and frame rate most importantly. It will never be the same as in person, because of course cameras don't work the same way our eye does. But it can come close, and that is enough for us to notice how it works.

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Visual Representation of Sound - Laser Patterns from Standing Waves

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John Cage was a composer. His Variations Series are representations of indeterminate sounds, they consist of lines and dots only. But here is the interesting part, despite only having 2 elements, you can analyze much more than that.
Such as the lenght of lines, the space between them or the angles. There is not an specific, or right answer to what they represent exactly, that's why people have tried to play the "music" behind it, and because you can always interpretate it differently, it's never the same. Maybe someone sees the size of the lines as wave lenght, maybe someone else sees the distance between the dots as the frequency.
You can arrange the lines and dots in different ways also, so maybe that changes the amplitude, or frequency perhaps.
Again, this is the beauty of sound representation, when you see it instead of hearing, you can even change the emotions passed by it. Everything can be sound, and you can represent it in a very complex way, full of rules to be followed, or as simple as it can get, with lines and dots.
As said in the beggining, Variations is a series, this is about Variations II, which has a different set of rules. Variations IV for example uses only dots and circles.

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I thought about rhythm games instantly after reading the brief. So this is one of them, the others will be below.
In this example, you are a square, and you go forward by default, so the only thing you have to do is jump when needed. That being said, it´s related to music, because the jumps happen at the same time as the beat. So besided being synchronized it´s also interactive.

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All Geometry Dash Levels in HELL MODE! [HD]

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Another rhythm game, this one is"point and click" so you aim with your pen and tablet or mouse and click on top of the beats that appear according to the music.

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This one is also interactive, as your movements dictate the music, your dashes are beats, synchronized.

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13 Min of Just Shapes & Beats at GDC 2018 (Nintendo Switch Direct Feed)

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This is very similar to the project im doing on my own. This 4 rows that the beats come, im using a layout like that.
So another rhythm game reference.

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[Fire Emblem Heroes] Tap Battle Gameplay

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As said in the examples above, i got a lot of inspiration from this type of game, as the elements appear as the song goes on. I tried to follow some of the pattern in my video, and it ends up being chaotic just as the song, and it´s hard to keep up, since the screen is to full of different things. But thats music, there is not a single note to a music.

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Monique sent me this because it reminded her of me, i imagine that it's my first project, The Collector, since it's a collection about light.
Here it's a space that has an AI, the AI makes an algorithm and it creates these amazing light shows, it's immersive and catches your attention easily.
This black and white contrast is very beautiful to me, i have a few projects that i used these colors but sometimes it happens unintentionally.

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Poetic_Ai by Ouchhh | Atelier des Lumières - Site officiel

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Designed to be a veritable oneiric experience, the 'POETIC - AI' digital installation uses Artificial Intelligence in the visual creation process: the forms, light, and movement are generated by an algorithm that creates a unique and contemplative digital work.

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The Game of Life by Conway is a simple, yet complex game. You have rules, less than 3 units, and it dies, more than 3, also dies. So by an algorithm you can make stunning looks and program as complex patterns as you have the knowledge to.
It is interesting to me because of the math involved and the simplicity behind it.
As well as game having "it's own life" is a very interesting concept.

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How Black Panther's Visual Effects Were Made | WIRED

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In this spot motion by Blizzard for the game Overwatch, you can really see what makes a good stop motion, all the effort put in. It's not only the character that composes it, you also have to think about where it's filmed, as well as mixing other elements with this technique, 3D and VFX for example. All that gives a profissional look that can only be achieved by all this elements together.

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Behind the Scenes: “Trace & Bake” | Overwatch

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What i found most interesting here is the VFX supervisor saying that they had to look for flaws to make the animation perfect, That makes 100% sense, humans are not perfect, let alone a teenager trying to be a superhero, so of course there should be a ton of flaws in his moves. But you wouldn't think of that to make something more real, it's not the obvious answer.
The result was the actor himself, Tom Holland, thinking that was real footage, not a 3D model.

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Spider-Man: Homecoming - VFX Breakdown by Imageworks (2017)

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Nuke is the next software i will be learning, since it's used a lot in industry.
I have a good base on other softwares but i think it's time to take one step closer to professional works.

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Also gonna be looking into Maya, since 3D is really big on VFX.
I have almost 0 experience with it, but i think i can pick it up quite easily.

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Maya 2018 VFX - Learn to create Visual effects using Maya -TRAILER

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Probabily my top priority in terms of software, since it's the most complete one. I am aware it's not easy but my interest in it will get me there.

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SideFX is proud to present the 2017 Demo Reel featuring the amazing work of Houdini customers worldwide. The shots in this reel are a small sampling of the creativity and hard work performed by the Houdini community of artists. Congratulations to all the artists and studios responsible for these fantastic shots!

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This summerizes what VFX is for me, in a sense that it changes reality, you can do things become real. So distortion effect in general appels to me a lot.
Also this feeling of whare does it start or end is also very interesting.
I guess my research is mostly VFX breakdowns, but it's what i spend a lot of time watching.

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Behind the Magic: Creating the Mirror Dimension in Doctor Strange

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I didnt use this one as reference in particular, i used this style of animation that has lines that change very often, thus creating a very interesting style of animation.

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Behind the scenes of  'The Lion King'  - The animators Speaks

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BA(Hons) Visual Effects for Film & Television: Josh Parks

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Visual Effects graduate Josh Parks (Compositor, Industrial Light & Magic) returned to the University of Hertfordshire to lead a practical workshop with current students and share his knowledge and experience of working on blockbuster films such as Transformers: The Last Knight, Ready Player One and The Jungle Book.

To find out more about the course, visit http://go.herts.ac.uk/w614

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Portfolio Advice: BA(Hons) Visual Effects for Film & Television

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From and basically any video of trees falling, i can see that most of them fall as a whole, since the roots. In my sculpture i'm trying to make it falling from a damaged log or something like that. I guess for a a still object it represents better the feeling of movement, if it was falling all together it would be confused with just a angled tree, i think it wouldnt be percieved as falling.

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Cut by human hands

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Natural causes

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The result in this is very interesting, but it would not serve my purposed since you requise a tree model and then just make the folliage.
It would be better just as a model, not in a sculpture.

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This result is also really realistic, but again, i want to make the tree falling, and using wooden sticks for the trunk i would not be able to cut a little bit and bend it to look like it's mid-air falling. The wood would fall very much like a real tree.

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Tall Forest Pine Trees – Model Railroad Scenery

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Just from looking, i guess it's my best opition

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This is one of the resons i won't make a 3D model of my tree, it's way too hard and time consuming for my level of skill at the moment.
But just by looking a professional work you learn a lot in a short time. I often spend a few hours just watching videos like this.

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Game Artist | Modeling Body Tree - P01 with Autodesk Maya 2017 | Game Design

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Based on a word, create a scenography and performance and mix both into a GIF/Video.

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While researching methods to implement in my project i stumbled upon an animation with Mo-Cap and Plexus effect to create a polygonal object that moves and has colors.
It's similar to something i did last year for my portfolio, an eagle made of dots and lines but in 3D. I really like that look and the simplicity, yet complex patterns.

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Also discovered the .BVH extension, which is from Biodivision company. BVH is basically a 3D model that can be changed or animated, made from a Motion Capture base. You can link it to a 3D rigged model and animate it using the movements recorded.

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BIOVISION 2015 - "Models for customized approaches" Part 2/3

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Tobias is a designer that works mortly with abstract.
In this work specifically he used Motion Capture to create this "frame overlap" of a Kung Fu master.
There are several varioations on the video, for example the first one uses the skeleton created by the capture, and the last one it's an almost full reconstruction of the body.

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When working on this project, I was deeply inspired by the dynamics of motion and philosophy of Kung Fu. The work was commissioned by International Guoshu Association for an Kung Fu exhibition, initiated by Hing Chao. The exhibition focuses on the legacy of Hakka martial arts in Hong Kong and will launch in Hong Kong in September.

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Data is the future. Whoever controls the data has the power. But in the case of choreographer William Forsythe , he doesn't want power. He wants a library. A library of movement. And he wants to share it with everyone to benefit the future of the art of dance. And art, in general.

The Motion Bank is a four-year data collection project based in Frankfurt, Germany that captures dancers' movements with video cameras and Microsoft Kinnect. The data is then analyzed and visualized through animation. Forsythe hopes to document the dances as data point sets and transmute them into another "language."

The aren't the first to do so. Digital artists like Universal Everything, FIELD, and Memo Akten & Quayola have set a high bar when it comes to translating human movement from dancers and athletes into gorgeous abstract forms using motion tracking technology. But the process of motion capture is expensive and complicated, even when it comes to using more conventional commercial tools like the Microsoft Kinect, so the initiative to create and open source a repository of motion capture data, like The Motion Bank is doing, is a pretty empowering one for many in the dance and digital arts communities.

To capture these dances, The Motion Bank partnered with four choreographers from around the world: Deborah Hay , Jonathan Burrows & Matteo Fargion , Bebe Miller and Thomas Hauert . Teams from the Score Partners of Motion Bank from research institutions such as Advanced Computing Center for the Arts and Design and Department of Dance at The Ohio State University and Fraunhofer Institute for Computer Graphics Research IGD .The partners capture the data and process the choreography into innovative digital forms. Each choreographer was chosen for her or his style and unique ways of working.

For instance, Deborah Hays has a solo project in which she choreographed a piece called "No Time to Fly," taught it to 20 different dancers, had them rehearse it for three months, and then asked the dancers to perform it. It was part of a 14 year project in which she taught a new dance annually to a new group of dancers. It was a way to share or spread her work throughout the world. A sort of movement meme.

"I was clear that it wasn't an interpretation," Hays said in an interview at Tanzkongress 2013 . "It was an adaptation. Which, just in terms of language, an adaptation is something that moves something forward. It's a kind of evolution of something. They weren't interpreting my material. They were practicing using my tools and through that noticing the feedback of their bodies, their teachers."

Now, The Motion Bank is documenting her solos, and the evolution of her work is going digital. During the research process, the artists capturing the data were inspired to create their own works of art, using digital information about the dances.

One of the most beautiful examples of this kind of adaptation is by German artist . Fittingly, Weber took Hays' "No Time to Fly," which was originally performed by Ros Warby, Juliette Mapp and Jeanine Durning. The digital piece is haunting and often funny. Weber gilds the lily of the dancers' motions with his animations to create a new and lovely piece of art.

Perhaps one of the most remarkable aspects to the project is how the project is influencing how digital artists make new work.

"In artistic work I try to enlarge my field of perception," says Weber. "But working with Deborah Hay and the performers showed me how incredibly large that field can be when someone leads you in a direction you didn't know existed. Deborah Hays advice to 'Turn your fucking head!' seems to apply to more art disciplines than just dance."

The project ends this December with public presentations, and the bank is beginning its online archives with an interactive website, starting with Hays work . The ultimate goal of The Motion Bank is to use the research for choreographers and dancers to learn from each other. That gives power to the people. It enables artists to discover new ways to evolve and spread the beauty of dance.

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Motion Bank Creates An Archive Of Dancer's Movements

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Data is the future. Whoever controls the data has the power. But in the case of choreographer William Forsythe , he doesn't want power. He wants a library. A library of movement. And he wants to share it with everyone to benefit the future of the art of dance.

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Fractal Noise is something that can be very complicated if you get deep enough, but you can also do amazing things very quick and easily. As shown in the link below you can create a star, an iris, or anything like that. A displacement map that distorts your particles in 3D for example.

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Post Production
plus the newer Turbulent Noise [updated]

The Fractal Noise effect built into After Effects has been used to displace or generate motion backgrounds, transitions, clouds, fog, fire, water, paper texture, metal and other textures, ink and watercolor effects, etc. There's a good description of it, and some nice performance tips, in AE Help.

If you've never used Fractal Noise, you may want to look at The Very, Very Basics of Fractal Noise by Aharon Rabinowitz, at AE Help (especially for performance advice), and the useful Harry Frank video at bottom explaining fractal noise and how fractal noise is used in Trapcode 3D controls. Watch the video after the 6-minute mark to see Harry explain how Fractal Noise is created from Noise layers.

An alternative to this filter is the Turbulent Noise effect, an updated version of Fractal Noise that creates smoother animations, but doesn't have Cycle controls to create seamless loops. One advantage of Turbulent Noise is that it is faster, being GPU-accelerated since CS4 (see After Effects: Experiment Assignment 7 at Motionworks for recent look experiments). Both effects are 32-bit per channel capable.

Here's the basics from Aharon Rabinowitz:

The use of Fractal Noise for fog is discussed by Mark Christiansen in Climate: Air, Water, Smoke, Clouds in After Effects 7.0, a free excerpt from the book After Effects Studio Techniques. To create a seamless loop of animation using Fractal Noise, see Christiansen or After Effects Help. For more on fog, see Pseudo-volumetric fractal clouds in After Effects and AEP archive posts tagged fog. Here's another effective example, Realistic Fog Without 3rd Party Plug-ins, by Sachin man Joshi:

There's even a script to create fractal noise in three dimensions, Fractal Noise 3D, which reacts to After Effects comp cameras and lights.

Chris and Trish Meyer have a meaty tutorial on techniques for using the After Effects filter Fractal Noise to create seamless background textures. Shortformvideo and Bob Donlon have several video tutorials, like Church Media Design in Looping Backgrounds: Fractal Effect. An earlier video by Aharon Rabinowitz also shows how to create seamlessly looping fractal background animations with AE's Fractal Noise. Further, Dean Velez showed Fractal Noise Glowing Lines - how to use Fractal Noise to create flowing lines:

Harry Frank shares some secrets in his recent Fractal Noise Fade Effect video tutorial on a text transition in After Effects. He also used Fractal Noise in another tutorial, Text Effects with Set Matte. Here's Fractal Noise Fade:

Creating a realistic Iris using Turbulent Noise from Motionworks looks effective:

Here's a few more resources among the many involving the built-in Fractal Noise effect:

Later, Motionworks shared Frosty Window using Fractal Noise and other built-in effects. In the same period, he posted After Effects Experiment 13: Fire, using Turbulent Noise and more.

Andrew Kramer tutorials are listed above, but he uses Fractal Noise as a building block for stuff like energy weapons discharge effects too, perhaps starting with Freaky Fractals. There's Electric Energy, Seamless Spherical Maps!, Shockwaves in After Effects!, Sci-Fi Weapon FX!, etc. BTW, Freddie Wong made some fun light weapons too. We'll sample a different one from Andrew, Solar Atmosphere!:

Many Trapcode products rely on fractal noise too. For example, "Turbulence in Trapcode Particular is a 4D displacement Perlin noise fractal (it is not based on fluid dynamics). It adds motion to particles in a way so that particles that are close to each other get a similar, but not equal, random motion. This helps tremendously when creating fire and smoke effects to make particle motion look natural and, unlike fluid dynamics, it computes fast and can be freely scrubbed back and forth in the timeline."

Perlin Noise Fractal Theory was introduced in Trapcode Help > Physics > Air, and explained by Harry Franks in 03. Getting Started with Trapcode Particular 2 - Physics: Air. Yet more info on noise can be found in the Fractal Field group section of Trapcode Form's help and in help for Trapcode Mir, where fractal noise is used to displace a 3D mesh. Here's a nice comparison of AE Noise effect layers and fractal noise, and how it's implemented in Trapcode Form, in Getting Started w/ Trapcode Form: Intro by Harry Frank:

Please note that this roundup is for quick review and comparison. There is almost always vital information from the originating authors at the links provided - and often free presets, plug-ins, or stock footage too.

Twitter: @aerich

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Fractal Noise in After Effects by Rich Young - ProVideo Coalition

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The Fractal Noise effect built into After Effects has been used to displace or generate motion backgrounds, transitions, clouds, fog, fire, water, paper texture, metal and other textures, ink and watercolor effects, etc. There's a good description of it, and some nice performance tips, in AE Help.

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This game's particles are absolutely stunning to see, it's hard to focus on the game with such a visually pleasing background.
It reminded me of one test i did with 3D models and Plexus effect, so i thought it was worth putting it here

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A Tetris Expert Plays TETRIS EFFECT for the First Time

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My first idea was to make a lenticular card, because that is a good visualization of VFX in real life . But turns out you need very specific things to make it, so thats not very accesible.

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How to make lenticular images - Red Bull Illume

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This article made me think deeper into the narrative x building aspects, like the material used in the building heavily influence the narrative, or more obvious things, like colors and placement, even composition, it all changes the way you see things and can have a different meaning depending on how it's used.

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Planetizen - Urban Planning News, Jobs, and Education

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All designed objects, whether conceived by an architect, artist, graphic designer, industrial designer, or landscape architect, tell a story. Their stories can sometimes be discerned easily, and at other times need to be discovered through thoughtful consideration. The story can be as simple as a metaphor or as complex as a novel. Just as the adage goes, you can't judge the object (book) by its exterior (cover). The richness of the object is its contents.

Architects have long sought to communicate their craft through their building imagery. This has resulted in various styles of architecture throughout history. Whether displaying the power of their clients with the strength of a façade like the Palazzo Farnese for the Medici's, or the awesome other-worldliness inspiring Gothic cathedrals with their flying buttresses and soaring groin vaults, or the solidity of a corporation like Mies' Seagrams Building, each communicates a message greater than the function contained within. Fentress/Bradburn's Denver International Airport recalls its special location near the Rocky Mountains; Williams and Tiesen's Neurosciences Building in La Jolla, CA communicates the complexities of the human brain; or Daniel Liebskind's Freedom Tower reconnects us back to the founding of our country. Unfortunately, like a poorly written novel, sometimes the story becomes too kitschy, like NBBJ's Longaberger Corporate Headquarters.

Nevertheless, the exploration of narrative is something that interests me as an architect. Including a story in a building creates a level of meaning and connection to the patron or user that can be engaging and provoking. The ability for the observer to learn something beyond the obvious causes them to remain rather than pass by.

Narrative architecture evolves from an introspective exploration of the client's mission and passion; the building program or function; its site context; and often its place in history. Editing the message into a simple theme and then expanding it into a complete story creates the fullness of the experience. Materiality, structure, form and detail become the vehicles to impart the message(s).

My firm, RATIO Architects, is Midwest-raised. To us in our environs, the narrative is homegrown work that acknowledges our Heartland roots. It imbues a certain hard-working ethos, sturdy quality and familiarity. The stories our buildings tell are friendly, straightforward narratives. They try not to be too obscure or theoretical. They are as real as the people who reside here. They are meaningful, but more importantly they connect to their communities and context.
Stone, Steel and Spirit
Indiana is the Hoosier state, known for its conservative strength and contrarian spirit. The Indiana State Museum embodies that spirit through its displays inside and in its exterior design. The Museum's design incorporates almost all of the elements of our notion of storytelling - the story of Indiana writ in steel, glass and stone.

The Museum's primary façade represents Indiana's conservative strength. Clad in large-scale ashlar roughback limestone, the stone wall is punctuated with the stainless steel museum shop rhomboid. The 19-bay drop off canopy is emblematic of the steel industry found in the northern part of the state, and also references Indiana's place as the 19th state to join the Union. Accented with an aluminum-banded brick cylinder recalling the industrial stacks and agrarian silos that dot the Indiana landscape, the façade offers a quiet, yet energetic face to the adjacent White River State Park.

The Museum's secondary façade is a contrary collection of forms. The brick cylinder is cut away, engaging the sloped glazing in its core and day lighting the interior. A series of smooth limestone cubes, a trapezoidal glass prism and sandstone blocks present a cityscape of elements reflecting the nearby central canal's urban quality.

Art was a way to tell the story of the state as well. The building's exterior is graced with a series of 92 works of art that depict each Indiana county's history. The "INDIANA" obelisk created by Robert Indiana rises from the center of the interior Great Hall. Indianapolis has the second largest steam network in the nation and with a steam line nearby, horologist Ray Saunders designed a custom steam clock which plays a portion of "Back Home Again in Indiana" on the quarter hour with its steam powered whistles.

Finally, the interior is organized along the state's motto, the "Crossroads of America." Its Grand Hall acts as an open street with access to the IMAX, restaurants, auditorium, exhibits and gift shop. The Museum truly tells the many stories of Indiana in stone, steel and spirit.
Human Flight
No doubt like many of you, I fondly recall the early morning of July 20, 1969 when Neil Armstrong set foot on the lunar surface - a momentous occasion in the history of mankind. Armstrong, along with 20 other astronauts (with more to come), were graduates of the Aeronautical School of Engineering at Purdue University. Originally from the Midwest, Armstrong is a quiet, private, reserved and very humble man. Only after very careful consideration did he allow himself to be associated with the Neil Armstrong Hall of Engineering, a commission Purdue University entrusted with us.

Located at the campus' gateway to the schools of engineering, this building finds itself at Purdue's busiest campus intersections and within the historic fabric of the campus. Purdue's campus context is comprised of stout brick and limestone buildings capped with red tile roofs, creating a consistent stylistic language. Purdue University (Past) President Martin Jitske charged us with creating a statement building that evoked the importance of its contents and history, all while blending appropriately into, but ultimately leading, the context.

Benchmarking other strong campus contexts like Stanford University, it was apropos that the building parti would be conceived on the flight back from California. Responding to the angularity of the site, we split the building program into an administrative building and a laboratory/classroom building linked by a collaborative atrium.

Armstrong Hall is designed to provide unique educational and research facilities dedicated to teamwork, hands-on learning, community relationships and interdisciplinary connections necessary for educating the next generation of engineers. Engineering Education (formerly Freshmen Engineering), Engineering Projects in Community Service (EPICS), the Minority Engineering Program and the Women in Engineering Program was placed on first floor. The School of Material Science Engineering was placed on the second floor; and the "lightest" School of Aeronautical and Astronautical Engineering was placed on the top floor.

Capping it with an airfoil in the shape of a parallelogram and clad in terra cotta red metal, the cantilevered roof covers the atrium, reaches out to the gateway and hovers above the Dean's office, metaphorically signaling administration's underlying support of engineering work.

In an effort to allow the building to communicate its engineering message, Neil Armstrong Hall of Engineering expresses the engineering systems within. Its concrete structural frame is exposed, the mechanical and electrical systems are expressed, and even the plumbing eyewash stations are highlighted with vertical windows that provide glimpses into the laboratory spaces. The teaching laboratories are visible from the collaborative atrium allowing passerby to appreciate the thoughtfulness of engineering.

Expanding on our interest engaging art and architecture, the roof cantilever floats above the larger-than-life statue of a young Neil Armstrong, created by artist Chas Fagan. A seated Armstrong gazes out to the future, while his recreated footprints on the moon sit softly in the landscape leading to Astronauts Way. The understated calmness of the sculpture's design reflects the nature of the man who led us into the next millennium.
A Sacred Place
Columbus, Indiana - a community of less than 40,000 - has put its mark on architecture like no other community of its size. The city is ranked sixth in the nation for architectural innovation and design by the American Institute of Architects on a list that includes Chicago, New York, Boston, San Francisco and Washington, D.C. Championed by Cummins Engine entrepreneur J. Irwin Miller, since 1941 this community has constructed more than 70 buildings and pieces of public art by internationally-noted architects and artists, including I.M. Pei, Eliel Saarinen and his son Eero Saarinen, Richard Meier, Harry Weese, Dale Chihuly and Henry Moore. The most revered of the commissions are the churches, so when we were selected to design the St. Bartholomew Roman Catholic Church, it was a heaven-sent opportunity.

Reinterpreting the seven days of creation, the design for the church begins with a simple story that reflects the ecclesiastical function of the building, as well as the Catholic faith's sacred and distinct symbols. The church's design unfolds from its core, (1) beginning with the crucifix and the tabernacle. The altar's placement (2) is inspired by the Vatican II doctrines that bring the congregation closer to it. From this design, a nautilus configuration emerges, representing God and the perfect shape of nature. The tower and roof structure (3) reaches up toward heaven, acting not only as the church's structural support but also as its spiritual support housing the tabernacle. The roof structure then uniquely spirals downward with the curves of the nautilus-shaped walls. Two large triangular stained glass windows, are created on the north and east walls. The baptistery's placement (4) is located in front of the main entry to the worship space, in reference to the Catholic tradition of touching holy water before entering. Traditionally, the historic narthex (5) was the entry room to the worship space, however; the modern use has adapted to a social gathering space before and after worship. Its square shape represents man's perfect shape. The sacristy, the vestry, and the nursery (6), along with restrooms and coatrooms, provide the support for the times of worship, completing the buildings functions. With this final step, the church's design is completed (7), marking that the seventh day is for worship.

The richness of this story is expanded through the building's materiality with its body being comprised solidly of golden buff Kasota Limestone, the spire appropriately of shingled copper and the openings framed with dark warm wood. These materials extend to the interior with the sanctuary being capped with a wood ceiling and celebrated with the stained glass windows by the artist Elizabeth Devaraux.

Much like the Gothic chapels of old, the sanctuary interior is an uplifting and inspirational, but unlike them offers wonderful daylight and views towards the adjacent park. The Reservation Chapel, placed directly behind the original altar and crucifix, is an intimate contemplative counterpoint. The Stations of the Cross process along the back wall and the Baptistery in the Narthex, recalling the nautilus shape, serves to remind the parishioner of their commitment.

St. Bartholomew, settling in at the opposite end of park from Eero Saarinen's North Christian Church, becomes the next sacred church in Columbus' collection.
Planting a Green Seed
Sometimes a building needs to reinforce the story of an organization's mission. Keep Indianapolis Beautiful (KIB), an affiliate of Keep America Beautiful, is dedicated to uniting people to build community and transform public spaces through aesthetic and environmental improvement. With scattered facilities and little street-level visibility in downtown Indianapolis, KIB looked for a new facility that would raise awareness of its mission and be a showcase for its leadership role in fostering a greener, more sustainable urban environment.

KIB's decision to purchase and reuse an abandoned building on an urban lot in one of Indianapolis' up-and-coming neighborhoods saved on natural resources and emphasized its commitment to the neighborhood's revival. The design embraced a strong green narrative. Every design decision was made through a careful balancing of cost and sustainable considerations. A costly green roof gave way to a white, highly reflective and insulated roof, providing almost the same energy-saving benefits.

A highly visible cistern and rain garden were installed to collect stormwater runoff from the roof and parking area. The collected water is stored and used to treat the grounds and maintain trees and plant materials. Three 30 foot tall wind turbines adjacent to the cistern symbolized KIB's commitment to energy efficiency. These wind turbines, the first of their kind in Indianapolis, are scaled for small commercial use. At the entrance, a green screen covered with wisteria was designed to define the building's entry and to allude to KIB's mission to beautify Indianapolis.

KIB interior.The headquarters' interior atrium represents its green heart. Set in the middle of the building and surrounded by glass, the atrium illuminates 90 percent of the cubicles, conference rooms and corridors around it in natural light. Open to the sky and planted with native species, the atrium is a space that, whether being used as a lunch spot, break room, informal meeting space or outdoor work area, reinforces the very mission of keeping Indianapolis beautiful in unexpected places.

Not only did this design thoroughly embrace KIB's mission, it led to the first LEED gold designation given to a non-profit in Indianapolis. And its very visible location and multiple sustainable features have made it a magnet for those curious to learn about its services.
Final Thoughts
Is narrative architecture still relevant during this time of economic challenge? I certainly think so; it just needs to conform to the opportunities at hand. As new building opportunities give way to more reuse and renovation, the stories may need to be told within an existing context. Perhaps this context starts with a prior story and then is enhanced with the new, or perhaps the former dialogue is completely transformed, offering a new narrative about its new user. We are currently exploring the narrative story in the transformation of an existing Hebrew Temple. Our story will build on the asset and its existing narrative, but we will expand to provide a new layer of meaning for the congregation. We are also starting the design of new pavilion for a green space in front of a new hospital. In this project, we will try to tell a wellness and healing story within a very expressive artistic architectural envelope. Its story, we hope, will synthesize the narrative of an entire hospital complex into a welcoming moment at its new community front door.

Ultimately whether a building stands in the background or asserts itself in a bold way, it is the story within it that will continue to intrigue long after the buzz fades. As new commissions present themselves, we continue to pursue the next story with the hope of bringing something far greater to the communities we serve. Narrative architecture connects buildings to the places they belong. It just requires the observer to take a moment to discover the story within.

William A. Browne, Jr., FAIA, LEED AP is the RATIO's founding principal. Bill is a graduate of the University of Illinois and holds a Master of Arts in Architecture from the University of Florida. He is a registered architect in the states of Indiana, Illinois, West Virginia, Colorado, Kentucky, South Carolina, Florida and Texas. He has designed numerous kinds of complex facilities, laboratories, museums and corporate places.

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All designed objects, whether conceived by an architect, artist, graphic designer, industrial designer, or landscape architect, tell a story. Their stories can sometimes be discerned easily, and at other times need to be discovered through thoughtful consideration. The story can be as simple as a metaphor or as complex as a novel.

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Instead of putting a few references, i found this twitter account that uploads anime backgrounds only and even have the name of the artists and where it's from, so there are hundreds of backgrounds and references.

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Espaço vira o personagem
Movimento artes visuais = matéria
Escolher composições
Escala = relação corpo e obra
2D ganha volume em uma quina

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Megascans is the world's largest online scan resource, containing thousands of standardized and physically based surface scans, vegetation scans and 3d scans.

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Overwatch Animated Short | "The Last Bastion"

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Awesome plataform with lots of 3D textures, some even for free.

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Poliigon - Textures, Models and HDRIs for 3D rendering

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Seamless PBR texture sets, photoscanned models and HDRIs for archviz.

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How to Succeed in the VFX industry with Andrew Kramer

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"Most people don't realize how much work it takes" Pro character artist on getting hired

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Simple animation, mostly motion graphics. Easy to follow, no words needed.

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Desenvolvido no Japão, os "5s" consistem em um conjunto de técnicas de administração e organização que estão relacionadas às iniciais de cinco palavras japonesas: seiri, seiton, seiso, seiketsu e shitsuke.

Também conhecido como housekeeping, este método foi utilizado primeiramente pelas donas de casa que queriam organizar seus lares envolvendo todos os membros da família. Após o final da Segunda Guerra Mundial, este conceito passou a ser adotado na reestruturação do país, e aplicado nas indústrias e organizações.

Atualmente, trata-se de uma ferramenta de qualidade muito eficaz, utilizada por empresas que desejam aprimorar sua organização e otimizar os processos e demandas do ambiente de trabalho.

Os 5s

Conheça os conceitos de cada uma das técnicas dos 5s nas empresas e como são aplicadas no ambiente corporativo:

Seiri

Seiri é uma palavra que está relacionada ao senso de utilização, ou seja, à capacidade que cada profissional possui de usar seus recursos de trabalho (materiais, instrumentos, dados e informações) com discernimento, sabedoria e sensatez.

Este conceito também é aplicado para o descarte de materiais, objetos e todas as coisas desnecessárias que são utilizadas dentro do ambiente de trabalho, evitando o desperdício.

Seiton

Seiton significa senso de organização ou ordenação. Trata-se de manter o ambiente organizado, para que todos os materiais possam ser usados novamente por outras pessoas. Normalmente, a aplicação deste conceito inclui a digitalização de documentos e utilização de estantes, painéis, murais, post-its, e diversos itens que facilitam a organização.

Seiso

Trata-se do senso de limpeza e a importância de manter a higiene e salubridade dentro do ambiente de trabalho. Além disso, diz respeito à conscientização sobre manter cada coisa em seu devido lugar.

Seiketsu

Trata-se do senso de padronização em prol da saúde, ou seja: manter a ordem e o bom estado dos locais de uso coletivo, como salas de trabalho, salas de reuniões, recepção, banheiros, refeitórios, etc.

Esta técnica tem como objetivo padronizar o local de trabalho e contribuir com a saúde, o asseio e a higiene de cada um dos colaboradores de uma empresa ou organização.

Esta compreensão também abrange a imagem pessoal de cada profissional. Neste sentido, é dever de cada colaborador cuidar de sua higiene pessoal e manter uma boa imagem e aparência dentro do meio corporativo.

Shitsuke

Trata-se do que chamamos de senso de disciplina: a capacidade que cada profissional possui de se comprometer e se empenhar em cumprir cada um dos estágios explanados anteriormente, mesmo que ninguém esteja observando.

O shitsuke é composto pelo cumprimento de todas as normas e padrões éticos estipulados pelo programa dos 5s.

Benefícios dos 5s para as empresas

- Melhoria no ambiente de trabalho;

- Melhoria nas relações interpessoais;

- Redução de gastos e custos;

- Diminuição do desperdício;

- Maior estímulo à criatividade dos profissionais;

- Aumento do desempenho e produtividade;

- Melhor aproveitamento de recursos e do tempo;

- Redução de acidentes de trabalho;

- Aumento da motivação e da satisfação dos profissionais;

- Desenvolvimento do comprometimento, disciplina e responsabilidade individual e coletiva;

- Melhoria da imagem da organização.

Este artigo foi útil e interessante para você? Então lembre-se de curtir e compartilhar o conhecimento em suas redes sociais.

Relacionados

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O que são os 5s utilizados nas empresas - Portal

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Desenvolvido no Japão, os "5s" consistem em um conjunto de técnicas de administração e organização que estão relacionadas às iniciais de cinco palavras japonesas: seiri, seiton, seiso, seiketsu e shitsuke. Também conhecido como housekeeping, este método foi utilizado primeiramente pelas donas de casa que queriam organizar seus lares envolvendo todos os membros da família.

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Higiene e segurança no trabalho na construção civil

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Higiene e segurança no trabalho na construção civil

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Saiba porque é tão importante manter a organização e limpeza em um canteiro de obras. Evite acidentes e infecções seguindo essas dicas.

Os Canteiros de obra definitivamente não são exemplos de locais de trabalho organizados e limpos. Este ainda é o segmento em que empresas e empregados menos se importam com esses quesitos (embora isso esteja mudando um pouco). Diante desse quadro, o que vamos ressaltar aqui é a importância da limpeza e organização para a construção civil como uma forma ter mais segurança no trabalho, além de evitar o desperdício de materiais, afinal a arrumação e limpeza são fatores importantíssimos para a prevenção de acidentes, além de melhorar a saúde e diminuir os riscos de doenças causadas pelas atividades e condições insalubres de trabalho. Doenças respiratórias e de pele, por exemplo, são muito comuns entre os trabalhadores da área da construção e, além do uso de equipamentos de proteção individual (EPI), manter condições saudáveis de higiene e limpeza também contribuem para a diminuição desses problemas.
Uma das formas para motivar as empresas e os empregados a manter os locais de trabalho limpos e organizados é fazê-los compreender que o processo de limpeza age muito positivamente nas atividades e na produtividade de trabalho, através da manutenção das áreas de trabalho limpas e organizadas, com o recolhimento dos entulhos e desperdícios, resíduos e sucatas e também com o armazenamento correto das matérias-primas.
Para um local de trabalho melhor é importante:

Limpeza do terreno e delimitação de áreas de trabalho.

Horários definidos de limpeza mais profunda.

Manter o canteiro organizado, limpo e bem sinalizado.

Remoção do o entulho que evita o acúmulo excessivo poeira.

Não queimar lixo ou qualquer outro material. Isso causa mais poluição e resíduos.

Manter as passagens limpas e livres.

Para tentar melhorar esse cenário, muitas empresas tem usado a teoria japonesa dos " 5S". A teoria de qualidade dos " 5S" pode ser usada em todos os seguimentos e envolve as seguintes etapas: Descarte, Organização, Limpeza, Asseio e Disciplina.

Etapa 1: Descarte: primeiro é necessário identificar os materiais e objetos que precisam ser descartados, entulhos e etc.

Etapa 2: Organização: nessa parte são estabelecidos os locais em que os objetos, equipamentos de trabalho e etc serão guardados, essa é a melhor forma de liberar espaços e ainda deixar as coisas á fácil alcance.

Etapa 3: Limpeza: Além de deixar o local mais agradável, melhora a imagem da empresa e ainda contribui para a saúde dos trabalhadores. Durante a execução das atividades o uso de equipamentos de EPI é importantíssimo, após as tarefas a vez é da limpeza do ambiente, agora será removido o excesso de poeiras e gases que podem afetar a saúde do que trabalham no local.

Etapa 4: Essa etapa é responsável por conscientizar os trabalhadores da importância da higiene pessoal e limpeza coletiva para manter as condições de trabalho satisfatória.

Etapa 5: Disciplina: Visa desenvolver a responsabilidade individual e a iniciativa dos trabalhadores para fazerem as etapas anteriores.

Estes parecem ser fatores simples e até banais, mas quando colocados em prática fazem muita diferença no ambiente de trabalho, e um local de trabalho agradável se torna um estímulo para a produtividade! Sendo assim, manter condições boas de limpeza e organização é uma forma de contribuir para um melhor desempenho dos empregados, servindo como um estímulo, principalmente por estarem acostumados com empresas que não se preocupam com isso.

Via: Blog do Gaveteiro

A organização e limpeza no canteiro de obra não é uma questão apenas de estética, mas sim de saúde, sustentabilidade, economia e segurança. Não sofra mais com as perdas e roubos de equipamentos e materiais da sua obra. Com as nossas soluções você economiza, organiza e protege os seus bens e recursos. Saiba porque a Containers Fácil é a melhor solução para a organização, limpeza e segurança na sua obra AQUI!

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Organização e limpeza na construção civil salva vidas! - Containers Fácil

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Saiba porque é tão importante manter a organização e limpeza em um canteiro de obras. Evite acidentes e infecções seguindo essas dicas. Os Canteiros de obra definitivamente não são exemplos de locais de trabalho organizados e limpos. Este ainda é o segmento em que empresas e empregados menos se importam com esses quesitos (embora isso esteja mudando um pouco).

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Como conservar e higienizar o EPI? - Fechado com a Segurança

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Para lavar o EPI, utilize sabão neutro, quando ele for lavável. Em alguns casos, utilize produtos específicos para a higienização. Nem todos os EPIs devem ser lavados, às vezes é melhor descartar e comprar um novo. Porém, evite produtos corrosivos e abrasivos;

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Watch SAÚDE E HIGIENE NA CONSTRUÇÃO CIVIL 1 by SALVATORE DUARTE on Dailymotion here

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O Calçado de Segurança é um EPI de extrema importância no dia a dia do trabalhador da construção civil, das indústrias, fábricas, cozinhas industriais e de todos os ambientes em que haja a necessidade da utilização de Equipamentos de Proteção Individual por parte dos funcionários. O fornecimento desse material de segurança é de responsabilidade do empregador, mas a manutenção e o cuidado com o manuseio do material é de total responsabilidade do funcionário, que deve zelar pelo seu equipamento e fazê-lo durar o máximo possível.

As Botas de Segurança, Botinas de Segurança e Sapatos de Segurança são EPIs usados diariamente, por isso, demandam um cuidado redobrado para que sua vida útil seja prolongada. O trabalhador precisa ter em mente a importância desse cuidado com o seu material de trabalho, até como forma de demonstrar zelo e preocupação com o patrimônio que é da empresa, mas também dele. Os empregadores verão com bons olhos esse cuidado.

Saiba como cuidar da sua Bota de Segurança

Pensando em ajudar você a cuidar bem do seu Calçado de Segurança, separamos 6 dicas extremamente importantes que servirão de guia para um bom cuidado com o seu Sapato, Bota ou Botina de Segurança. Seguindo essas orientações, você pode prolongar a vida útil do seu EPI e mantê-lo confortável e funcional por mais tempo.

1 ) Faça limpezas regulares

Manter o seu Calçado de Segurança limpo é essencial para uma boa conservação do material e para a boa aparência do seu EPI. Ao final do dia, é sempre bom retirar qualquer resíduo que tenha ficado grudado em sua Bota de Segurança utilizando um pano úmido e deixar o calçado para secar de forma natural de um dia para o outro. A cada 15 dias é importante que você lave o seu calçado com sabão neutro e água corrente, sempre se certificando de que não há nenhum material estranho colado nele.

2 ) Deixe para secar em locais frescos

Os Calçados de Segurança geralmente são feitos de couro, ou seja, é um material que não pode ser exposto ao calor excessivo, pois isso danifica a sua flexibilidade e qualidade. Após a lavagem da sua Botina de Segurança, é preciso deixar para secar em local fresco e longe do sol, secadores, fogões, geladeiras ou qualquer outra fonte de calor. As altas temperaturas são prejudiciais para o couro, que pode se quebrar e deixar o seu calçado extremamente desconfortável.

3 ) Limpe a parte interna do calçado antes de usá-lo

Tão importante quanto a parte externa do seu Calçado de Segurança é a parte interna dele. É essencial se certificar que não haja nenhum resíduo dentro do Calçado e que ele esteja seco antes de colocar os pés. O uso de talco para os pés também é recomendado para evitar o surgimento de odores desagradáveis que tornam a utilização do calçado inconveniente. O trabalhador irá passar o dia todo com o Calçado de Segurança nos pés, portanto, é fundamental que o cuidado com este EPI seja diário para tornar a experiência diária mais agradável.

4 ) Utilize meias ou meiões

Evite utilizar o seu Calçado de Segurança sem meias ou meiões, pois o pé irá transpirar durante o dia e o contato direto do suor com o material da Bota por um período longo pode danificar o material, além de causar mau cheiro. O recomendado é utilizar meias de algodão ou meias que tenham uma boa absorção para evitar que grande parte do suor fique acumulada no seu EPI. E lembre-se: deixe a Bota secar naturalmente de um dia para o outro após o final do expediente.

5 ) Use graxa para o couro do Calçado de Segurança

Uma forma bastante eficaz de prolongar a vida útil do couro do seu Calçado de Segurança é fazer o uso de graxa específica para couro durante a sua limpeza. Engraxar a sua Bota periodicamente irá criar uma camada protetora sobre o cabedal, a parte externa do sapato, mantendo o couro saudável e com uma boa aparência. Isso permitirá que a maleabilidade do couro dure por mais tempo, mantendo o seu Calçado confortável e próprio para o uso por um tempo maior.

6 ) Guarde em local arejado e longe do sol

Tão importante quanto os cuidados já citados até aqui é o local em que você armazena o seu Calçado de Segurança. A Bota é produzida em couro e esse material precisa ser bem cuidado e conservado para que sua vida útil seja prolongada. É recomendado guardar o seu EPI em um local arejado, onde ele tenha a circulação de oxigênio para poder respirar, secar e se livrar de odores e umidade acumulados durante o dia. Além disso, é essencial que fique longe de fontes de calor e também não fique exposto ao sol, evitando que o couro endureça e a botina perca a sua maleabilidade e conforto.

Conclusão

Agora você já tem em mãos as principais informações para ter um cuidado especial com o seu Calçado de Segurança, garantindo uma vida longa e confortável para o seu EPI. Utilize esses tópicos como um guia de cuidados com a sua Bota de Segurança, Botina de Segurança ou Sapato de Segurança e certifique-se de sempre mantê-la seca e limpa para o dia seguinte. A secagem natural de um dia para o outro, após o final do expediente, é essencial nesse processo. Faça uso regular de graxa para manter o couro protegido e lave o seu Calçado de Segurança periodicamente.

Concorda com informações que apresentamos sobre os cuidados com o Calçado de Segurança? Acredita que faltou algo? Por favor, compartilhe com a gente a sua opinião e nos ajude a criar um mercado de EPIs mais seguro e confortável. 😉

Até breve!
WorkEPIs Calçados de Segurança

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6 dicas de como fazer sua bota segurança durar mais

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6 dicas de como fazer sua Bota Segurança durar mais

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O Calçado de Segurança é um EPI de extrema importância no dia a dia do trabalhador da construção civil, das indústrias, fábricas, cozinhas industriais e de todos os ambientes em que haja a necessidade da utilização de Equipamentos de Proteção Individual por parte dos funcionários.

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Long before Pixar and today's CGI special effects extravaganzas, early animators of the silent era experimented and introduced new techniques into filmmaking. Mark Quigley gives us a tour of the silent animation collection at UCLA's Film & Television Archive - one of the few places in the world that captures this rich history of early animation.

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The style is somewhat similar to our animation, it had this 2D, flat colors and shapes style, and thats what we are going for, for the most part

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This guy has a crazy style, colors all over the place and all sorts of creatures. The way he manages to put everything in one image interests me.