The ACROS Fukuoka

In Fukuoka City in Japan, they have an amazing building called “ACROS Fukuoka” with two very distinct sides: one side looks like a conventional office building with glass walls, but on the other side there is a huge terraced roof that merges with a park. The garden terraces, which reach up to about 60 meters above the ground, contain some 35,000 plants representing 76 species. A huge semicircular atrium and the triangular lobby provide contrast to the greenery, in this space is a symphony hall, offices and shops.

The building was constructed on the last remaining green space in the city center, so the architects, Emilio Ambasz & Associates, created a design to preserve the green space as much as possible, while still fitting in a large office building. In addition, a green roof reduces the energy consumption of a building, because it keeps the temperature inside more constant and comfortable. Green roofs also capture rainwater runoff, and support the life of insects and birds.
The building is a success in Japan, its terraced south facade utilized by many in the area for exercise and rest, affording views of the city and the harbor beyond. Unfortunately it has received little press overseas, especially in the United States.

Found Here: http://www.metaefficient.com/architecture-and-building/amazing-green-building-the-acros-fukuoka.html

Andrew Wyeth

Andrew Newell Wyeth (surname pronounced /ˈwаɪɛθ/^[1]) (July 12, 1917 – January 16, 2009)^[2] was a visual artist, primarily a realist painter, working predominantly in a regionalistU.S. artists of the middle 20th century and was sometimes referred to as the "Painter of the People," due to his work's popularity with the American public. style. He was one of the best-known

In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine.

One of the most well-known images in 20th-century American art is his painting, Christina's World, currently in the collection of the Museum of Modern Art in New York City.

Wyeth's art has long been controversial. As a representational artist, Wyeth's paintings have sharply contrasted with abstraction, which gained currency in American art in the middle of the 20th century.

Museum exhibitions of Wyeth's paintings have set attendance records, but many art critics have been critical of his work. Peter Schjeldahl, art critic for The Village Voice, derided his paintings as "Formulaic stuff, not very effective even as illustrational 'realism.' "^[10] Common criticisms are that Wyeth's art verges on illustration and that his rural subject matter is sentimental.

Admirers of Wyeth's art believe that his paintings, in addition to sometimes displaying overt beauty, contain strong emotional currents, symbolic content, and underlying abstraction. Most observers of his art agree that he is skilled at handling the media of egg tempera (which uses egg yolk as its medium) and watercolor. Wyeth avoided using traditional oil paints. His use of light and shadow let the subjects illuminate the canvas. His paintings and titles suggest sound, as is implied in many paintings, including Distant Thunder (1961) and Spring Fed (1967).^[11]

A close friend and student of Wyeth, Bo Bartlett, commented on Wyeth’s reaction to criticism during an interview with Brian Sherwin in 2008: "People only make you swerve. I won’t show anybody anything I’m working on. If they hate it, it’s a bad thing, and if they like it, it’s a bad thing. An artist has to be ingrown to be any good."^[12]

Fossilized Algae

Stromatolites (from Greek στρώμα, strōma, mattress, bed, stratum, and λιθος, lithos, rock) are layered accretionary structures formed in shallow water by the trapping, binding and cementation of sedimentary grains by biofilms of microorganisms, especially cyanobacteria (commonly known as blue-green algae). They are the oldest living organisms on the planet, and are believed to be the first living organisms on Earth.^[1]

Earth’s oldest fossils are the stromatolites consisting of rock built from layer upon layer of sediment and other precipitants.^[3] Based on studies of now-rare (but living) stromatolites (specifically, certain blue-green bacteria), the growth of fossil stromatolitic structures was biogenetically mediated by mats of microorganisms through their entrapment of sediments. However, abiotic mechanisms for stromatolitic growth are also known, leading to a decades-long and sometimes-contentious scientific debate regarding biogenesis of certain formations, especially those from the lower to middle Archaean eon.

It is most widely accepted that stromatolites from the late Archaean and through the middle Proterozoic eon were mostly formed by massive colonies of cyanobacteria (formerly known as blue-green "algae"), and that the oxygen byproduct of their photosynthetic metabolism first resulted in earth’s massive banded iron formations and subsequently oxygenated earth’s atmosphere.

Even though it is extremely rare, microstructures resembling cells are sometimes found within stromatolites; but these are also the source of scientific contention. The Gunflint Chert contains abundant microfossils widely accepted as a diverse consortium of 2.0 Ga microbes.^[4]

In contrast, putative fossil cyanobacteria cells from the 3.4 Ga Warrawoona Group in Western Australia are in dispute since abiotic processes cannot be ruled out.^[5] Confirmation of the Warrawoona microstructures as cyanobacteria would profoundly impact our understanding of when and how early life diversified, pushing important evolutionary milestones further back in time (reference). The continued study of these oldest fossils is paramount to calibrate complementary molecular phylogenetics models.

Cyanobacteria Relationship to Earth's History
The biochemical capacity to use water as the source for electrons in photosynthesis evolved once, in a common ancestor of extant cyanobacteria. The geologic record indicates that this transforming event took place early in our planet's history, at least 2450-2320 million years ago (mya), and probably much earlier. Geobiological interpretation of Archean (>2500 mya) sedimentary rocks remains a challenge; available evidence indicates that life existed 3500 mya, but the question of when oxygenic photosynthesis evolved continues to engender debate and research. A clear paleontological window on cyanobacterial evolution opened about 2000 mya, revealing an already diverse biota of blue-greens. Cyanobacteria remained principal primary producers throughout the Proterozoic Eon (2500-543 mya), in part because the redox structure of the oceans favored photautotrophs capable of nitrogen fixation. Green algae joined blue-greens as major primary producers on continental shelves near the end of the Proterozoic, but only with the Mesozoic (251-65 mya) radiations of dinoflagellates, coccolithophorids, and diatoms did primary production in marine shelf waters take modern form. The most common cyanobacterial structures in the fossil record include stromatolites and oncolites. Cyanobacteria remain critical to marine ecosystems as primary producers in oceanic gyres, as agents of biological nitrogen fixation, and, in modified form, as the plastids of marine algae.^[10]

Voyager Golden Record

The Voyager Golden Record is a phonograph record included in the two Voyager spacecraftextraterrestrial life form, or far future humans, that may find it. The Voyager spacecrafts are not heading towards any particular star, but in about 40,000 years Voyager 1 will be within 1.6 light years of the star AC+79 3888 in the Ophiuchus constellation.^[1] launched in 1977. It contains sounds and images selected to portray the diversity of life and culture on Earth. It is intended for any intelligent

As the probes are extremely small compared to the vastness of interstellar space, it is extraordinarily unlikely that they will ever be accidentally encountered. If they are ever found by an alien species, it will most likely be far in the future, and thus the record is best seen as a time capsule or a symbolic statement rather than an attempt to communicate with extraterrestrial life.

Found Here: http://en.wikipedia.org/wiki/Voyager_Golden_Record

The Citroën Karin, 1980

Karin - a reverie
Having no new models to reveal at the 1980 Paris Salon, Citroën stylist Trevor Fiore was given the go ahead to build a model (not a driveable car) for display.

The result was the trapezoidal Karin, clearly inspired by Michel Harmand's design for a GS Coupé.

A three seater with the driver being seated centrally and ahead of the two passengers, this layout pre-empted that of the McLaren F1 of 1992.

Headlamp treatment was reminiscent of that of the SM.

Found Here: http://www.citroenet.org.uk/prototypes/karin/karin.html

The Citroën Karin was never more than a non-drivable model, but what a wonderful wedge it was. The center-mounted steering pod is especially appealing, with its amphitheater HUD surrounded by giant Walkmen-like buttons.

Found Here: http://gadgets.boingboing.net/2009/04/28/photo-citroen-karin.html

Ulrich Lamfuß

ULRICH LAMSFUSS, ''The Raw and the Cooked,'' Lombard-Freid, 531 West 26th Street, (212) 967-8040 (through April 5). This Berlin painter copies photographs from fashion, news, travel and other sorts of magazines. A gallery release and two portraits of Andy Warhol, one a copy of the other, suggest that he has ulterior conceptual motives, but his faithfully nondescript renderings of fighting elephants, a movie zombie and a herd of wild horses leave one uncertain about exactly what he is up to (Johnson).

Found Here: http://www.lombard-freid.com/artists/lamsfuss/lamsfuss_press/lamsfuss_NYT_3_21_03.htm

& here: http://www.contemporaryartdaily.com/2009/01/ulrich-lamfus-at-max-hetzler/

Metal Spheres Found in 2 Million Year Old Rock

"The Grooved Spheres" Over the last few decades, miners in South Africa have been digging up mysterious metal spheres. Origin unknown, these spheres measure approximately an inch or so in diameter, and some are etched with three parallel grooves running around the equator. Two types of spheres have been found: one is composed of a solid bluish metal with flecks of white; the other is hollowed out and filled with a spongy white substance. The kicker is that the rock in which they where found is Precambrian - and dated to 2.8 billion years old! Who made them and for what purpose is unknown.

Found Here: http://www.theworldsbestever.com/news/

This metal sphere is just one of several hundred in one stratum in South Africa that is estimated to date back millions of years. The carefully shaped grooves that they contain cannot be the results of any natural phenomenon. This discovery shows that metal has been used since the very earliest times, and that for millions of years, humans have possessed the technology to make fine grooves in metal.

Found Here: http://www.thestoneage.org/stone_age_introduction_a.php

Sumerian Crystal Cylinder Seals

(French Sceaux-cylindres, German Zylindersiegel) are small (2-6 cm) cylinder-shaped stones carved with a decorative design in intaglio (engraved). The cylinder was rolled over wet clay to mark or identify clay tablets, envelopes, ceramics and bricks. It so covers an area as large as desired, an advantage over earlier stamp seals. Its use and spread coincides with the use of clay tablets, starting at the end of the 4th millennium up to the end of the first millennium.

After this time stamp seals are used again. Cylinder seals are important to historians. The seals were needed as signature, confirmation of receipt, or to mark clay tablets and building blocks.

The invention fits with the needs caused by the general development of city-states. Inscriptions are mostly carved in reverse, so as to leave a positive image on the clay with figures standing out. Some are directly carved and leave a negative imprint.

Stamp and cylinder seals for identifying ownership of property, and tokens for recording commodities, were other possible sources.

More than two thousand years later, in 2,308 BCE, the Sumerians developed their equivalent of the 11:57pm July 3rd 14,000 BCE sky chart and Narmer Plate combined. It comes in the form of a royal cylinder-seal depicting "The Sun is Risen". The purpose of the seal is to celebrate the Dawn of the Age of Aries. Perhaps not surprisingly it comes complete with Ancient Egyptian hieroglyphs. In linking the seal with the Ancient Egyptian 11:57 pm July 3rd 14000BCE sky chart the following need to be accounted for: the Celestial Sphinx and the Rising Sun, together with the Constellations of Orion, Gemini, Phoenix, and Grus. There are two other constellations on the sky chart, those of Taurus and Piscis Austrinus.

sculpture source:life

The history of the sculpture is varied and is illustrative of how sculpture has changed extensively over the ages. The art of sculpture continues as a vital artform worldwide. From pre-historic and ancient civilizations to the contemporary, from the utilitarian and religious to Modernist abstraction, and conceptual manifestations of both form and content, a continuous stream of creativity & an extremely modest show of compassion.

Sculpture has been central in religious devotion in many cultures, and until recent centuries large sculptures, too expensive for private individuals to create, were usually an expression of religion or politics. Those cultures whose sculptures have survived in quantities include the cultures of the Ancient Mediterranean, India and China, as well as many in South America and Africa. Moses's rejection of the Golden Calf was perhaps a decisive event in the history of sculpture. Aniconism remained restricted to the Jewish, Zoroastrian and some other religions, before expanding to Early Buddhism and Early Christianity, neither of which initially accepted at least large sculptures. In both Christianity and Buddhism these early views were later reversed, and sculpture became very significant, especially in Buddhism. Christian Eastern Orthodoxy has never accepted monumental sculpture, and Islam has consistently rejected all figurative sculpture. Many forms of Protestantism also do not approve of religious sculpture. There has been much iconoclasm of sculpture from religious motives, from the Early Christians, the Beeldenstorm of the Protestant Reformation to the recent destruction of the Buddhas of BamyanTaliban. by the

Sculpture in ancient times

Venus of Willendorf.

Sculpture as an art form goes back to Prehistoric times. Most Stone Age statuettes were made of ivory or soft stone, however some clay human and animal figures have been found. Small female statues known as Venus figurines have been found mainly in central Europe. The Venus of Willendorf (24,000-22,000 BC), from the area of Willendorf, Austria, is a well-known example.

Later, in the Near East, (the area between the Tigris and the Euphrates Rivers), the Sumerian, Akkadian, and Babylonian kingdoms flourished. Materials used for sculpture during this time included basalt, diorite (a type of dark, coarse-grained stone), sandstone, and alabaster. Copper, gold, silver, shells, and a variety of precious stones were used for high quality sculpture and inlays. Clay was used for pottery and terra cotta sculpture. Stone was generally rare and had to be imported from other locations.

Sculptures from the Sumerian and Akkadian period generally had large, staring eyes, and long beards on the men. Votive stone sculptures of this type from 2700 BC were discovered at Tell Asmar. Many masterpieces have also been found at the Royal Cemetery at Ur (2650 BC). Among them are a wooden harp with gold and mosaic inlay with a black-bearded golden bull's head.

Social status

Nuremberg sculptor Adam Kraft, self-portrait from St Lorenz Church, 1490s.

Worldwide, sculptors have usually been tradesmen whose work is unsigned. But in the Classical world, many Ancient Greek sculptors like Phidias began to receive individual recognition in Periclean Athens, and became famous and presumably wealthy. In the Middle Ages, artists like the 12th century Gislebertus sometimes signed their work, and were sought after by different cities, especially from the Trecento onwards in Italy, with figures like Arnolfo di Cambio, Nicola Pisano and his son Giovanni. Many sculptors also practised in other arts, sometimes painting, like Andrea del Verrocchio, or architecture, like Giovanni Pisano, Michelangelo, or Jacopo Sansovino, and maintained large workshops.

From the High Renaissance artists like Michelangelo, Leone Leoni and Giambologna could become wealthy, and ennobled, and enter the circle of princes. Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From at least the 18th century, sculpture also attracted middle-class students, although it was slower to do so than painting. Equally women sculptors took longer to appear than women painters, and have generally been less prominent until the 20th century at least.

Found Here: http://en.wikipedia.org/wiki/History_of_sculpture