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hareinthechair · 1 year

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A personalised bespoke heirloom chair, designed and made for a child’s nursery in Chiswick

Thea and Toby approached me, not far into Thea’s pregnancy with their son Ewan. They had been looking for a chair for the nursery they were designing. It needed to be comfortable enough to sit on, feed, read books, etc., but also a piece that would outlast them as an heirloom gift to their son. They were hoping for something fun, but not childish, which would be as appealing to the teenage Ewan as the toddler. After much scrolling through websites, looking on the high street and various online shops they were getting disheartened with their choices, which seemed overwhelmingly bland and impersonal. The couple also had concerns regarding the use of chemicals in foam furniture, and the negative impact this could have on their newborn’s health. They were keen to keep foam products out of Ewan’s bedroom, so wanted a chair made from natural materials. They got in touch to see if I could help them design and make a bespoke chair just as they wanted it.

Arranging a consultation

We arranged to have a chat. To help set the context I provided the opportunity to fill out a pre-consultation questionnaire. This can get the thought process started and help us get the most from the meeting. I ask questions about where the chair will be used, who will use it, and any initial preferences for fabric choices or colour schemes. I met Thea in person, we had a coffee and Thea shared more with me about their motivation to commission a personalised chair.

Delving into the story During this conversation I found out more about a chair that Thea had grown up with; she had really strong memories of a leather armchair that lived in their family kitchen next to the Aga. She has many fond recollections of clambering over this chair, getting lost in books, and chatting with her family. When Thea’s parents downsized, she inherited the chair, which is still well-used today. She really wanted to find another chair with which Ewan could build similar memories. Other key considerations became apparent through our conversation; it was important to them to have a mouse incorporated into the design, but not one that was too childish or obvious. We also discussed potential fabric options, linen was the choice, due to its feel, environmental impact, and longevity. The couple had agreed on forest green as their main colour. They were keen to have an additional highlight colour involved but weren’t sure what that could be at this stage. They also liked the idea of plain fabrics but with a design evolving from the style of the chair - they had seen how I had worked like this in the past. Thea had also been deeply moved by an exhibition she attended of the work of textile artist Louise Bourgeoise. She loved the visible stitchwork and in particular the work ‘Ode a l’Oubli’ - a handstitched fabric book. With a story emerging and lots of rich ideas to build on, I left with lots of ideas to work on.

The brief

To source an antique chair suitable for a child’s room. To upholster the chair using traditional techniques and natural materials. To create a design using forest green linen and an accent colour. To incorporate a mouse into the design. To incorporate visible stitchwork into the top cover. To incorporate keepsake pockets into the chair for special mementos to be stitched away.

The design and making process

Over the next few weeks, I created a mood- board and sent a variety of fabric samples to the family to live with and consider. Our conversations continued. Whilst the decisions around top fabric design was going on, I started work on the chair itself. I sourced a small Victorian iron-back frame with a fishtail-shaped back that Toby and Thea liked. It was the perfect size for a child, but would also allow an adult to sit comfortably. Iron-back chairs were manufactured in the late Victorian era with comfort at the heart of the design. Due to the nature of the frame being made partially from metal, they also come in beautiful curvaceous shapes which can be very appealing. As much of the frame is made from a metal bar there is nowhere to hammer in a tack, therefor much of the upholstery work focuses on stitchwork. The beautiful stitching generally gets covered up, but with the given brief I got the idea that this chair could celebrate some of the beauty of what lies beneath by using these techniques to stitch the top fabrics. Using Thea’s starting point of the visible stitching of Louise Bourgeoise I decided to try using a variety of stitches that are generally used under the covers of upholstery work. I created some test pieces, pinned fabric onto the chair in different ways, photographed the results, and considered what worked most effectively. Some ideas worked and some did not. I also tried different colours of linen twine to stitch with. Luckily I found two colours that really matched the fabric hues.

Staying in the Loop

Throughout the making and designing process, I kept Thea and Toby updated with photographs of the chair and test pieces I made for the top fabric. Even with fabrics chosen and samples made coming up with the final design was not a linear process. I often find that I work best by designing as I make and seeing what evolves. I was honored that Toby and Thea trusted me to find a solution that worked with the brief and fitted with their story.- even though it did not look like the initial designs.

Finding solutions

One design problem that took me time to solve was how to incorporate the mouse into the design of the chair. Although Ewan is currently a baby, the chair will hopefully belong to him throughout his life. For this reason, I wanted to keep the design simple and not too obviously childlike. The idea came to me as I was designing the shape of the keepsake pockets into the back of the chair. It dawned on me that I could make a separate fabric mouse, which could be taken out of the chair, but that had it’s own little pocket in which it can live. This was a small interactive element that I hoped Ewan would enjoy and give an opportunity for him to make a connection of amusement and enjoyment with the chair from an early age. I hope it is also subtle enough to not feel babish as he gets older. The keepsake pocket was left open with thread was provided to Thea and Toby. They have told me will fill the pocket with photos, a lock of Ewan’s hair, and a newspaper front page from the day of his birth. When they are ready they can stitch the pocket shut. The chair can then hold these memories until either the pocket is unstitched (perhaps to add more keepsakes) or until it is re-upholstered and the memories can be re-lived.

At home

The chair now is in situ, Ewan is learning to cruise and will soon be clambering all over the chair. It has been a privilege to work on such a personal project and I very much hope the whole family get enjoyment and use from their new bespoke nursery chair.

If this reading story sparks your interest, do get in touch and book a consultation chat.

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divineknowing2021 · 3 years

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viewing guide

At its core, divine knowing is an exhibition about knowledge, power, and agency. It’s become a more common understanding that governments, institutions, and algorithms will manipulate the public with what information they frame as fact, fiction, or worthy of attention. Though I am early in researching this topic, I've only come across a minimal amount of mainstream discourse on how the initial threat limiting our scope of knowledge is a refusal to listen to ourselves.

In a world faced with so many threats - humans being violent toward each other, toward animals, toward the earth - it can be a bit unsettling to release the reins and allow ourselves to bear witness for a moment, as we slowly develop a deeper awareness of surrounding phenomena and happenings.

divine knowing includes works by formally trained and self-taught artists. A majority of the artists are bisexual, non-binary, or transgender. Regardless of degree-status, gender, or sexuality, these artists have tapped into the autonomous well of self-knowing. Their artworks speak to tactics for opening up to a more perceptive mode of being. They unravel dependencies on external sources for knowledge and what we might recognize, connect with, or achieve once we do.

The installation Femme Digitale by Sierra Bagish originates from a series she began in 2017 by converting photographs of women that were taken and distributed online without the subject’s consent into paintings. Her practice at the time was concerned with female abjection. Sourcing images found via simple keywords and phrases (e.g., passed out, passed out drunk) she swathes a mass-circulated canon of internet detritus that articulates and produces aggression towards women. With her paintings, she circumvents the images’ original framing mechanisms and subverts these proliferated images through a sincere and personal lens.

These paintings divulge the blurred space between idolatry and denigration these online photos occupy, asking whose desires these images fulfill and what their propagation reveals about the culture producing them. While Bagish's work contends with political motivations, she also remains keenly observant of form and the varying utilities of different media.

“I use the expressive potential of paint as a vehicle to intervene and challenge ideas about photography as a harbinger of the real and everyday.”

Chariot Birthday Wish is an artist and angel living in Brooklyn. They have seen The Matrix 28 times in 2 years and love horses. The tarot series included in divine knowing is their most intuitive project, something they revisit when unsure of what to work on next. The Major Arcana are composed of digital collages made from sourced images, the Minor Arcana are represented by short, poetic, interpretative texts about the cards. The series is played on shuffle, creating a unique reading for each viewer. This is a work in progress that will eventually finalize as a completed deck of digital collages available for purchase.

Chariot's work emerges from a constant consideration of apocalypse and connection. They reference technology in tandem with nature and a desire for unity. Underneath their work's surface conversation on beauty, care, and relationship exists an agenda to subtly evoke a conspiratorial anti-state mindset. Through a collective imagining of how good things could be and how good we want them to be, we might be able to reckon with how bad things are in contrast.

“I think about texting my friends from the middle of the woods...

Humans are a part of nature and we created these things. There's this Bjork quote where she says that "You can use pro tools and still be pagan." I'm really into the idea of using technology as a tool for divination and holy connection with nature. I imagine a scene; being in moss, it's absolute bliss, and then the connection of texting, sharing an image of moss with a friend, sharing that moment through cellular towers.”

The album "adding up" by thanks for coming is composed of songs Rachel Brown wrote during what they believe to be the most challenging year of their life. Rachel now looks back on this time in appreciation, recognizing they grew in ways they had never imagined. The entire year, they were committed to following their feelings to wherever it may lead.

“If I hadn't been open to following the almost indiscernible signs I was being sent, then I would have missed out on some of the most important moments in my life.”

Kimberly Consroe holds a Masters in Anthropology along with degrees in Archaeology, Literature, and History. She is currently a Research Analyst at the US Department of Commerce. Her artwork is a passionate escape from a hectic professional life and touches on themes of feminism and nature.

Her works begin as general ideas; their narrative complexity growing with the amount of time she invests in making each one. Her decoupage process starts with cutting hundreds, if not thousands, pieces of paper. The accumulation of clippings sourced from vintage and current-day magazines overlap to tell a story. In Domestication, Kimberly borrows submissive female figures from found images of Ryan Mcguinness's work and places them in a position of power.

“I believe intuition is associated with emotion and experience. It is wisdom and fear, empathy and outrage, distrust and familiarity. It is what we know before we know it. This relates to my artwork in that, from beginning to end, there is never one complete idea concerning the outcome: it is a personal journey. It emerges from an ephemeral narrative that coalesces into a definitive story.”

Anabelle DeClement is a photographer who primarily works with film and is interested in relationships as they exist within a frame. She is drawn to the mystery of the mundane. Intuition exists in her practice as a feeling of urgency and the decision to act on it --- a drive often used to describe street photography where the camera catches unexpected moments in an urban environment. Anabelle tends to photograph individuals with whom she has established personal relationships in a slow domestic setting. Her sense of urgency lies in capturing moments of peak intimacy, preserving a memory's informal beauty that otherwise may have been forgotten or overlooked.

Gla5 is a visual artist, poet, bookmaker, production designer, and educator. Play is at the center of their practice. Their process is an experimental one embracing impulse and adventure. Their compositions are informed by relationships among bodies of varying shapes, materials, and densities. Interests that come up in their work include a discernment between symbols and non-symbols, dream states, the portrayal of energy in action, and a fixation on forms such as cups, tables, and spoons.

“I generally think of my work as depicting a layer of life that exists underneath what we see in our everyday lives.”

Gladys Harlow is a sound-based performance artist, comedian, and activist who experiments with found objects, contact mics, textures, range, analog formats, present moments, and emotions. Through raw, avant-garbage performance art, they aim to breakdown societal barriers, abolish oppressive systems, and empower communities. Gladys was born in Queens, NY, raised in Miami, FL and has deep roots in Venezuela. Currently haunting in Philadelphia, PA, Gladys is a founding member of Sound Museum Collective. SMC holds space for reconstructing our relationships to sounds by creating a platform for women, nonbinary, and trans sound artists and engineers.

Street Rat is a visceral exploration of the mysteries of life. Attempting to bring heavy concepts to your reality, it is the eye on the ground that sees and translates all intersecting issues as they merge, explode, dissolve, and implode. Street Rat is Gladys Harlow's way of comprehending, coping, feeling, taking action, disrupting the status quo, and rebuilding our path.

All Power To The People originated as a recorded performance intended to demystify sound by revealing the tools, wires, and movements used to create it. All Power To The People evolved into an installation conceived specifically for this exhibition. The installation includes a theremin and oscillator built by Gladys, a tarot deck they made by hand, and books from the artist's personal collection, amongst other elements. Gladys has created a structure of comfort and exploration. They welcome all visitors of divine knowing to play with the instrument, flip freely through the books, and pull a tarot card to take home.

Phoebe Hart is an experimental animator and filmmaker. A majority of her work is centered around mental illness and the line between dreams and reality. Merry Go Round is a sculptural zoetrope that changes in shape and color as it spins. Its form is inspired by nature and its color by the circus. The video’s sound was produced by Hayden Waggener. It consists of reverbing chimes which are in rhythm with the stop animation’s movement; both oscillate seamlessly between serene and anxious states.

“I often don't plan the sculptures or objects I am fabricating, there is a vague image in my mind, and my hands take care of the rest. I find that sometimes overthinking is what can get me and other artists stuck. If I just abandon my judgments and ego, I can really let go and create work that feels like it came inherently from me.”

Powerviolets is the solo project of multi-instrumentalist Violet Hetson who is currently based in New York. After experiencing several false starts while bouncing coast to coast, recording and performing with several lineups, Hetson has finally released her debut album. ~No Boys~ namesake is a sarcastic sign she hung on her suburban CT teenage bedroom door. Violet Hetson grew up primarily listening to punk and hardcore. She parses elements of these genres with influences from bands such as X and Suburban Lawns. ~No Boys~ takes a softer, melodic approach to Hetson's punk roots. Powerviolets' music is linear, unconventional, dark, and airy with a sense of humor.

Mary Hunt is a fiber artist specializing in chain stitch embroidery. This traditional form of embroidery uses vintage machinery and thick thread to create fibrous art and embellishments. They use an approach called "thread painting," which requires each stitch to be hand guided by the turn of a knob underneath the table while the speed of movement is controlled by a foot pedal. Chainstitch works can take anywhere from 20 minutes to 200 hours, encouraging a slow and thoughtful process. Mary uses a Cornely A machine, made in Paris more than 100 years ago.

“I think we are sent messages and guidance constantly. Our intuition is simply our ability to clear the path for those messages. The largest obstacles on my artistic path are usually self-imposed negative thoughts. I simply do things to take care of my spiritual well-being, first and foremost, and the rest follows. If I can trust the universe, trust the process, then I am much more likely to listen to the messages sent my way.”

Jes the Jem is a multi-media artist working with acrylic, watercolor, mold clay, and whatever else she can get her hands on. She uses vivid color to bring joy into the lives of those who view her art. Jes the Jem has experienced a great deal of pain in her life. Through that unique displeasure, she has been gifted a nuanced perspective. She aims to energize the present while paying homage to the past events that shape us. In her art, her life, and her interpersonal relationships, Jes the Jem appreciates the gift of all of life's experiences.

“The pursuit of happiness and understanding is instinct.”

Pamela Kivi pieces together visual scraps she has saved over the years, choosing to fuse them at whatever present moment she sees fit. Her work reflects on creative mania, fleeting emotions, and memories. Pamela's collages are a compilation of unexpected elements that include: old notebooks, cut-outs, text messages or Facebook message conversations, nostalgic cellphone photos, and visual materials she has chosen to hold onto. She prints out, cuts up, scans, edits, repeats. Pamela's artistic practice is deeply personal. It is a submittal to the process of dusting things off until a reflection can be seen, all enacted without an attachment to the end result.

“I rely on intuition and whatever state of mind I am in to whisk me away. In life, I often confuse intuition with anxiety- when it comes to creative work, I can decipher the two.”

Through sobriety, Kendall Kolenik's focus has shifted toward self-discovery and shedding old adaptive patterns, a process that led her to a passion for helping others heal themselves too. In autumn, she will begin her Masters in Social Work at Columbia University.

“I love how when I'm painting my self-doubt becomes so apparent. Painting shows me exactly where my doubt lies, which guides me towards overriding it. When I paint something and lean into doubt, I don't like what comes out. When I take note of the resistance and go with my gut more freely, I love it. This reminds me of my yoga practice. What you practice on the mat is a metaphor for how you show up in life. By breathing through the uncomfortable poses on the mat, you learn to breathe through challenging life moments.

I think we all grow up learning to numb and edit ourselves. We are taught not to trust our feelings; we are told to look outside ourselves for answers when we already have a perfectly good compass within. Painting is an archway back to that for me - rediscovering self-reliance and faith in my first instinct. When I'm creating these rainbow squares, sometimes I move so fast it's like something else is carrying me. I sort of leave myself and enter a trance. Like how you don't have to tell the heart to beat or the lungs to breathe - thinking goes away and I can get so close to my knowing that I become it. I love how art allows me to access my love for ambiguity, interpretation, and an interpretation that feels closer to Truth. I find no greater purpose than guiding people back to safety and reconnecting them with themselves. The most important thing to ever happen in my life was when I stopped trying to deny my reality - listening to your intuition can be like a freefall - no one but you can ever know or tell you - it is a deep trust without any outside proof.”

Lucille Loffredo is a music school dropout, Jewish trans lesbian, and veterinary assistant doing her best to make sure each day is better than the last. Lucille tries to find the music rather than make it. She lets it tell her what it wants to do and what it wants to be. The Wandering EP was in part written as a way to come out to herself. She asks all listeners to please be gentle.

“Change will come, and it will be good. You are who you think you are, no matter how far it seems.”

Whitney Lorenze generally works without reference, making thick, graphic pictures with precise forms conceived almost entirely from her imagination. Images like a slowly rolling car crackling out of a driveway, afternoon sun rays shining through a cloud of humidity, or headlights throwing a lined shadow across a black bedroom inspire her.

“As it concerns my own practice and the creation of artworks generally, I would define intuition as the ability to succumb to some primal creative impulse. Of course, this implies also the ability to resist the temptations of producing a calculated or contrived output.”

Ellie Mesa began teaching herself to paint at the age of 15, exploring landscapes and portraiture. Her work has evolved into a style of painting influenced by surrealism where teddy bears will morph into demons and vice versa. Her work speaks to cuteness, the grotesque, and mystical beings. The painting "Kali" is an homage to the Hindu goddess of creation, destruction, life and death. This was Ellie's first painting after becoming sober and is an expression of the aforementioned forces in her own life. Through meditations on Kali, Elli has been able to find beauty in the cycle of love and loss.

“To me, intuition means doing the thing that feels right whether or not it's what you want it to be. When I'm painting or making a sculpture, I give myself the freedom to follow what feels right, even if that means starting over or changing it completely. I allow the piece to present itself to me instead of forcing something that doesn't want to be.”

Mari Ogihara is a sculptor exploring duality, resilience, beauty, and serenity as experienced through the female gaze. Her work is informed by the duality of womanhood and the contradictions of femininity. In particular, the multitude of roles we inhabit as friend, lover, sister, and mother and their complex associations to the feminine perspective.

“Intuition is an innate, immediate reaction to an experience. While making art, I try to balance intuition, logic, and craftsmanship.”

All Of Me Is War by Ames Valaitis addresses the subconscious rifts society initiates between women, estranging them from each other and themselves.

“It is an unspoken, quick, and quiet battle within me as the feeling of intuition purely, and when I am making a drawing. I am immediately drawn to poses and subject matter that reflect the emotion inside myself, whether it is loud or under the surface. If a line or figure doesn't move me, after working on it for a few minutes, I get rid of it. If something looks right to me immediately, I keep it; nurture it. I try to let go of my vision, let my instinct take hold. I mirror this in my life as I get older, choosing who and what to put my energy into. The feeling is rarely wrong; I'd say we all know inherently when it is time to continue or tap out.”

Chardel Williams is a self-taught artist currently living in Bridgeport. Her biggest inspiration is her birthplace of Jamaica. Chardel views painting as a method for blocking out chaos. Her attraction to the medium springs from its coalescence of freedom, meditative qualities, and the connection it engenders. rears.

“Intuition for me is going where my art flows. I implement it in my practice by simply creating space and time to listen. There are times when what I'm painting is done in everyone else's eyes, but I just keep picking at it. Sometimes I would stop painting a piece and go months without touching it. Then, out of nowhere, be obsessed with finishing. I used to get frustrated with that process, but now I go with it. I stopped calling it a block and just flow with it. I listen because my work talks.”

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just99wbdesign · 3 years

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How to Find the Right Web Design Company?

"A man's blunders are his entries of revelation."

What does the above citation pass on? To have an entrance, you need to submit botches. Isn't so amusing? Actually no, not under any condition. It could be a spurring sentence, yet in business it can end up being Judgment day for little new companies with little speculations. This article has been done particularly for little new businesses who need to make it in their individual fields and are intending to dispatch their site or searching for a facelift or adding new functionalities to there existing site or aren't certain about their plan necessities.

Picking a Web Design Company

With a large number of website specialists and designers out there, from consultants, to offices, to online layouts, how would you understand what the correct fit is for your organization, and all the more significantly, for your objectives and targets? Picking a website composition organization isn't that a genuine work. Yet, picking a decent website composition organization is a genuine test. Individuals say that Internet has made business measures straightforward and worldwide, yet what about the intricacies that Internet offers which are exceptional. Simply Search for the expression "Great Web Design Firm" on Google, and it concocts a large number of results. For typical person it's difficult to look through each outcome. We will go through the whole cycle of choosing a Web Design and Development organization in an organized manner.

Stage 1 - Planning

The initial step includes characterizing your requirements. While looking for the correct website specialist, it is imperative to have an unmistakable thought which job your new Web webpage or an overhauled one will fill. Will it give data to your clients? Will it serve the necessities of your workers? Or then again will it incorporate a web based shopping segment with the goal that you can offer your items to guests? Most Web fashioners should know the accompanying:

o The job of your new Web website.

o The expected market or crowd of your Web website.

o Your spending plan.

Set aside some effort to consider what you anticipate from your Web webpage and the sort of data you need to convey to your possible customers before you approach your originator. This will save you and the originator a lot of time and exertion.

Stage 2 - Searching and Creating a Primary rundown

Looking is a vivacious interaction and doesn't need any extraordinary expertise other than ingenuity to viably think of good outcomes that satisfy your necessities. Simply filter through catalogs, check Google postings on explicit watchword look and request references from your companions or colleagues. It doesn't need to be an extremely broad examination work. agency 99

Reference: Ask business associates, companions, and family which website composition firm planned the site for their particular associations, or in the event that they can in any case suggest a website composition firm.

Sites: Determine the website composition firm that is liable for the sites of associations that you appreciate. These associations might be your rivals, or in related or inconsequential enterprises. Some of the time the website architecture firm is remembered for the webpage credits, or is recorded somewhere else on the site. In the event that you can't discover the credits on the actual webpage, don't hesitate to contact the association and ask which website architecture firm is liable for the site. This can likewise be a decent hotspot for references for that website architecture firm.

Stage 3 - Evaluating and Short posting

Whenever you have accumulated a rundown of potential website composition firms you are prepared to pare them down to a waitlist. This requires a touch of exploration work.

o Portfolio - It's about the three C's - Credibility, Consistency and Capability. How steady they are? What are the boundaries on which the organization is adequately skilled to satisfy your prerequisite? Are there any tributes that talk about their believability? Do the ventures in the portfolio have a predictable quality? Have they reliably given great outcomes in the given time span? Has the Web configuration organization given answers for different organizations in your industry? Have they managed comparable difficulties to those looked by your association? These are some significant components to consider. At the point when you've limited your hunt to a couple of configuration sources (through suggestions, web catalogs, or your rivals' destinations), assess their online portfolios and their rate structure. A site doesn't need to be gaudy or enlivened to take care of its work. Peruse destinations they have fabricated, check simplicity of route, association of data, generally speaking neatness and guest agreeableness. Likewise, consider recruiting a firm that exhibits some knowledge of your kind of business. Simply go through the examples of overcoming adversity/contextual investigations that have been made accessible on their site and authenticate the qualifications through references if conceivable.

o Experience and Fees - This is known as the EF of website composition firm. Experience and expenses are a lot of between related. The overall standard is the more experienced you are, the more you are paid. This fascinating story can enlighten you about experience.

Some time ago there was a steam creating plant that was not delivering a lot of steam. After a baffling quest for the reason, the plant administrator, in urgency, brought in a specialist. After just two hours on location, the master discovered the issue and set "X's" on two lines that were causing the issue, saying that they must be eliminated. When given the bill, the plant director asked the specialist how he could charge $5,000.00 for just two hours of work. At the point when he requested a separated bill, this is the thing that he got:

1. $400.00 - Placing "X's" on two lines.

2. $4,600.00 - Knowing where to put the "X's".

The plant director got what he paid for and presumably significantly more. He had effectively spent more than that sum on his own staff also the misfortune in income while the plant was closed down. As far as he might be concerned, getting the warning administrations of a specialist was the best activity.

It is important a great deal if the organization has a decent involvement with different business spaces and has experts and experts from variegated foundations. As such they will have a comprehension of various business verticals that might be a beneficial point for your site. Another significant factor is financial plan. What you pay is the thing that you get - WYPIWYG. Never bargain with the nature of your site only for saving not many fast bucks. Over the long haul you will wind up on a losing side. Have you at any point envisioned why American precious stones cost less and than genuine jewels when on occasion it's hard to separate between the two? It's self-evident - the brightness and hardness of precious stone. This makes another fascinating point, you can complete a corrective medical procedure for your site for a lesser expense, however it will do not have the functionalities and adequacy. It can draw guests yet can not transform them into business. So when you pay for something, you certainly receive a decent arrangement consequently.

o Technology - What is their innovative skill? Does this match with your prerequisite? What number of tasks they have dealt with utilizing something very similar? How oftentimes their innovation is overhauled both regarding programming and equipment?

o Deadlines - Has the organization done the tasks in specified time? Time is quite possibly the main components as the more it takes, the higher the info costs get. A few organizations may offer you a more limited time span and might be prepared with the plan. However, after that begins the long and blistering excursion of finding and fixing bugs which may kill your guests.

o Responsiveness - How quickly the organization reacts to your questions? Does it tune in to your inquiries? It is safe to say that they are receptive to my ideas and questions? Do they clarify issues in manners you can get it? Do they share your overall vision for the site? Is it true that they are keen on Return on Investment for the site? Do they have what it takes important to accomplish your objectives?

o Communication Process - Poor correspondence is one of the significant bottlenecks for business measures. Guarantee that the organization with which you are working is alright with your language. For the most part, English (US/UK) is taken as the favored language to speak with one another. What are the apparatuses and advances they use for conveying? How might they keep you refreshed with the improvements with respects your undertaking? These are a portion of the significant variables that ought to be remembered while choosing about the correspondence interaction while picking a Web Design accomplice.

o Services - What are different administrations that organization can offer other than planning? What sort of significant worth added items or administrations can the plan firm offer?

Every one of these focuses will assist you with narrowing down to the rundown of organizations that may offer you reasonable arrangements and help your motivation. The following stage includes welcoming proposition from the short recorded gatherings. Simply check through as many cross references that you discover legitimate or will fulfill your interest. The additional time you will put resources into this stage, the better will be the profits a short time later.

Stage 4-Proposals

Whenever you have chosen your short-rundown of top web advancement firms, demand that they send you a proposition. Ask that their proposition incorporate an outline of your prerequisites and their proposed arrangement. This will assist with figuring out which website composition firm comprehends your prerequisites best. Likewise ask that each website composition firm incorporate a portrayal of their improvement interaction and a value breakdown for the different parts of the site project.

Stage 5 - Evaluating Proposals

Assess every proposition independently based on merit. Contemplate the accompanying focuses:

a) Wellness of the proposition.

b) Respective strength and shortcomings of the organizations.

c) Evaluate the show and organization style.

Stage 6 - Selecting the Company

After your association has evaluated all recommendations, contrast them and one another. How would they passage regarding show? How do their cycles show up regarding project the executives? Do they present adaptability

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isleoftrails · 4 years

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The Bawa pull in Sri Lanka: Bawa 100

While our sandy beaches, cool climes, and unmistakable Sri Lankan smiles are magnets that draw many travellers this way, the island offers other unique experiences that leave indelible prints in the hearts of visitors. One such experience could be tied to the country’s rich architectural culture.

"“Bawa was a man motivated by beauty.”" -- Christopher Beaver

In his late thirties, Deshamanya Geoffrey Manning Bawa (23 July 1919 – 27 May 2003) made an important life decision to leave his career in law and fuel a burgeoning love affair with architecture; little did he know that this pivotal move would not only go on to revolutionise architecture in Sri Lanka and South-East Asia but also leave a legacy of tropical modernism -- a design movement which embodies sensitivity for local context, combining it with the form-making principles of modernism -- that would be remembered and celebrated long after his time.

One such celebration comes in the form of the Bawa 100, initiated and carried out by the Lunuganga Trust, a private trust set up in 1994 with the purpose of looking after the two properties that belonged to Bawa -- in Colombo and Bentota -- now ceded to the Trust. The year 2019 marked the centenary of Geoffrey Bawa’s birth, and the series of events organised by the Trust from July 2019 to July 2020 is geared towards commemorating this eminent architect’s heritage and work.

Bawa, a man motivated by beauty

Bawa’s father, Justice B.W. Bawa was a successful lawyer and was of Muslim and European parentage. His mother, Bertha Marianne Schrader, was of German, Scottish and Sinhalese descent. His one older brother, Bevis Bawa, became a renowned landscape artist. Educated at Royal College, Colombo, Bawa moved on to study English and Law at St. Catharine’s College, Cambridge and Middle Temple, London, respectively; he became a Barrister in 1944. He returned to the country after World War II and worked for a law firm in Colombo.

The death of his mother saw Bawa leave his profession as a lawyer and travel for two years, across the United States and Europe. By 1948, after plans to buy a villa and settle down in Italy didn’t really pan out, he returned to Sri Lanka and in 1949, bought an abandoned rubber estate (now the Lunuganga Estate), on the south-west coast of the country, hoping to create an Italian garden from a tropical wilderness. The Lunuganga Estate, known as the country house of Geoffrey Bawa, is the product of a labour of love that lasted forty years.

The 15 acres of property located on the banks of the Dedduwa Lake in Bentota posed a challenge for Bawa who soon realised his lack of technical knowledge to bring his ideas to fruition. He returned to England to study architecture and after qualifying as an architect, came back to the country and joined the architectural practice of Edwards, Reid and Beggs.

The Lunuganga Estate had Bawa’s attention and love until his death in May 2003 and is now managed by the Lunuganga Trust. The gardens are considered a seminal expression of his practice, a place where much of Bawa’s architectural thinking was explored and expressed.

Known for its wide, open spaces, ventilation and focus on local resources, tropical modernism is a concept that Bawa became one of the first to explore. He effectively applied it with cultural connotations of the respective locations he was designing in.

London-based architect Christopher Beaver in an interview with 1883 Magazine in 2013, commenting on Bawa’s almost theatrical views when it came to honouring tropical modernism in his creations, shared, “Bawa was a man motivated by beauty.”

“I said to Geoffrey, ‘If you had been living and working as an architect in the West, what sort of architecture would you have produced?’ and he replied, ‘I probably wouldn’t have been an architect,’ and I think that really crystallises his commitment to originalism, which is certainly what he brought very vividly to architecture in Sri Lanka at that time,” continued Beaver, who helped Bawa to organise his first exhibition in the UK.

What to expect from Bawa 100

"When we are moved by art we are grateful that the artist lived, grateful that he laboured in the service of his gifts. If a work of art is the emanation of its maker’s gift and if it is received by its audience as a gift, then is it, too, a gift?" -- Lewis Hyde, scholar, essayist, translator, cultural critic, and writer.

The Gift

Congregating six artists and makers from Sri Lanka and abroad -- all of whom have had a long interest in the work of Bawa -- in Lunuganga, The Gift, set to open on January 5 and remain open until July 2020, is essentially a response to the gardens in installation form. Kengo Kuma, Lee Mingwei, Dominic Sansoni, Dayanita Singh, Sarah Sze, and Chandragupta Thenuwara will create installations of site-specific works at Lunuganga which will explore themes of nurture, shelter, labour, journey, generosity, perception and reflection, offering to attendees each artist’s response to the work of Bawa and his garden. The garden will be explored as a site of hospitality and a place of encounter.

“This is the first time such site-specific installations are being exhibited for such a long period of time in Sri Lanka,” shared Curator of Geoffrey Bawa Art & Archival Collections, The Lunuganga Trust Shayari de Silva. She added that each of these artists has a different relationship to Bawa.

“Dominic Sansoni has taken photographs of Lunuganga since the 80’s. Thenuwara’s involvement began with the Theertha Collective, which is one of Sri Lanka foremost art collectives; the Collective organised its first installation exhibition in Lunuganga in the 1990’s. At first glance, you’d think Kengo Kuma and Bawa are very different in their creations but their process actually has many similarities. And Kuma has said that he draws inspiration from Bawa for his own work.”

De Silva went on to explain that Dayanita Singh is really bowled over by Bawa’s work. “In July 2019, she even launched a book drawing from photographic works she had made while in Kandalama.”

Sarah Sze’s multidisciplinary work, according to de Silva, explores the concepts of space and time, which are important themes in Lunuganga. “Lee Mingwei’s work has a previous connection to Sri Lanka (Bodhi Tree Project); his work is about hospitality and experiences of encounter which are, again, important themes at Lunuganga.”

De Silva expressed gratitude towards the six contributors saying, “The six artists and makers are all well-established with amazing careers. And they’ve understood the limitations of such a large scale project here in Sri Lanka, with our resources etc. and have been very flexible and supportive. They’ve also been very generous with their time and work and that has been their gift towards this; there has been a lot of goodwill from all those involved.”

Getting them involved in the project was a long process, according to de Silva, and this was also made possible by the relationship some of them have with the Trust.

Bawa is said to have always invited artists, Laki Senananyake, Lidia Duchini, Fiona Hall, Jimmy Ong, and Michael Ondaatje namely, to make work on-site or be inspired by it. Even today, the gardens remain a source of abundance for those interested in drawing from the place. This was the thinking behind naming the exhibition ‘The Gift’.

Programme Manager for Bawa 100 celebrations, Shanika Perera, commenting on The Gift, shared that there will be three events showcasing the installation series, the first launch on 5 January, the second one on 22 March and the closing reception on 19 July.

The Bawa 100 programme started earlier last year, July 2019 to be precise, and Perera shared that the reception from attendees thus far has been good. “Geoffrey Bawa has an existing following but we were also able to tap into the student populace this time with attendees from universities and design faculties. In addition to this, some of the exhibits that featured Bawa’s collaborators brought in the general public as well.”

Although the last few events weren’t free of charge, the organisers are hoping to change that with the events to come. “The mandate of the Lunuganga Trust is education and because of that, we’ve always allowed students to come in free. With The Gift, we’re working on having an open day at Lunuganga each month. It usually costs Rs. 1500/= to enter the gardens but on the open days, the entrance will be free,” said Perera.

Elaborating further, de Silva said, “With our events, we mainly target three groups - the local artists and architecture community, the student, academic and scholarly community, and the general public. So, even with The Gift, we’ve tried to make it as accessible as we can, which is why it’s free of charge. We also make sure we print all our brochures and catalogues in all three languages.”

First launch - 5 January 2020, 10 a.m. - 12 p.m. Lunuganga Garden, Dedduwa, Bentota

Registration required - email [email protected]

Oral Histories Project

Scheduled to take place in April 2020, the Oral Histories Project will be curated by the Lunuganga Trust Curator Shayari de Silva. De Silva has worked previously at the Yale University Art Gallery and the Yale Centre for British Arts.

Initiated in 2018, the Geoffrey Bawa Oral History Programme, is part of the Trust’s efforts to expand the repository of primary source material available on Geoffrey Bawa and his practice.

What is to unfold in April is essentially a deeper study and understanding of Bawa’s work through a series of informal conversations with the architect’s former friends, colleagues, and collaborators. Bawa’s architectural practice, his methods, his personality, and the many key collaborators who enabled and enriched his work will be reflected on by analysing recorded audio and video formats of these conversations, which will be made available on the Trust’s website in January 2020. The oral historians will include Amila de Mel, Anura Ratnavibushana, Channa Daswatte, David Robson, Deepal Wickremasinghe, Dilshan Ferdinando, Ismeth Raheem, Laki Senanayake, Michael Snelling, Philip Fowler, Pierre Pringiers, Saskia Pintelon, Suhanya Raffel, and Sunethra Bandaranaike.

“Bawa himself was a really shy man who was reticent to make public statements so there’s not a lot of correspondence available by him,” shared de Silva, adding that this has been a challenge for scholars. “I joined the Trust in 2018 and I felt like so much of the information available about him was actually in the minds of the people who knew him - either by working with him, being his friends or his clients. So much of that generation who knew him are rapidly leaving us, as did Roland Silva who passed away very recently.”

Through Oral Histories, de Silva explained, what they’re trying to do is bring a very subjective, multi-faceted narrative of who Bawa was and also of his work, based on the many sides to him different people knew. “More and more Trusts and similar institutions are doing this now actually, creating primary source material. History is never one voice so recording subjective statements from different people who actually knew him is important.”

It is Essential to be There

Happening between 25 June – 31 July 2020, It is Essential to be There is an exhibition that will be an examination of the drawings in the Bawa Archive, a collection of primarily pen and ink drawings that are mostly unconventional and redrawn repeatedly. The hope is that such inspection would bring attendees closer to understanding the practice itself and the many unique features that characterised it. A catalogue publication including essays by Sean Anderson, Shirley Surya, Amitav Ghosh, and Shayari de Silva will also be a part of this exhibition.

17th Annual Geoffrey Bawa Memorial Lecture

“The memorial lecture is something that happens annually,” elaborated Perera. Bangladeshi architect Marina Tabassum will deliver this year’s one which is to be held on 16 July 2020 at the Sri Lanka Foundation Institute. Tabassum is the Academic Director of the Bengal Institute for Architecture, Landscapes, and Settlements.

Date - 16 July 2020

Venue - Sri Lanka Foundation Institute

5th Triennial Geoffrey Bawa Awards

Conceptualised in 2007, the aim of the Geoffrey Bawa Awards is to recognise outstanding contributions to contemporary architecture in Sri Lanka. The Awards scheme is modelled on the awards scheme of the prestigious Aga Khan Trust for Culture in Geneva, widely acknowledged as having had a significant impact on the architecture of developing countries. Bawa was the recipient of the Aga Khan’s Special Award for a Lifetime’s Achievement in Architecture in 2001.

This year’s awards will be held on 23 July 2020 coinciding with Bawa’s 101st birth anniversary, and the winner, announced at this gala ceremony, will be awarded a sum of one million rupees. Glenn D. Lowry will deliver the lecture at the ceremony.

Date - 23 July 2020

“In addition to these events, there is also the launch of the Bentota Beach Hotel, reconstructed by Channa Daswatta,” shared Perera adding that the Bawa 100 programme is also looking to launch a collection of stamps featuring the well-known properties the architect has designed. The stamps were designed by Communications and Design Manager for the Bawa 100 celebrations Thilini Perera. Perera is an independent multidisciplinary designer, who has contributed in a creative capacity to advertising, publishing, and design education industries in Sri Lanka and Vietnam over the past ten years.

Italian architect Renzo Piano observed, “One of the great beauties of architecture is that each time, it is like life starting all over again.” Come and experience the Bawa 100 and relive a life worth reliving.

Image Sources: bawa100.com, www.archdaily.com/770481/spotlight-geoffrey-bawa/, www.facebook.com/events/559368474845749/

Cover image: Geoffrey Bawa’s home in Colombo with a painted door by Donald Friend © Sebastian Posingis

#Geoffrey Bawa #Bawa100 #Sri Lanka #Architecture #Dominic Sansoni #Lunuganga Estate #Contemporary Art

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stevepattinson · 4 years

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Next Generation Car Leasing Trends in Mobility

According to the business hypotheses, Electric Vehicle and Private Car Renting would be the greatest patrons in the renting market. With the eventual fate of portability leaving from non-renewable energy sources, it's clear that the renting business is good to go to encounter a significant change in coming time. Here are the elements that would shape the fate of car renting in coming years.

There are two main considerations behind car producers concentrating forcefully on electric vehicles for the renting market in light of two specific reasons. Initially, the pace of deterioration for EVs is higher when contrasted with their inward ignition motor partners. Thus, renting spares clients from agonizing over low resale esteem. Second, renting empowers the clients to switch their EV models normally since another electric vehicle is exhibited in the car business from time to time.

Car IoT solutions have upset the car rental and armada organizations and changed the manner in which they work. Look at this infographic to discover the applications and advantages of IoT solutions for car armada and rental organizations. In all honesty, car is the second most information driven industry on the planet. On account of the developing IoT and versatile innovation, producers can gather huge amounts of data about drivers, their goals, the courses they're taking, traffic designs, and even anticipate when upkeep something other than an oil change will be required. What's more, that is simply on the driver side! Coming up next are the top advanced change in car for coming age.

The problem between the car and the computerized world can be settled by reconciliation of all upstream and downstream components in one advanced stage, additionally called a virtual cloud biological system. This framework ought to associate and join all market members end customers, ICT organizations and customary equipment suppliers. A virtual cloud biological system requires various abilities from associations. The effect of these new advancements is tremendous; be that as it may, in Europe the pace of progress is still delayed because of alterations required in rules and guidelines, the inquiries corresponding to security and the heritage of a develop auto advertise (portfolio impact). In new and forthcoming nations, where changes are supported by the administration, for example, the legislature of China does with Web of Things, there are no restrictions and network is being supported as opposed to being taken a gander at with wariness. Europe in that regard began ahead, however hazards being overwhelmed by these high flyers. It's the ideal opportunity for European associations to act.

The information that is produced by the associated car is just accessible to OEMs as well as their official accomplices. Different organizations don't approach the information and applications. That is additionally the motivation behind why different gatherings included, for example, the lease organizations, the insurance agencies as well as vendors, need to introduce a "case" themselves to have the option to assemble information. This as of now hinders those gatherings from recovering, breaking down and utilizing car, driver and engine the board information.

Information gave by gadgets, for example, an associated car can be important to a solitary client, however just to a constrained scale. Just when this information are utilized on an advanced stage to encourage new cooperations between various gatherings in the car scene, it will make totally new administrations and worth. Moreover, it can permit different gatherings to fabricate new administrations and organizations on head of that information. In the course of the most recent years, ventures in different parts have been effective in building organizations that utilization computerized innovations to encourage new connections for a huge scope and permitting others to construct their business on head of the stage (for example application designers, cab drivers, has, ride sharers). At the point when the stage idea is applied to the associated car, the estimation of the information it produces will develop exponentially and this will thusly disturb the whole serious scene in the car segment (as the previously mentioned models have demonstrated in their individual divisions).

The ascent of the associated car will probably push the computerized stage plan of action as one of the predominant plans of action for the car business. Ongoing history has demonstrated that when a division that is described by numerous littler players turns out to be more data escalated, the advanced stage model can immediately get prevailing in that area. The associated car will make the divided car segment considerably more data serious, in this way making enormous open doors for computerized stage plans of action. Other car qualities, for example, low resource usage and lopsided dissemination of data between parties, go about as further quickening agents.

Since the start of the 21st century, cars are improved on the specialized side of car creation. Better mileage, higher wellbeing appraisals and customization were center regions of the attempts to close the deal of numerous OEMs. Tomorrow's clients of the associated car are the twenty to thirty year olds, who are conceived as computerized locals with advanced advances inserted into their method of living from the very beginning. As they plan, arrange and travel with the assistance of computerized items and administrations, this has become the new standard of working together and living. A key motivation behind why this purchaser move is occurring is the ongoing broad accessibility of the specialized framework (for example portable inclusion), cloud framework, and the conveyance of a client driven encounter through cell phones with basic working frameworks. Managers in urbanized territories, offer a car-sharing membership rather than a lease car to their new joiners. The millennial populace will help drive the associated car into a standard item over the coming years, so now is the ideal opportunity for the car segment to consider how this will change the plans of action and serious scene.

As referenced in the past areas, car organizations need to conform to another reality. The associated car has shown up in their showrooms and administration workshops. Associated cars give OEMs, merchants, vendors, providers and proprietors with various chances and dangers. These new kinds of functionalities in the car increment to recharge the business procedure as the market turns out to be more unique and the association needs to react. Accordingly, organizations will in general change their business methodology from a protective system (in light of making economies of scale and responding to contenders) to a more hostile technique (making the ability to react rapidly to dynamic market conditions). Associations need to spot and investigate new market openings.

A crucial groundbreaking change is expected to utilize the full advantages of new data advancements in Car Lease Solution. As per this hypothetical system, it implies a business scope redefinition. Car associations will change into arrange associations. There will be a move in incomes to more computerized administrations. This business scope redefinition brings diverse administrative difficulties, which are exceptionally pertinent to the car advertise in the World, in particular, making an alternate authority.

#Car leasing trends #Car Rental Solutions #Digital Leasing Solutions #Lease and Rental

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empoweringspaces · 4 years

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rounding up an illustrated quilt project

13 August 2020

Now that the project is completed, I wanted to reflect on the journey, from launch to the finished virtual quilt.

The project Empowerus Embroidery launched following extensive research exploring feminism, craftivism, and the benefits of textile participatory practices. I wanted to expand the depth of the social relationship by promoting ideas of empowerment among the participants, with the aim to empower and educate women and develop their sewing and embroidery skills, as well as their confidence. I also wanted to showcase the sensitivity and artistry in the communities’ work and enable them to develop their artistic freedom.

Prior to lockdown, I had prepared to invite the public to create pieces of textile art that depict something empowering, with an emphasis on body image, gender, identity, and feminism, and exhibit the artworks in a public space in July 2020. I had successfully arranged for a number of venues to host workshops targeted at BAME women and women in deprivation.

But then began lockdown in March 2020. At first it was difficult to develop the project, not knowing how long lockdown would last and if and it would be safe to deliver workshops in public spaces. I continued to embroider pieces while I reconsidered the project. It soon became evident in my local community that aspects of the pandemic were impacting mental health and health inequalities of many people, and for me it felt even more crucial to consider empowering and connecting people in the community. The idea for the project Empowerus Postcard came about during a conversation with my housemates whilst we were stitching pieces for the Empowerus Embroidery project. We spoke about the rainbows and slogans dotted about in the windows of houses and the positive impact that they was having on people. But on the flip side, many isolated and older people were not able to see them. During a previous project I had considered using postcards as a way of communicating ideas to others around empowerment, and this led to the idea of sharing hand-written illustrated postcards made by people in the community with those who are most vulnerable and isolated, to bring them some joy and positivity. Although this project was a great success, I realised that I was steering away from my embroidery project.

I thought about how I could overcome the issue of not being able to facilitate the workshops in the community. I made contact with those that had participated in previous projects and had shared interest in this new one to find out what they thought about the project taking place online. Some of the potential participants were finding the idea of accessing the workshops online out of their comfort zone, and some of them worried it would be too difficult. I took time to message them individually, describing the project and explaining how to access Zoom, which put them at ease. I also produced embroidery kits which were made available via Eventbrite for those who were unable to source the materials.

Through my online workshops, I wanted to create meaningful dialogue and use it as an opportunity to draw, journal, inspire self-reflection and creative growth. The participants were encouraged to reflect on the positive aspects of their lives with motivating and inspiring ideas to consider. This was inspired by my ‘Pink Quilt’ embroidery which began as a self-reflection at the start of lockdown. This featured things that were empowering and encouraging during the quarantine period. During my research on empowerment I came across an Oxfam report which breaks down women’s empowerment by presenting a framework of the specific characteristics and relevant indicators of empowerment. My embroidery designs then became responses to these indicators and are also reflections of the things that we discussed.

I tried to accommodate everyone’s learning style by demonstrating visual embroidery techniques via video and chat. I was very keen to give everyone the opportunity to contribute to discussions verbally and written. Prior to each session I would send emails outlining the criteria that we would be exploring that week in order for everyone to prepare beforehand and the prompts were shared during and following the session in order to recap the learning.

During the sessions I provided the participants with prompts themed around empowerment and self-reflection, for which they had the freedom to choose from their words and drawings to embroider. They were shown stitches like the French knot and Bullion knot and how to mix these techniques to compose the pattern.

The challenges throughout have made the final result so rewarding. The participants really enjoyed the workshops and having the chance to express themselves in their embroidery and connecting with women across the country and in Europe. Although it changed the project, doing this during lockdown was an advantage.

The result has enabled women to examine themselves and identify their empowerment.

“I will have my embroidery to remind me of a journey I have shared during the time of the pandemic.”

“That women together can be powerful, and tapestry has its own power”

“The project has reminded me how much I enjoy being creative and how being part of a group/community is important to me because it is empowering in and of itself; connecting via zoom also opens up a whole new world in terms of connecting with others. I learned about the book Craftivism from you Jessie and have been inspired by the idea(s). I learned about some different artists and about Banksy’s hotel in Palestine too! I learned about the other women in the group and have taken some time to reflect upon what is important to me and what gives my life meaning.”

The embroidery was secondary to the primary outcome which was greater self-awareness. The participants learned that embroidery has its power and can be used as a gentle but profound method of protest.

Click here to view the virtual quilt and the women’s responses.

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my-house-of-fashion · 4 years

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How TerraLiving is bringing nature to our spaces, one terrarium at a time

https://designwanted.com/wp-content/uploads/2020/03/TerraLiving-9-1600x1067.jpg

Founded by a team of scientists and designers, TerraLiving is spearheading the moss design industry from their studio in Melaka, Malaysia.

TerraLiving is a new and refreshing presence in the industry, their passionate team shares a true love for nature and it is through their introduction of moss terrariums and cutting edge moss art that they plan to showcase plant life and fill our spaces with their miniature ecosystems.

As scientists and designers, they observed the tiny yet abundant living plants, focusing mostly on mosses. They became obsessed with the way mosses have survived through hundreds of years and waves of mass extinction; therefore, they made their goal to deliver one of the greatest survivors of evolution to our life.

Their terrariums are highly customizable and showcase moss and ecosystems beautifully, making each living and breathing artwork truly unique.

TerraLiving is the result of a team of passionate scientists and designers. How was it born? How did the collaboration between scientists and designers begin?

Raymond Yeow: “Raymond (me), Ming Hui and Evonne co-founded TerraLiving in 2015. Raymond & Ming Hui majored in Biology and worked as scientists in a plant and molecular research laboratory, while Evonne majored in Accounting.

I’m lucky to be a very imaginative person and I’m usually able to visualize what I wish to see very clearly in my mind. I have collected moss since I was 5 because it was everywhere around the fishponds at my house. I got fascinated by moss and I took macro-photos of it with a magnifying glass when I got my first digital camera at 13. I had a dedicated room for make-shift laboratory, equipped with apparatus since I was 7, to run all sorts of science experiments. I dreamt to be an inventor someday.”

Raymond Yeow: “Ming Hui has been a talented and gifted artist since he was born, though he ended up majoring in science. He approached me with a terrarium he made from moss harvested along the drain, below our office and told me he wanted to give it as a gift for a girl. He then asked me if it was possible to actually sell them since he can always make a few extras. He started the initial concept sketch and artwork, then we sourced for materials together and I handled the final R&D.

Evonne joined us to make sure we don’t spend mindlessly and take charge of crucial local & international supply chain and logistics to date.”

Why TerraLiving, why focus on terrariums and ecosystems?

Raymond Yeow: “We just happen to like beautiful things, and nature itself is unparalleled in beauty. When we first started TerraLiving, there were no existing terrariums that were up to our taste and expectations. Simply put, you can’t even buy one if you wish to, as they don’t exist yet. The thoughts of a beautiful slice of nature housed within beautifully handcrafted glasses motivate us to start creating, instead of waiting for someone to deliver it to us.”

TerraLiving aims to bring nature to our desktops, one terrarium at a time. What process do you follow when creating and designing them?

Raymond Yeow: “While we did large scale terrarium and projects for corporate companies with some even embedded into the building structure itself such as our moss wall built into our gallery, our founders’ vision revolves around living space getting exponentially smaller as the population grows, especially in urban areas.

As we plan to stick to this vision for every design, we take serious consideration into the aspect of beauty, footprints or space taken, how it feels like under different lighting conditions; virtually any living space from coffee table to desk space, all the way to how it feels like when you touch them.”

You are inspired a lot by bio-architecture and biomimicry. What other fields and inputs, inside and outside of the design world, provide you inspiration?

Raymond Yeow: “Bio-architecture and biomimicry adopted from the world of cell biology, biochemistry, life sciences. In the design world, needless to say, we get inspired by art, ranging from mixed media to abstract art. We took a lot of inspiration from the world of electronic gaming too. This is especially important as lots of elements from the gaming industry share a similar design philosophy. As for outside of the design world, we get inspired by human psychology, philosophy, natural history, ecology.”

TerraLiving recently unveiled one of the on-going live experiments with the misty moss biome encased within the Terragon – Z glass vessel since March 2019. Can you tell us how the idea of the experiment was born and the process behind it?

Raymond Yeow: “The process of designing the glass was geared towards future design releases which involve a suspended extension of a glass chamber from a terrarium main body, to deliver a sense of “overhangs” and “gravity” in our work.

It’s been a year without water since the inception of Terragon – Z.”

What are the biggest challenges you face when creating and designing your projects?

Raymond Yeow: “Ensuring every piece of glass was perfectly put together, choosing the right moss for the right design and importantly, we can’t afford to accidentally damage it after completing the design with moss.

A slight mistake such as accidental damage or crack due to human error on any glass facet may end up a full remake. As for the moss preservation stage, every step is so crucial to ensure the resulting moss is the right quality and built to last. A single mistake in the process may lead to a full discard of the entire batch.”

Looking at the future, what is the next step for Terraliving?

Raymond Yeow: “On the scientific side, we have a on-going cultivation and currently work on the isolation of important chemical compounds from moss as a long term plan. As for the aesthetics, we are working on more unique designs, especially quarterly and yearly or one-off limited editions. We plan to participate in overseas exhibitions in the future.”

As for social media channels, we are looking into Pinterest.”

Unlimited budget, unlimited resources: what is the project TerraLiving would develop? What would it look like?

Raymond Yeow: “A gallery in every prominent city with a highly customized design inspired by architecture and nature from that environment, creating a lasting memory about our current art, culture and civilisation.

If a man set foot on Mars, our terrarium will definitely be the first to touch down Mars’ surface.”

The post How TerraLiving is bringing nature to our spaces, one terrarium at a time appeared first on DesignWanted.

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#Stylish Homes

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hareinthechair · 1 year

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A personalised bespoke heirloom chair, designed and made for a child’s nursery in Chiswick

p>Finding the perfect nursery chair

Arranging a consultation

Delving into the story

During this conversation I found out more about a chair that Thea had grown up with; she had really strong memories of a leather armchair that lived in their family kitchen next to the Aga. She has many fond recollections of clambering over this chair, getting lost in books, and chatting with her family. When Thea’s parents downsized, she inherited the chair, which is still well-used today. She really wanted to find another chair with which Ewan could build similar memories. Other key considerations became apparent through our conversation; it was important to them to have a mouse incorporated into the design, but not one that was too childish or obvious. We also discussed potential fabric options, linen was the choice, due to its feel, environmental impact, and longevity. The couple had agreed on forest green as their main colour. They were keen to have an additional highlight colour involved but weren’t sure what that could be at this stage. They also liked the idea of plain fabrics but with a design evolving from the style of the chair - they had seen how I had worked like this in the past. Thea had also been deeply moved by an exhibition she attended of the work of textile artist Louise Bourgeoise. She loved the visible stitchwork and in particular the work ‘Ode a l’Oubli’ - a handstitched fabric book. With a story emerging and lots of rich ideas to build on, I left with lots of ideas to work on.

The brief

The design and making process

Staying in the Loop

Finding solutions

One design problem that took me time to solve was how to incorporate the mouse into the design of the chair. Although Ewan is currently a baby, the chair will hopefully belong to him throughout his life. For this reason, I wanted to keep the design simple and not too obviously childlike. The idea came to me as I was designing the shape of the keepsake pockets into the back of the chair. It dawned on me that I could make a separate fabric mouse, which could be taken out of the chair, but that had it’s own little pocket in which it can live. This was a small interactive element that I hoped Ewan would enjoy and give an opportunity for him to make a connection of amusement and enjoyment with the chair from an early age. I hope it is also subtle enough to not feel babish as he gets older. The keepsake pocket was left open with thread was provided to Thea and Toby. They have told me will fill the pocket with photos, a lock of Ewan's hair, and a newspaper front page from the day of his birth. When they are ready they can stitch the pocket shut. The chair can then hold these memories until either the pocket is unstitched (perhaps to add more keepsakes) or until it is re-upholstered and the memories can be re-lived.

At home

If this reading story sparks your interest, do get in touch and book a consultation chat.

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justanothercinemaniac · 7 years

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Epic Movie (Re)Watch #180 - Scooby-Doo 2: Monsters Unleashed

Spoilers below.

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: No.

Format: DVD

1) So with the first film writer James Gunn had written a darker script meant to poke fun at the original series and gain a PG-13 rating, but after the cast signed on this was changed into a family friendly film. With the sequel, writer Gunn returns and this time everyone knew what kind of movie they were going to make from the beginning (which relates to some more solid structure in this film than the last).

2) Scooby-Doo Theory holds that whoever the protagonists talks to first is the person who did it. The first person they talk to in this film is Alicia Silverstone’s Heather Jasper Howe who ends up being the bad guy.

3) Okay, Coolsville opens up a museum exhibit about Mystery Inc. and their past foes. It is said that the gang, “donated,” the costumes. But…why are the costumes their’s to donate? Aren’t they police evidence? Do they steal the costumes from every crime as some sort of weird trophy and stash them all in a storage locker somewhere? Am I overthinking this? Let’s move on.

4) What the heck!? Seth Green is in this movie!?

5) Linda Cardellini continues to be absolutely excellent as Velma Dinkley, but one side we get to see in this film that we didn’t in the first is lovesick puppy Velma. Her crush on Seth Green’s Patrick is portrayed as cute, sweet, honest, and is just enjoyable to watch. I think Cardellini is great in both of these films and gets an even greater chance to shine in this one.

6) I always liked The Evil Masked Figure in this film.

I think it’s purely a taste of aesthetics. I like the metallic head, the hair, the cloak. He’s not really a character so much as a plot device and he does pale in comparison to the classic monsters which populate the film, but I just dig the design.

7) I think the early action set piece of Shaggy and Scooby getting pulled around the museum by the Pterodactyl Ghost is a little stagey. It FEELS like they’re on a film set as opposed to even the fun of the cartoon chases. But that just may be me.

8) What the fanboy in me loves about this film is the way it brings in all the classic monsters from the old cartoons. James Gunn is a fan himself and it shows because - much like he is able to fill up Guardians of the Galaxy with notable characters, references, and alien species - he brings in a lot of A-list villains from the show. The Black Knight Ghost and the 10,000 Volt Ghost in particular were always favorites of mine and it is REMARKABLY fun to see them, the Tar Monster, the Zombie, Captain Cutler’s Ghost, and The Miner 49-er brought to live action (among others).

9) Okay, so Heather Jasper Howe’s reporting is 100% slander and illegal. She is taking everything Mystery Inc. says out of context to make them appear bad in the public light. Yes, she’s the villain, this is part of the plan. But unless you’re working for an obviously biased news source like Fox News you would not be allowed to get away with this. Still, when I start to question the realism of a Scooby-Doo movies the whole thing falls apart.

10) The primary conflict for Scooby and Shaggy in this film is them questioning their worth/value to the team. This makes for surprisingly interesting character conflict and an equally surprising emotional arc for the film. I like it!

11) According to IMDb:

The original Scooby-Doo episode dealing with the pterodactyl ghost featured a villain and motive that were quite different. The pterodactyl/hang glider costume was used to smuggle pirated music, with the small-town mayor behind the whole scheme.

12) I cannot begin to express how funny my tiny eight year old self found this joke.

Shaggy [after the gang goes through all their notes, which Scooby has been jotting down]: “Scooby-Doo, what’s your conclusion?”

Scooby: “Bunny!”

13) I have a feeling this film had a product placement agreement with Burger King. Scooby was drinking from a Burger King cup earlier and then this:

14) I may have watched The Mummy too many times.

Fred: “What could possibly happen by ringing a doorbell?”

15) So Shaggy messes with a record player and “Baby Got Back” starts playing. Which begs the question: WHO ON EARTH HAS A VINYL OF “Baby Got Back”!?

16) According to IMDb:

At one point in the film, Scooby and Shaggy are pretending to sing into a toilet brush "microphone". The song they are actually singing is Strangers in the Night - Frank Sinatra's version featured the improvised scat lyrics, "Scoo-bee-doo-bee-doo", lyrics which then-CBS executive Fred Silverman chose as the name of the new cartoon series. The original name for the dog was "Too Much", a popular catchphrase of the era.

17) The entire Black Knight Ghost chase through the mansion is very cartoonish, which I mean as a compliment. It feels like it is ripped straight out of an old episode of the cartoon, speaking again to the great way James Gunn handles the source material.

18) Why is Daphne wearing a shirt with her own face on it?

19) Again: this made me laugh so hard as an eight year old.

Black Knight [after Velma kicks him in the nuts]: “Right in the round tables!”

20) This film was released in 2004, can you tell?

Fred: “…this mystery goes down like a dot com and Coolsville digs us again!”

21) I ship Velma and Daphne. I have a feeling so does James Gunn.

(Screenshot taken of a GIF originally posted by @ezekiels)

22) Linda Cardellini gets to be exceptionally funny in this film for one BIG reason:

Patrick: “Do you have to go to the bathroom?”

Velma: “No, I can’t in this outfit.”

23) The Faux Ghost.

This is a wonderful concept featured in the film which once again shows off just how deeply familiar writer James Gunn is with the source material. Just the idea that a bar for all the people Mystery Inc caught exists is wonderfully fun. The art design and characters all stand out in a wonderfully fun scene.

24) Whoa, this is pretty deep for Scooby-Doo 2.

Old Man Wickles [about being a masked villain]: “We needed people to believe we were different than we were. Maybe because we believed there was something wrong with who were in the first place.”

This also means the song which plays in the club - “Thank You For Letting Me By Myself” - has much more meaning than one might initially expect.

25) This line was improvised.

Velma [after she lets out a squeak]: “That was my outfit, I swear.”

26) It’s kinda fun seeing Seth Green go into psychotic badass mode on this goon. My primary experience with him is through “Buffy” where he mostly plays his character as emotionally controlled. This is a fun change from that. Also, Shaggy gets in a sick burn because of it.

Shaggy [after seeing Patrick act a little crazy]: “But we gotta make like your personality and split!”

27) What even is this movie!?

Old Man Wickles [after Scooby gives away his position hiding in a bush]: “Darn bushes toweling at me again.”

AGAIN!?

28) Ah, the potion gag.

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So there was a lot of work trying to figure out exactly what gags to use. At one point, Scooby was going to turn into his hand drawn counterpart as a replacement to a much less favored gag of Scooby turning into George W. Bush. The filmmakers didn’t want to compare 3D Scooby with 2D Scooby so they had him turn into the Tasmanian Devil instead. It’s kinda random and pointless, but not unenjoyable. It’s kinda fun to watch, it just has nothing to do with the rest of the plot.

29) In this moment, I am Shaggy.

Shaggy: “We’re gonna die!”

Daphne: “Think positive!”

Shaggy: “We’re gonna die quickly!”

30) Okay hold on a second: the monsters share the same hatred of Mystery Inc. that their portrayers had? But why? They’re not the same people are they? Do they have the memories of their human counterparts? Are they the vision of the criminals who portrayed them fully realized?

31) The old high school clubhouse scene is a surprisingly poignant moment of vulnerability and character interaction for Mystery Inc. The flashback - even though it’s a little cringe worthy seeing the young Mystery Inc (with their awkward imitations of the main cast and weirdly dubbed over voices from the main actors) - allows for us to understand the core of their relationship. In a lot of ways, this is the beating heart of the film. Mystery Inc and the friendship they have with each other.

32) Again: I am Shaggy.

Shaggy [while being chased]: “This is tied for the most terrifying day of my life!”

Velma: “Tied with what?”

Shaggy: “EVERY OTHER FREAKING DAY OF MY LIFE!”

33) HOW DID THE BLACK KNIGHT GET A GHOST HORSE!? Wouldn’t they need a horse costume to do that?

34) Ah, Buffy speak used by a “Buffy” actor.

Daphne: “Taste the pain Mr. Glowy Ugly Thing!”

35) I love this.

Velma [after Shaggy and Scooby say they’re trying to be more like the gang]: “That’s funny. I always wanted to be like you guys.”

This speaks greatly to just how freaking important Shaggy and Scooby are to the group. They’re the beating heart, it’s called Scooby-Doo for a reason. And the fact that Velma is able to so honestly and believably say she wants to be like Shaggy and Scooby is a surprisingly touching moment in the film.

36) It only took Velma 45 years to admit this.

Velma [after her glasses fall off]: “I’ve got to consider contact lenses.”

37) According to IMDb:

The Cotton Candy Glob is a tribute to the Cotton Candy Monsters who appeared in the story "Goop on the Loose" in the Scooby-Doo comics published by DC Comics, where the culprits were a child and two henchmen trying to get revenge from being fired from a carnival. The Cotton Candy Monsters were mentioned in A Pup Named Scooby-Doo: Terror, Thy Name Is Zombo (1989).

38) I JUST got that the game of keep away they play with the monster making control panel reflects the game of frisbee we saw them playing in the flashback.

(GIF originally posted by @leaveatraill)

39) Tar Monster seems like he has a ridiculous amount of power. Like he can single handedly nearly kill ALL of Mystery Inc. Why not just release the Tar Monster on the world? I feel like THAT’D be a better plan!

40) The Evil Masked Figure is unmasked and revealed to be Heather Jasper Howe. But her hair and makeup are perfect. Shouldn’t she have - like - helmet hair or something?

41) Scooby running to Shaggy like they haven’t seen each other in ages is totally unearned. Shaggy just put on a mask and took it off and Scooby acts all excited! But, it’s still kinda nice.

42) What the heck? This film has a secret mini movie!?

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A commercial!?

Much like the first Scooby Doo film, Monsters Unleashed is hardly a cinematic masterpiece but the kid in my absolutely loves it. The characterization is continually strong (as is the acting), it’s a lot of fun to see the old monsters in a live action format, and it’s just an enjoyable 90ish minutes. There are movies which have aged worse so if you have fond memories of this or are a fan of the Scooby-Doo franchise, give it a watch.

#Scooby Doo #James Gunn #Sarah Michelle Gellar #Scooby Doo 2 #Linda Cardellini #Freddie Prinze Jr #Matthew Lillard #Epic Movie (Re)Watch #Movie #Film #GIF

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emergentmediasndmarketsblog · 5 years

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Week 4 - Collaborative Consumption and Gamification

Share economies have had a predominantly positive effect on the creative industries, as collaboration plays a huge part in many sectors of the industry. When you begin to think about it, a lot of creations and technological advancements over the years may not have been possible without shared resources. The emergence of the internet had a lot to do with expanding the way that the creative arts collaborated with each other, as along with the creation of the internet came a new form of commons called the knowledge commons where “distributed computer networks allow for the generalisation of peer to peer dynamics, i.e. open contributory systems where peers are free to join in the common creation of shared knowledge resources, such as open knowledge, free software and shared designs.” (Bauwenst, M. Commons Transition. (2017). The worry before was that people who had new and innovative ideas would keep it to themselves, and not allow anyone else to benefit from their creations, however with the new knowledge commons, it began to open up the idea that knowledge, along with physical goods, are there to be shared and built on, as Kevin Kelly describes in The Inevitable, “it is obvious to you that open source software is better than polished proprietary goods, when you are certain sharing your photos and other data yields more than safeguarding them — then these assumptions will become a platform for a yet more radical embrace of the common wealth” (Kelly, K. The Inevitable (2016).

However, there is still one thing that stands in the way when it comes to share economies within the creative industry, just like any other, Copyright. Even though there are many artists/companies that put their work in the public domain and open source in order for other artists and people to use to create their own artworks, there is still a fine line that can often look blurred when it comes what you can and can’t use. The non-profit organisation Creative Commons is aiming to change this, and is one of the current industry leading innovators when it comes to working towards creating increased availability of work freely available to the public for legal use as they realise that “there’s an inherent conflict between innovative digital culture and outdated copyright laws” (Creative Commons. (2019). They currently have multiple museums who have agreed to implement the Creative Commons copyright licenses which allows their work to be available to others to use legally. There are still many creatives who feel that we still have a long way to go, “crowdsourcing, lack of proper attribution online, and the wealth of readily available images and text to use (legally or illegally) have seriously devalued the creative market” and it could cause some rather big problems to the creative industry in the future if something isn’t done soon.

References:

Commons Transition. (2017). The History and Evolution of the Commons - Commons Transition. [online] Available at: http://commonstransition.org/history-evolution-commons/ [Accessed 14 Jan. 2019].

Creative Commons. (no date). Arts & Culture - Creative Commons. [online] Available at: https://creativecommons.org/about/program-areas/arts-culture/ [Accessed 14 Jan. 2019].

Future of Everything. (no date). What's The Future of The Creative Industry? |. [online] Available at: https://www.futureofeverything.io/future-creative-industry/ [Accessed 14 Jan. 2019].

Medium. (2016). Sustainability in the Sharing Economy – 14ideas – Medium. [online] Available at: https://medium.com/@14ideas/is-the-sharing-economy-environmentally-sustainable-c3fef196d36d [Accessed 14 Jan. 2019].

Social Media has become one of the main ways that creatives promote their work and collaborate with other creatives nowadays. The great thing about Social Media is that it is versatile, and there are many to choose from to use, depending on what area of the creative industry that you are in. There is also the freedom to choose a more casual approach to promoting yourself on websites like Instagram and Twitter, or you can go down the more professional route of reaching out and collaborating through LinkedIn or Behance. Personally, I like to have a mixture of both, this way you can reach a wider audience, and grow your connections.

For many people in the creative industries, a portfolio is the most important thing, and there are plenty of websites out there that allow creatives to showcase their work, as well as discovering others who they might be interested in collaborating with. A couple of the most popular portfolio sites are Behance, Dribbble and SquareSpace.

Behance.net. (2019). Behance. [online] Available at: https://www.behance.net/ [Accessed 14 Jan. 2019].

Speaking as a photographer, I prefer to use Instagram to promote my work, as a photo based social media platform I feel that it is the best way to showcase my photographs. It is a very popular platform for most photographers, you would find it difficult to find a photographer who is not on Instagram. Because it is so popular, I find it easy to make connections and follow other photographers in my field of interest, which makes it easier to connect with them personally if I was interested in a collaboration. On the other hand, yes it is good to promote your photographs, but not so easy to promote yourself as a creative, as it doesn’t just come down to how good your photographs are, but how you are as a person and the experience you have gained. This is why I choose to also use LinkedIn, which is also popular with creatives as a way to promote yourself and let people see what experience you have and the work you have done.

Here is me using Social Media for collaboration:

References:

Behance.net. (2019). Behance. [online] Available at: https://www.behance.net/ [Accessed 14 Jan. 2019].

Digital Arts. (2017). 15 best portfolio websites for designers and artists. [online] Available at: https://www.digitalartsonline.co.uk/features/creative-business/15-best-portfolio-websites-for-designers-artists/ [Accessed 14 Jan. 2019].

With gaming becoming a massive part of our lives, especially with the younger generation, it is becoming almost impossible to escape it. It has become so popular that companies are now using it to keep themselves current and to appeal to a younger audience and improves user engagement.

One example of how gamification is used in share economies is Uber. Uber was created as way for people to earn money by giving people lifts to where they need to go. They also use car sharing initiatives which gives multiple people lifts in the same car if they are going in the same general direction. Their use of gamification is pretty simple, but is extremely useful, it allows you to use the interactive GPS map to know exactly where your Uber driver is, and how long it will take until they get to your destination. These can be useful to the customer as “features such as this can take the power from the driver and place it in the hands of the rider.” (Patten, B. Moodley, (2019).

When it comes to how gamification can be used in creative collaboration, I feel that it is all in the rewards. People are more likely to continue to do something, if they are getting rewards and gratification from doing so. Take LinkedIn for example, it is a great way for people to connect with each other, however all that happens when you connect, it just adds another person to the list of ‘contacts’. There isn’t much reward to this other than seeing your connection count increase. I think a way to improve this experience for creatives, is to use gamification in the way that the finance app Fortune City does. Fortune City aims to make budgeting fun by using gamification to keep users engaged. As you continue to budget, and input you spending, the city simulation allows your city to grow. It also allows you to set goals which will keep users coming back, wanting to reach them. This could be an interesting idea that could be transferred to improving collaboration in the creative industries as allowing yourself yo set goals, and to be able to see yourself getting closer to them by using gamification would certainly be a step towards getting people to be more productive in doing so, as I think that the main issue is that people lose interest very quickly while using a website like LinkedIn to find collaborators, “If life is a game, then we can hack our lives using Gamification to motivate, drive, or trick ourselves into being more productive.” (Loayza, V. (2019).

References:

Fortunecityapp.com. (2019). Fortune City - A Gamified Finance App. [online] Available at: https://fortunecityapp.com/en/ [Accessed 14 Jan. 2019].

Loayza, V. (2018). The 10 Best Productivity Apps that use Gamification in 2018. [online] Yu-kai Chou: Gamification & Behavioral Design. Available at: https://yukaichou.com/lifestyle-gamification/the-top-ten-gamified-productivity-apps/ [Accessed 14 Jan. 2019].

Patten, B. Moodley, (2016). 5 ways Uber has used gamification to rise above its competitors - Memeburn. [online] Available at: https://memeburn.com/2016/02/5-ways-uber-has-used-gamification-to-rise-above-its-competitors/ [Accessed 14 Jan. 2019].

One of main issues at the centre of how the share community is evolving and how online sharing within Social Media and crowdsourcing is the ownership of work. Up until a few years ago, before the share economy in the creative industry became what it is now, the line was more clear cut when it came to who owned what, and who was licensed to use it. Like I mentioned earlier, that line is beginning to blur. A prime example of this, and the share economy when it comes to artists, is Richard Prince who created the exhibition New Portraits in 2014 using appropriated images that he had taken from Instagram but changed the captions. This began the debate as to who actually owns the rights to photographs that you post online, and how much far do you have to go in changing an image for it to qualify as an original image in its own right, one photographer had one of his images used, sued Prince on the grounds “that Prince’s reproduction of Graham’s photograph – a black and white image of a Rastafarian man lighting a joint – was not modified adequately to warrant being called an original work.” (Gajanan, M. (2016).

When it comes to Instagram, a majority of people who post photographs to the site, would not be happy if their images were used by an artist, and a lot of photographers, including myself often watermark our images to stop them being used without credit. Yes this ultimately goes against a share economy and limits the number of photographs that are available out there for creatives to use, but this is why there is a gap in the market for websites like Unsplash which allows people to upload photos that are available for everyone to use.

I think that online sharing, combined with crowd sourced collaboration and outsourcing will inevitably have a positive effect on the creative industry as like I mentioned above, there are already websites out there that are specifically designed for people to be able to use images freely, and there is a path that is starting to form where we could be open to more ideas like this, for example an increase in collaborative working spaces.

Looking at how this could affect my future career as a photographer, I think that although there are people out there who are happy to offer their photographs for free, for those who make it a living, giving away their photographs for free, kind of defeats the whole point of it being a living, and would not make them any money at all. Therefore the precautions that would have to be taken is to make sure that I know my rights, and make sure to watermark everything in order to prevent people thinking that they can use my photographs for free without any credit. However, looking at it in a Social Media Managers point of view, a part of my role is to come up with content for the social media channels, therefore for there to be a wider range of content of there for me to use would be beneficial.

References:

Gajanan, M. (2016). Controversial artist Richard Prince sued for copyright infringement. [online] the Guardian. Available at: https://www.theguardian.com/artanddesign/2016/jan/04/richard-prince-sued-copyright-infringement-rastafarian-instagram [Accessed 14 Jan. 2019].

Unsplash.com. (2019). Beautiful Free Images & Pictures | Unsplash. [online] Available at: https://unsplash.com/ [Accessed 14 Jan. 2019].

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gokul2181 · 4 years

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Rogan art’s connect during COVID-19

New Post has been published on https://jordarnews.in/rogan-arts-connect-during-covid-19/

Rogan art’s connect during COVID-19

Jabbar Arab Khatri shares how the family that practices the 300-year-old Rogan art have been motivating themselves and connecting digitally during the pandemic

The months between July and September bring rains to Nirona village of the Kutch region in Gujarat. Along with the monsoon come hordes of college students wanting to experience, through craft workshops, a slice of the ancient Rogan art of fabric printing. The pandemic has made the village go silent, with no students or researchers. When a centuries-old tradition of hand painting on cloth, Rogan art — practised by the Khatris — affected, members struggled to stay motivated., managing to stay connected digitally. The Khatris are the surviving custodians of the art form. During the first phase of lockdown, the Khatris collaborated with India Craft Week, Delhi and Paramparik Karigaar Mumbai showcasing their collection in online exhibitions.

Jabbar Arab Khatri, nephew of Padma Shri awardee Abdul Gafoor Khatri, and one of the young torchbearers of the art says, “The dyes take time to dry during the monsoon, so we are indoors working with designs.” He is happy with the online initiative. “Although there were no sales, we had many enquiries for our products and workshops; some of them have promised to get back once normalcy returns,” he says.

A word of Persian origin, Rogan means oil. Jabbar explains the cloth printing process: “Castor oil is heated and cast into cold water and the thick residue is then mixed with natural colours. Then, using a stylus or blocks, this resultant paint is meticulously transferred on to a cloth to make floral, animal (peacock) and geometric patterns. The weather and density of the mix play an important role. Colours and freehand motifs look attractive.”

In the last few weeks, Jabbar has made a few Rogan art wall pieces on the masks for COVID-19. One of the sketches was given by Mubarka Nandarbarwala, an National Institute of Fashion and Interior Designing, Mumbai (NIIFD) student after his Instagram session. He shares, “Since students couldn’t come here for workshops, it was a nice opportunity to present our historic art to them,” NIIFD teacher Rosie Bose calls it an effort to introduce different art practices to the students. “Executing Rogan art by learning online is tough but once they are exposed to the crafts component, maybe later, we can take these students to Nirona for a workshop. Since they have already been introduced to the art, learning directly from these artisans will be a fascinating experience. Budding fashion designers could bring fresh ideas and help in sustaining the art and make it relevant in the fashion industry.”

Masks with Rogan art

Delhi-based designer Vanshika Gupta is currently working on incorporating Rogan art and also Soof embroidery in her designs. Her masks with Rogan art were launched two months ago. With a love for Rogan that began in her college days, she visited Nirona two years ago and created her graduation collection based on these crafts.“It is the most unique hand-painted style. I learnt the craft from Abdul Gafoor bhai (Abdul Gafoor Khatri) and Jabbar bhai (Jabbar Khatri). The crafting process of this textile art looks complex but is amazing. The handmade freestyle drawings have imperfections but the beauty lies in those abstract lines. Its quirky prints can only be done on cotton or silk.” Currently, Vanshika has 10 women from Nirona working on her new collection.

Nirona’s tourist season begins mid-September, the period preceding Dasara and Deepavali, the major festivals before winter sees tourists flock to the village. As cities slowly relax restrictions, artisans look ahead with hope. Adds Jabbar, “I heard that the Rann Utsav might happen in the first week of November. If the pandemic ends by then, we can hope to slowly regain our lives.”

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sempiternalsandpitturtle · 4 years

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Tips for a winning content marketing team structure

Just one thing separates a bad content marketing team from no content marketing team: the cost.

Far from “the poor man’s copywriting”, content marketing has evolved into a multimedia practice that demands creativity, expert analytics and highly synchronised execution. Half measures will do little more than waste your time and money.

That’s why step No. 1 in structuring a winning content marketing team is unequivocal buy-in. You have to want to create a dream team. We’re talking “1980 US Olympic hockey team” good.

Via buzzfeed.com

If that’s you, you’ve come to the right place.

Let’s find out what gold-medal content marketing teams are made of.

Part 1: Form

What kind of team are you?

Content marketing teams come in all shapes and sizes.

Yours might be an in-house operation with a substantial budget. It could be completely outsourced to a third party with strict caps on monthly spend and only one internal contact. It might be a combination, where a small marketing team oversees the content marketing activities of an external agency.

We’ve even encountered one-person operations, where a single person acts as content strategist, creator and promoter.

Whatever the case, the shoe needs to fit.

You have to be realistic about your organisation’s – or business unit’s – internal capabilities. This may mean making certain trade-offs to operate within your budget. Our advice? Always err on the side of quality. One really strong, well-promoted asset will always outperform five pieces of content that are just OK.

On a more concrete level, any content marketing team must exhibit certain cultural values if it hopes to excel across core functions.

Shared project ownership

“Build marketing programs around motivated individuals. Give them the environment and support they need, and trust them to get the job done.”

– The Agile Marketing Manifesto

We cannot overstate the importance of caring. From the outset, every stakeholder – from your stategist to your project manager to your graphic designer – needs to be invested in the project. Cultivate this shared sense of accountability by:

Setting clear goal posts.

Tieing visions for execution back to these goals when communicating with creatives.

Tracking progress at various points in the campaign with the appropriate analytics (e.g., impressions on social, bounce rates on landing pages, etc.).

Sharing that progress with everyone, so the entire team can see the fruits of its labour.

According to the Content Marketing Institute, 70 percent of organisations have the ability to illustrate, with metrics, how content marketing has improved B2B engagement.

Don’t keep that data under lock and key. The greatest source of success in content marketing is enthusiasm and collective pride for what’s been brought to the table.

Agility

“Great marketing requires close alignment with the business people, sales and development.”

– The Agile Marketing Manifesto

This first and foremost means eliminating silos, and we don’t just mean silos between strategists and execution teams. Start at the top, with sales.

We’ve said it before and we’ll say it again: Sales and marketing need to be in alignment if you hope to tell a consistent story to your prospects, leads and existing customers. This doesn’t mean you need to initiate sales into your content marketing team structure, but think of them as consultants.

Secondly, try not to think of your content marketing team as a well-oiled machine. You’re not manufacturers pumping products down an assembly line. You’re creative, responsive marketers whose objectives can change at a moment’s notice.

Instead, learn from the late, great Bruce Lee and “be like water.” On a practical level, this means:

Holding weekly or bi-weekly meetings to update one another on progress of current initiatives, or to re-calibrate as needed.

Leveraging project management resources such as Trello, Asana, Podio, Airtable, etc. to centralise core information and provide updates to the entire team on the fly.

Being ready and willing to make adjustments in response to shifting circumstances.

Once again, the Agile Marketing Manifesto, released in 2012, probably summed the goal up best:

“We welcome and plan for change. We believe that our ability to quickly respond to change is a source of competitive advantage.”

Now, here’s Bruce Lee playing pingpong with nunchucks:

Part 2: Function

What key roles need to be represented in your team?

By now, it’s clear that every function on a content marketing is deeply intertwined. Of course, that raises an important question: What are those functions?

We’re glad you asked, and we’ll tell you.

But first, bear in mind that scale has a lot to do with how these functions will be divvied up among individual team members. In smaller teams, a single person might wear more hats than in say, a well-funded enterprise marketing department, or a content marketing agency.

Ideally, though, all of these core functions will be fulfilled in your content marketing team structure:

Strategy

Your strategists are responsible for creating a marketing strategy that aligns with the business goals du jour. In content marketing, they’ll typically focus on SEO strategy, content creation and distribution goals at a high level, website consulting services, brand awareness and analytics. Strategists are also responsible for aligning budget and execution.

Strategists might go by any number of names depending on your content marketing team structure. Internally, they might be “marketing directors.” Externally you might call them “content marketing strategist” or “account manager.” But a rose by any other name …

Ideation

This is the unsung hero of content marketing, partly because it doesn’t necessarily belong to any one, single role on your team. A case could be made that marketing directors / associates and agency project managers are the stewards of ideation. But by definition, ideation is development of a creative execution plan for the strategy at large. Thus, it requires input from your strategists, project managers and your production people (writers, designers, etc.).

This is where the “agile” aspect of content marketing team structure really comes into play. More often than not, ideation is a shared effort that requires signoff from multiple stakeholders, and possibly even ad-hoc input at different phases of content development (you’re not married to an idea, after all; if you think of something better during the production phase and can pivot within reason, then by all means, do it).

Execution and creative tracking

That brings us to the doing. Once you have a strategy and high-level creative vision — as in you know the assets (eBooks, videos, paid ads) you want to create — you need someone or someones to create content calendars, and to manage timelines for deliverables, release dates and social posting schedules.

That someone — usually a project manager, managing editor, marketing assistant or combination thereof — also needs to track the progress of those deliverables as the campaign or scope of work moves forward and, if necessary, adjust schedules in the face of the unforeseen.

Production

Your writers, designers, videographers, editors and social media managers are the lifeblood of your content marketing team. Without them, you’re all talk.

If you’re lucky, your internal marketing has the budget, time and resources to produce its own content. But if you’re like the vast majority of organisations, you’ll probably outsource content production to freelancers or to a content marketing agency. And if that’s the case, think of these creatives as an extension of your team. The farther removed they are from the shared vision, the less likely they’ll be to deliver killer content.

Promotion and distribution

You’ve put all this work into creating awesome content, which is great, but now you have to make sure that it reaches the target audience. This requires social media mavens who know how to build a base of followers, and then hook their attention with compelling teasers that will lead them to your content, and deeper into the sales funnel. Likewise, you’ll need strategists who understand how to structure an email drip campaign.

Whether these functions are fulfilled internally by your own marketers or externally by contracted marketers makes no difference. What matters is that you have someone on your team who has dedicated time to promote and distribute your content, and maintain a strong social presence. Otherwise your assets will collect dust, and all your hard work will have been for naught.

Dev and IT

Last but not least, you need people who can help on the technical side of things — to make sure that different content types are loading correctly, and that your integrations aren’t disrupting the user experience.

This is web marketing, after all, and that means you’ll need access to web development experts and site admins to answer the tough questions: Is my site performance optimised for mobile? Are there any hiccups in UX? If you’re working with an agency that has its own CMS, is it exporting multimedia content properly? These are all questions that someone on your content marketing team needs to be able to answer.

Part 3: Finesse

How are you executing?

Ok, so you have an idea of the types of values that drive good team dynamics, and you’re familiar with the core functions that will need to be covered.

That brings us at last to the final lap of building a gold-medal content marketing team: the nuances of execution.

Let results show you the way

As we’ve already mentioned, agility is hugely important in a content marketing team. You can certainly establish an operating rhythm, but don’t get hung up on trying to create a rigid routine.

Instead, let your results determine your next actions. Content marketing has a cycle in that directives are continuously handed off between roles.

For example, analytics-based insights provided by your strategist will influence the types of assets (videos, blogs, etc.) that need to be created, and the channels on which they should be promoted and distributed (social, email, etc.).

Subsequent SEO research might reveal more nuanced keywords that will improve the performance of these assets, which will then impact topic research and ideation. At this point, additional research from your strategist might identify optimal content length, and more specific talking points that will help those particular topics cut through the noise.

Once the piece is produced by your creatives, project managers — the QC gurus of the content marketing world — might identify areas where the content could be improved, or better optimised to align with the strategists’ findings.

Finally, the piece is posted, distributed and promoted. Subsequent analytics might determine that engagement for the piece is high, but clickthrough is low, which could be indicative of a shortcoming in how the content is being promoted. Or, maybe the piece appears to be performing well on search, but doesn’t seem to be generating qualified leads, which could indicate a fault in your site’s UX design.

Whatever the case, the team will need to take action to respond to the newest findings. Consequently, the many roles of a content marketing team will play off each other in unique, and sometimes unpredictable, ways.

And it goes on and on like this, in a never-ending cycle.

Because that, in a nutshell, is what content marketing is: A marathon made up of many sprints.

Ready? Set. Go!

from http://bit.ly/38KPjZx

#content marketing

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connorrenwick · 4 years

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Circular by Design: Studio Woojai Turns Waste Paper Into Bricks and Furniture

The circular economy is a proposed alternative to our traditional ‘take, make, waste’ model of production and consumption – one that offers hope in the face of environmental catastrophes from climate change to ocean plastic. Designing out waste and pollution, keeping materials and products in use and regenerating our natural environment are so important to contemporary design that we wanted to create a dedicated space for the projects bringing these ideas to life. Circular by Design, a new weekly column by longtime contributor Katie Treggiden, will start by exploring the potential of waste as a valuable new raw material.

Photograph courtesy of Cos

Eindhoven-based Studio Woojai is run by Korean New Zealander WooJai Lee, a designer motivated by exploring and experimenting with the hidden potential of sometimes surprising materials. We caught up about one project in particular that repurposes waste paper into functional bricks and sculptural furniture.

Tell me a little bit about your childhood, education, and background in terms of how you first became interested in creativity, design, and sustainability.

I was born in Korea and moved with my family to New Zealand when I was 10 years old. Growing up in New Zealand, I was exposed to the greenery and nature all around me. I wasn’t particularly interested or fond of nature as a child, but I guess it influenced me unknowingly. I still find the characteristics and forms of nature very interesting in my design language. Both my parents are from creative backgrounds, so following a creative path seemed quite natural as well. I moved to The Netherlands and studied at Design Academy Eindhoven, graduating with a Bachelors degree in 2016 with my project ‘PaperBricks‘. I have been practicing in my own design studio in Eindhoven ever since. I am also part of Collaboration O, a collective of young designers in Eindhoven. We share a workspace and also collaborate on various projects and exhibitions together.

Photograph courtesy of Cos

How would you describe your Paper Bricks, Paper Bricks Sculpt Series, and Paper Bricks Pallet Series?

PaperBricks are made from recycled newspapers. They are very strong and have the stone-like marbling aesthetic of a construction material, and at the same time as having the warmth and soft tactility of the paper. The PaperBricks Pallet Series was created using PaperBricks to show how they can be used constructively. With the PaperBricks Sculpt series, I also wanted to explore the contrasting characteristics of a material. Paper can be both soft and hard, rough and smooth, systematic and irregular, all of which can be seen in this series – the soft surfaces, rigid shapes in contrast to rough and natural forms. The contrast is also in the way of working. The mold manufactured bricks to freely sculpted legs.

Photograph courtesy of Cos

What inspired this project?

One day I was taking out my rubbish for recycling and noticed a big pile of paper. Most of the paper was newspapers and advertisements, which we only glance for a few minutes and throw away. I felt pity for this material, which seemed to have such a short life span. Through research, I also found out that paper is one of the most recycled materials, but every time it is recycled, it is down-graded until eventually, it cannot be recycled anymore. I wanted to give this material a new life. A life in which it can be much stronger and used for different purposes, other than the fragile and short life it usually has.

What are they made from, how did you select that particular material, and how do you source it?

In the process of printing newspapers, there are always lots of newspapers which are being misprinted or overprinted. I use these newspapers to create my works.

When did you first become interested in using waste as raw material and what motivated this decision?

As a design or art student, you are constantly faced with the twin dilemmas of using new materials (the cost of which can also be a problem) and producing ‘waste’. I always tried to find different ways to re-use and source materials which are considered ‘waste’ or leftovers from previous projects. Soon, these ‘wastes’ became ‘treasures’ for me to work with.

Photograph courtesy of Cos

What processes does the material have to undergo to become the finished product?

The newspapers are first soaked in water and made into a pulp. Then they are mixed with adhesive to create a mixture which is shaped into a mold to form bricks. The PaperBricks are dried and treated for the final form.

What happens to your products at the end of their lives? Can they go back into the circular economy?

To be completely honest, I have not yet seen the end of their lives to give you a definite answer. However, from my experience with samples, they could be turned back into pulp, which could be used again to make other accessories or back into PaperBricks.

How did you feel the first time you saw the transformation from waste material to product/prototype?

It was very surprising to see the strength of the outcome and also how, at the same time, it was smooth and soft in its tactility. I really liked how it held the contrasting characteristics together in one outcome.

How have people reacted to this project?

I really enjoy people’s reaction when I tell them that it is made out of paper. Without any explanation, they tend to mistake it for marble or other mineral material. When they touch it and feel the soft and warm tactility of the bricks, they start to get curious about its true material and are always surprised when I tell them its made out of paper. I would like to see how this project can inspire others to think differently of a material which we are so familiar with. A material which is very much integrated into our lives, such as paper, can also have different potentials if we can just pay a little more attention.

Photograph courtesy of Cos

How do you feel opinions towards waste as a raw material are changing?

With the current COVID-19 situation and through the absence of human activity, our negative impact on the natural environment became much more visible. Re-used waste materials have been praised as a concept for a long time, but real belief and trust in them has seemed rather minimal. I think the current situation could really push people to take much more sustainable choices.

What do you think the future holds for waste as a raw material?

As resources become ever more scarce, and our attention to the environment becomes greater, I believe the demand and attention to waste as raw material will continue to grow. Designers and artists are not scientists or engineers but, as creatives, we can always suggest concepts and ideas which look at things from outside the box, showing the hidden potentials of different materials, breaking down stereotypes around a particular material, and giving positive images for new directions.

Photograph courtesy of Cos

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2020/06/09/circular-by-design-studio-woojai-turns-waste-paper-into-bricks-and-furniture/

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crux-architecture-blog · 5 years

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Crux Architects Business

Legal Structure

Limited Liability Partnership (LLP)

Advantages:

LLP protects the individual members personal assets from the liabilities of the business. LLP’s are a separate legal entity from the members

Once registered with Companies House, the business name is protected from any other business who wishes to use the same name. LLPs are also treated as a legal person meaning it is capable of signing leases, being a party to contracts, owning property & employing people

The operation of the business and distribution of profits are determined through a written partnership agreement between the members. This gives more flexibility in the management of the business

Members within the LLP can be given different statuses. This adds to the flexibility of the way the business can be run

Disadvantages:

LLP accounts must be submitted to Companies House which goes on public record. This may reveal the income of the LLP members which they may not want to be made public

Members of an LLP are taxed on what they receive as a share of income from the LLP – how much is paid depends on where the income leaves them in terms of standard income tax bands. So, 20% is due on any income up to £33,500, then 40% on income between £33,500 and 45% on income over £150,000.

Any profits that are made can not be rolled over to the next tax year and must be distributed among the members

An LLP must always have a minimum of 2 members. If 1 member leaves then the LLP may face dissolution

Private Limited Company (LTD)

Advantages:

Member's liability is restricted to the number of shares they own. They have limited liability

Additional capital can easily be raised by selling shares

The company can continue to trade even if one of its members dies

Shares can be bought and sold with director's approval

The private company has a separate legal existence from that of its owners. It can own property and sue and be sued

This type of organisation has a much higher business status than a sole trader

Disadvantages:

Audited annual returns and accounts have to be made to the Registrar of Companies. All these documents are available for public inspection

A private limited company is more expensive and time consuming to set up than a sole trader or partnership

Professional help will be needed to set up a private limited company

There is separation of ownership and control which means that the owners no longer make all the decisions

There are limited opportunities for economies of scale

Partnership

Advantages:

Partners can agree to create the partnership verbally or in writing. There’s no need to register with Companies House and is less formal and unless a formal partnership agreement has been drawn up, a partnership can easily be dissolved at any time. This gives each partner the freedom to choose to leave if they wish

Each partner will bring their own knowledge, skills, experience and contacts to the business, potentially giving it a better chance of success than any of the partners trading individually

In a business partnership, the partners both own and control the business. As long as the partners can agree how to operate and drive forward the partnership, they’re free to pursue that without interference from any shareholders

In a business partnership, the profits of the business are shared between the partners. They flow directly through to the partners’ personal tax returns rather than initially being retained within the partnership

Disadvantages:

A business partnership has no independent legal existence distinct from the partners. By default, unless a partnership agreement with alternative provisions is put in place, it will be dissolved upon the resignation or death of one of the partners

One troublesome partner could cause difficulties for the other partners, as the action of one partner makes the others liable

Sharing profits equitably can raise difficult questions. How do you value different partners’ respective skills? What happens when one partner is seen to be putting in less time and effort into the partnership, but still taking their share of the profits? It’s easy for resentment to occur if there doesn’t appear to be a fair balance between effort and reward

Although there’s at least one other person to share the worry and workload with, in a partnership business the partners still essentially are the business. It can absorb a lot of time and energy and disrupt your work/life balance, particularly where you end up covering for other partners who don’t have such a strong work ethic

Co-operative

Advantages:

Members are the owners; they have a financial interest in the success of the cooperative which sways them toward giving it their full support

Cooperative members also have a voice in the control of the organisation, they each have an equal say with 1 vote per member regardless of the number of shares held

Limited liability means that members cannot be held accountable for the debts of the business

A co-operative is exempt from tax and surcharge on its earnings up to certain limit

Disadvantages:

Possibility of conflict between members

Decision making can take a long time due to the principle that everyone has voting power

There is a lack of secrecy as all aspects of the cooperative are shared between members

Everybody has to have a mutual investment for the business to run efficiently and smoothly

Conclusion

We have decided to adopt an LLP structure for our business, we like that an LLP offers the protection of our personal assets from the business's debts should they occur. We also like the flexibility the business model offers us as individuals and as the business in itself. We are a group of 7 members so we are not too concerned with the LLP dissolution should one of us leave. We are also not concerned with our finances becoming public record.

The practice

CRUX Architects is a small RIBA practice located outside of Brighton along the A3. Established in 2019 the practice has works primarily in passive housing design. We are an approachable team of skilled architects seeking opportunities to develop sustainable projects. We are interested in delivering environmentally and economically friendly solutions. We carefully listen to the client’s goals. Our mission is to fully understand the client’s brief. We are aware of the importance of meeting cost constraints. Challenges must be resolved before proposing initial ideas. We are a friendly practice that are happy to communicate with clients, planning and construction teams. Receiving feedback is essential to us in order to improve the scheme. We have experience in a range of architectural services. Our projects include extensions, renovations and new build commercial and residential projects. We work jointly together and can recommend the client local trusted contractors and consultants. Improving the environment and achieving comfort-ability for the user are key principles for CRUX Architects. We intend to continue expanding and designing low-energy and cost-effective buildings that achieve the global sustainability targets.

Aims:

Deliver innovative and sustainable projects.

Reduce the ecological footprint of the buildings.

Understand the construction site environment and climate.

Avoid heat loss by integrating passive systems in the scheme.

Propose solutions for future-proofing the building.

Values:

Fully understanding client and project demands to reach an affordable high quality project.

Keep the client informed throughout each of the project stages.

Take into consideration feedback and modern resolutions and apply them to the scheme.

Passion for designing buildings that enrich the environment and user.

Beliefs:

Architects have the ability to decrease the environmental impact of buildings operation and construction.

Passive housing is a key example of architecture that can benefit the global built environment sustainability footprint.

Our team is devoted to providing sustainability guidance and assistance in achieving low energy buildings.

It is important for our projects to adapt to future challenges such as climate change, energy resources and technology development.

Offered Services:

Architecture and interior design feasibility

Budget and management study

Planning Application submissions and advice

Drawing packages for construction

Technical information

Builders construction quotes

Building Regulation submissions

3D visualizations

Consultation meetings

Project management

Areas of expert skills include:

Brief exploration

Site analysis

Critical review

Zero-energy buildings

Passive strategies

Design opportunities

Planning knowledge

Sustainability quality

Technical expertise

Marketing:

Social networking site and blogs are Crux Architects primary source of interacting with customers and other users. We are interested in the way we use online marketing to present ourselves. It is cost effective as our team members have the aesthetic and graphic design knowledge to produce an original layout for our practice website with high quality images. Our website targets the audience with information about our studio, services, location, contact, projects, skills, flexibility, vision, awards and nominations. Our company engages with the visitor by receiving filled in forms offered on the website. As a team we know how to motivate and learn from each other. We are open minded to different successful marketing opportunities. We will pay the RIBA and ARB to advertise our architectural services. As we expand we will recruit business partners and employees. We always show appreciation towards loyal clients by keeping them updated and offering discounts. Customers, satisfied with our services, can recommend us to potential clients. We are keen on gaining visibility to the public by having our portfolio exhibited in galleries, shown by the press or on the news.

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