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purpletalewasteland · 5 years

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Why do you believe jerklie is fake? As in depth as you can please. She’s the one factor I don’t feel confident in. I believe Gaylor, that toe is bs, that Kaylor was real at some point. Where I lose faith is that Karlie and Josh aren’t together. As ridiculous as the wedding was, sometimes they look happy together. Could be they’re just really good gay bff’s.

Sorry it took me awhile to answer, but I didn't want to just write some half-assed response and I have been busy...

To be totally honest, I don't actually know know, so I'll start by saying that. But everything about their interactions scream disgenuine to me, especially prior to the engagement. The biggest thing for me is just "gut", but that's a pretty weak argument that leaves a lot of holes, so I don't expect to convince anyone based on that. Look, I'm fully aware that my answers here are fuel for the anti's, because they're just not sound arguments, and moreso just based off observations and personal inferences. So take it all with a grain of salt.

The thing with these two, is that their interactions leave me the same way that "Shawmila" does. Feeling weird and icky and sad. I'll also say that I know exactly what you mean, because while I don't think they're a real couple, it seems like they're better at playing the game now. But anyway, a few reasons immediately come to mind.

1. She didn't really seem to acknowledge him for a long portion of their relationship. I understand being private, I really do. But if your answer to a question about Grace Kelly is asking where your prince charming is, all while you're in an actual long term relationship, is that really an appropriate reaction? I of course understand making jokes, but that would be kind of hurtful, wouldn't it? And I don't need to mention that the guy happens to be rich, which is kind of a factor in the prince charming fantasy 🙄. Or when you get extremely awkward about being asked how to land a guy when you're so busy being a supermodel, and you avoid it by passing if off to the other girls, more than likely because you cant relate to the question whatsoever (and really could just answer in general terms without getting into your own "specifics")... It's just not typical of someone in such a long term relationship, whether or not you're private about it, whether or not you've got superb PR training. Then there's a lack of being publicly involved with him other than in random pap photos (see below), and also promoting a bunch of his investments.

2. The pap pictures. iirc, there was a post where you could see that she walked to his hotel and then they started their stroll for the paps, which is super odd behavior for a real couple. Why aren't you together to begin with, it's just weird to me. They never even put in effort to seem like a real couple in their early pictures, they just existed in one space at the same time. She was trying to build her brand and create a public association, but I think it's safe to say he was trying to do the same.

He was never pictured in her family gatherings or more personal/intimate events. If he was willing to be a public figure (why do you need pap photos and an entertainment based manager if you don't want to be involved in that world?), he was willing to be linked to her, and willing to be photographed with her, I don't know why you would draw the line at privacy.

And, it's weird how they seem(ed) to post pictures that have been chosen from an over-used batch of stock images, rather than natural, non professional/casual event pictures of the two of them.

3. Then they took their previous strategies and started amping it up during, and prior to, the engagement era. The pap photos increased, suddenly they were pictured being "intimate" and kissing (ew), there were more frequent mentions, she actually started acknowledging him, it was all amped up. Yes, one could argue that by becoming more serious, they decided to make their relationship more serious and bring it into the spotlight. But they had already been together for several years, so I don't understand why that would make a difference, unless they were just super casual for years and just using the relationship for public relations ? That still stinks a bit to me.

4. Included in this increased effort was a very quick engagement, and then a half assed wedding. To me, it seems natural that if you're not rushing to get engaged, you wouldn't rush to tie the knot. You would give your damn designer more time than a rush order for 3 weeks, would you not ? And why was that such a short timeline ? Why even go through with the first one if you're planning on waiting for a bigger one later ? I mean, why?? It just doesn't add up. Clearly there was some kind of deadline happening behind scenes, even if you think they're real, something was going on there. I also personally believe that it wasn't supposed to leak out that day, and we probably would have seen a different unfolding of events had things gone differently. The latergram wedding video at least showed there was more than what we had originally seen, but I also find it strange that the photos from that day have been the same.

4. Despite this increase in effort and the "wedding", the fact still remains: there's no chemistry. I'm sorry, but there isn't. That's not a reach. It's not wishful thinking. I'm not being rude. They just don't have chemistry. Those kissing photos ? It looks awkward and uncomfortable. That tells me something is up. I know it's mostly photos, but I still don't see genuine connection. It's just not there. This is the biggest factor to why I personally don't think they're real, whatsoever. There's one photo of them in particular where it's just so glaringly obvious they have no feelings toward each other and just can't possibly be each other's type. But maybe that's presumptuous of me. I hate stereotyping and making judgments, so I won't say it, but I'm sure you can pick up what I'm laying down.

I know that doesn't answer your question, because you want to know why I still think they are fake, despite Karlie's sudden acting chops and they're commitment to the stunt.

But I have a few other things to add.

For one thing, Karlie's public persona shifted around the time of the engagement. She used to be very friendly with other models, she had lots of friends in Taylor's crowd, she posted more genuine moments of having fun, etc, and more recently, a lot of that side of her has gone dark. When she posts something about friends, it's usually another client of Scooter's, or someone with whom she has a business relationship. I believe this is because her friends didn't want to partake in the farce, and don't want to be associated with that nastiness. It's a natural progression for a model to stop walking in shows when their career amps up, but it seems like her entire approach to her career and business has shifted around the same time. I think she's focusing on being more of an influencial figure in the media, rather than a model per se. I do think these things are connected. I think she finds a level of comfort and connection to the industry by being associated with that crew.

On that note, is it possible that they're like a fake fake couple, as in legitimately pretending to everyone that they're together even though everyone knows they aren't, and they sleep in separate bedrooms and it's all just convenience and there's no sex but there's an open door policy for both parties to just do what they want in their own free time and probably have side relationships? Sure. But if that's the case, then I would think Karlie wouldn't be in her own long term relationship with Taylor.

I do think it's possible that they are actually friends. In fact, I think this is very likely, as she doesn't look like she wants to die when she's pictured with him. She seems comfortable enough traveling with him and doing these stunts, so something in her has shifted to give her the ability to switch codes so well. Of course we don't want to think that, but I think she's probably just bit the bullet and decided to make it easier on herself.

So where does that leave us ? Obviously there's a lot about this situation that we know nothing about. The guy is a crook, we can all agree on that. Sadly, in Hollywood/wealthy land, being a shady fuck doesn't have quite the same reaction that it does in the real world. Money talks, connections talk, and so does that yacht money. Why is Karlie a willing player in this game ? Has she realized that the Trump association clearly doesn't cause as many issues as we may have assumed back in 2016? Has she chosen to continue this sherade because it's done wonders for their goal of erasing Kaylor connections? Has she chosen the path of least resistance because it's been a long few years and she's too tired to fight anymore? Has she decided she doesn't have the ability to reach the desired heights of her career with just her own hard work and merit ? Is she actually just not a good person and totally fine with rolling around in corrupt money and laughing straight to the bank ? *This one hurts*, but has she lost a big part of her life and has thus decided she no longer has anything to lose, so why the fuck not ? I don't know. All these things run through my mind, and I wish we had some form of an answer, but sadly don't think we will anytime soon.

I really don't know, anon. I read through my answers here and realize I'm not actually so convinced myself, anymore. Of the four things I said yesterday I was so sure of, this one is the one I'm least sure of, though I would think if they were "real" it would be more of the platonic scenario I described above, and not an actual loving relationship. Karlie is a loose cannon. We don't have brilliant lyrics to analyze and look to for answers. We don't have a history of patterns to look at, to try and find holes in the narrative. It's just a different game here.

Now, if the entire plan all along has been to erase the Kaylor connection, to even make us Kaylors doubt, then they've done a brilliant job of that. Because it's glaringly obvious that she's losing our support and faith.

I'm sorry that I can't give you more than that.

#ask #kaylor #jerklie #the ultimate question mark

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sylleboi · 4 years

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𝕬𝖚𝖙𝖔𝖒𝖆𝖙𝖎𝖈 𝖊𝖓𝖈𝖔𝖚𝖓𝖙𝖊𝖗𝖘 | 30/03/20

For this week, we have a new workshop to do, tying into the first brief (Pick & Mix), focusing on surrealism and the theories linked with this by psychologist Sigmund Freud.

vimeo

Attached was the following text written by our teacher to introduce this workshop and the tasks that come with it;

“After a successful week with the post it note comic, and some excellent write ups that are really well documented, this week's task revisits some of the work from Term 1 (as we started in our drawing sessions) with some of the ideas stemming from Surrealism, dada and the psychoanalytical theories of Sigmund Freud.

This task is presented by Bristol based artist & animator Will Barras who will be offering commentary on your work at the end of the week. Follow the PDF attached and work through the tasks at your own pace. You have all week so take your time and experiment as much as possible.

We have more challenges to come, so try to put time into these as they will form the main body of your experimental work.

Upload your results and be as creative and imaginative as possible, but most importantly let go and embrace the ride.

Good luck peoples!”

Consider the primary objectives of a Final Project:

Collect information (Research)

Recall knowledge (Use learning)

Apply understanding through application and review (Propose & make exciting work and evaluate it)

I find that the above points refer to a simplified process of working through meet the final goal that is set by the FMP, althought this also applies to workshops and side projects that gets documented on this blog, as well as the productionfile.

Question: Are you doing these things and how can we improve and develop this?

I feel that I already do these, althought I yet have to further improve on evaluating the things I do, asking “Why” more often.

Answer: Experimentation - (The action or process of trying out new or revisiting ideas, method and activities)

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This weeks aims & objectives:

To review basic principles of automatic practice in relation to a specific artist

To experiment with working from abstract starting points

Be generate experimental work that shows progression of learning

To compare your work to the work of others

The surrealist/dada movement was an art movement, as well as a literary movement, that began around 1915 - 1917. Some of the key artists leading this movement was Hannah Höch, André Breton & Max Ernst. The movement aimed to break free from the chains that weighed down everyone during the great depression- The artistic field had now begun to evolve into a playground for ones’ imagination, challenging what used to not be acceptable in common culture.

Accident & chance

Embracing Improvisation (What does improvisation mean to you?)

BEING AUTOMATIC!

Surrealist automatism is a method of art-making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway

Unlocking the unconscious mind.

In Sigmund Freud's psychoanalytic theory of personality, theunconscious mind is a reservoir of feelings, thoughts, urges, and memories that are outside of our conscious awareness.

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𝕽𝖊𝖘𝖊𝖆𝖗𝖈𝖍:

This weeks challenge for experimentation is bought to you by Bristol based urban artist and animator Will Barras. Your task is to analyse his work, considering the effect of the visual language (how he uses line and tone for example). Find out about him and considering the aforementioned surrealist principles write a short statement to suggest how he uses those principles in his own work.

Will Barras

vimeo

Illustrator, artist and animation director, Will Barras, currently lives and works in London, althought he grew up in Birmingham and later moved to Bristol to study graphic design. He quickly became known for being part of a group of young artists, working within Bristol’s street art scene. This then led to him appearing in a book titled “Scrawl”, alongside the artists Steff Plaetx and Duncan Jago, becoming a core and founding member of the Scrawl collective. “Scrawl”, originally published in 1999, was an influencial book made to document a new movement in street art, graphics and illustration.

Barras was selected to be one of the original artists for this collective. He was selected due to being renouned for his methods of portraying fluidity in movement. He also worked closely with creating pieces that were more narrativly driven compositions, incorperating such narratives into his line work. Barras’s unique composition of these three key elements, made his mark as an artist all the more inspiring, pushing new ideas against the grain of classic art. All of this has led his work to become staple pieces in many galleries across the globe. This includes Asia, Europe and the U.S.

He has painted a variety of different murals around the world, within this mix is one that he did with the members of his Bristol group at Tate Modern’s tubine hall, as well as one that he did for Pow!Wow! Festival in Taipei. In the studio Th1ng, located in central London, he worked as the head of animation.

Visual analysis and study:

His artwork has a very recongnizable style and feel to it. It has an urban flare to it, making it feel very fitting within the scene of street art.

“A big barn I painted in Dumfries with Amy Winstanley for the Spring Fling festival and Recoat gallery based in Glasgow.

http://www.amywinstanley.com

http://www.spring-fling.co.uk

http://www.recoatdesign.com”

The painting below has little information about it, as for what I can find, but somehow the piece almost speaks for itself. The play on perspective, composition and values is very eyecathing. It impresses me how he is able to convey motion to such an extend that you can almost just imagine it moving before your eyes, but perhaps that’s just me.

“#divinestyler #defmask #gammaproforma #kallenbachgallery”

I attemped to do some simple continuous warping animation to convey what I mean a little better:

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𝖁𝖎𝖘𝖚𝖆𝖑 𝖆𝖈𝖙𝖎𝖛𝖎𝖙𝖞:

01: Using a wide brush create a large sheet of accidental/automatic/ unconscious blots & splatters, organics shapes and curvaceous marks using a range of coloured ink/paint. The brighter and more acidic the better!

Because of the fact that I don’t have paper made for paints/ink, I decided to try doing this task digitally- simulating the analogue look of watercolour or watered down ink, or even arcrylics.

I did this by using a variety of different watercolour brushes, made to emulate the look of the analogue mediums. I used them as randomly as I possibly could, trying not to plan where I would put the next brush stroke.

Once I had put down all the paint stokes, I then went over it while the layer was locked with a big soft edged brush, layering up different colours until I was happy with how it looked.

02: Make 3-4 sheets of these and then let them dry.

Digital 01:

Digital 02:

03: Then using fineliner develop these marks into faces/characters/scenes by adding details/features and developing these into detail illustrations that are spontaneous and free flowing.

For the linework, I primarily used one single brush; hard edged and circular. (The one selected in the picture below)

I chose this for the reason being that I have found it to be very responsive to the use of a drawing tablet & pen. It does a good job at making expressive lines with its tilt sensitivity, making it a pleasure to use; It reminds me of how brush pens work and feel.

Here are a few tests on some of the lines I can create with it;

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Digital 01:

Digital 02:

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Digital 02: Process

1. I have always found that beginning these blob doodles are the most diffucult for me. Perhaps because it takes me a little while to really get into the flow of continously seeing images in the randomness.

2. I began from the left, slowly working my way to the right and the top, since I felt that I had more clear lines to go from being around the edge of the paint.

3. Eventually I braved it and went right for the middle of the piece. This was the turning point for me in the process of doing this. It enabled me to truly let get, have fun, and not feel intimidated and nervous to do the next doodle.

4. This is when I began drawing creatures of the sea, slowly building up a story/narrative.

5. I don’t actually remember what I was even thinking at this point anylonger- I was simply just letting the pen guide me around the canvas; letting it all flow together however it felt as to do so.

6. I began to delve into the little details. I felt as if they would add to the general flow of the piece; being busy, yet in a manner that lets your eyes wander with curiosity.

7. I was now moving on to doing the right side of the piece. I had a little more trouble visualising the top right corner, so I did that last.

8. At this point I felt a little stuck as to what to do, hence it being, yet again, dedicated for adding some more little details here and there.

9. Eventually I overcame the frustration I had built up and took to do the right side of the artwork.

10. I tried to convey motion and flow by the way the animals are positioned and posed, trying to make it calm in the middle where the girl is, and then busy/chaotic the further away you get from her.

11. This second to last step was, again, for adding detail. I wanted to fill up any bits that I felt appeared too empty and spaced out, so to no disrupt the feeling of flow in the painting.

12. With the inking done and rendered to my satisfaction, the last step was to play around with colours.

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Digital 01: Colour variations

Digital 02: Colour variations

04: Scan/photograph and upload to Moodle.

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𝕱𝖎𝖓𝖆𝖑 𝖗𝖊𝖛𝖎𝖊𝖜 𝖆𝖓𝖉 𝖗𝖊𝖋𝖑𝖊𝖈𝖙𝖎𝖔𝖓:

Which of these words would you use when discussing the work of Will Barras and your own art pieces:

I would most definitly use;

Organic/Fluid

Figurative

Automatic

On top of these I would probably add;

Harmonic

Dynamic

Epochal

Visionary

Can you construct a comparative sentence/paragraph using at least 5 of these words. What are the differences and similarities between the works you have created. What conclusions did you make about this experimentation?

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hellzyeahthewebwieldingavenger · 5 years

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What do you think the perception of Slott’s run will be in the future?

Just read someone’s post about how it will be seen as essential, and I’m like ‘No, just no. The man with so little understanding of how humans work whose idea of success is living off what a villain created while he wore your body like a meat bodysuit for a whole year mustn’t get that kind of recognition.’

Sadly I think it will be seen positively. As for how essential it will be that will depend, and I mean two different things by that.

Firstly it will depend upon how much of it will stick around in Spider-Man lore and wider media. By the looks of it I think it will be influencial for years to come. Superior Spider-Man alone as bad as it was, is such a famous and stand out idea that it’s always going to be referenced in every potted history of Doc Ock in the future. The best Spidey video game ever borrows a lot from his work. The first animated Spidey movie, which is also one of the best ever, at least borrows the name of one of his famous stories.

Secondly it will depend upon how we define ‘essential’. Even if you discount BND, Slott’s run is both a run and an era unto itself due to it’s length and how different parts of it are. Big Time, Superior, post-Superior, Parker Industries, post-Parker Industries, etc. It was nearly 10 years straight of Slott shit. To skip his run would be to bypass a huge chunk/huge chunks of Spider-Man history.

Moreover even if one were to do that Spencer’s run and consequent stories have made use of Slott lore a lot, even if it’s just to clean it up. Nick Spencer’s run literally doesn’t make sense if you have no knowledge of Slott’s work. In that sense it’s like the Slot saga, you can’t skip the clone saga and then follow Spider-Man history along just fine because stuff like Doc Ock’s resurrection or Norman Osborn being alive wouldn’t make any sense.

What you gotta understand is having a legacy, or being essential, doesn’t mean the same thing as making positive or well written contributions.

What you also gotta understand is from early on Slott was consciously more concerned with being remembered for his run on Spider-Man than he was with actually making the run itself any good.

His ideas weren’t designed around being great stories, they were designed around being buzzworthy and impactful. Things that would grab the attention of comic book news sites and would inevitably be mentioned in info books and character bios in the future.

Put it to you like this if you have to write a one page handbook biography of Doctor Octopus are you going to mention that great Negative Exposure mini-series where he manipulates a shady photographer or are you going to mention Superior Spider-Man and him joining HYDRA?

If you were enough of a hardcore Spidey fan to regularly read ASM but not hardcore enough to analyze the stories much odds are you will forget that great JMS issue about Spidey helping out a young kid and MJ getting rejected from a acting role but love it or hate it you couldn’t forget that time Spider-Man had a sidekick.

Or that time every Spider-Man teamed up, or that time Spider-Man had his own company, etc.

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thedaliaabdelwahab · 5 years

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Research Assignment - How to Look at a Photograph

[FOR THE COURSE “PHOTOGRAPHY FOUNDATIONS 1”, TAUGHT BY @rclose01].

For this research assignment, I will be analyzing 5 photographs.

WORLD PRESS PHOTO OF THE YEAR 2006, SPENCER PLATT.

This picture ties in with the concept of “photos telling the truth”, as it allegedly portrays the atrocities of war in a rather realistically surreal manner by showcasing a group of young Lebanese adults passing by a bombed building in Southern Lebanon. The picture was chosen as the World Press Photo of the year 2006 for, as jury chair Michelle McNally puts it: “[Being] a picture you can keep looking at. It has the complexity and contradiction of real life, amidst chaos. This photograph makes you look beyond the obvious.”

TROLLEY — NEW ORLEANS (1955), ROBERT FRANK.

Designated by Time Magazine as one of the 100 most influential images of all time, “Trolley — New Orleans” depicts the racial segregation that was dictated by Jim Crow laws in the United States - tying in with the concept of “images having hidden meanings”. The power of this photo depicting how widespread institutionalized racism was at the time got even more amplified by the fact that it was taken a few weeks before Rosa Parks refused to give up her seat on a bus for a white man, an act that was highly influencial in American history.

THE INNOCENTS (2002), TARYN SIMON.

The creator of this project launched it as a response to the concept of “photos tell the truth”, which was the primary reason behind the wrongful incarceration of many. All of the pictures in this project depict wrongfully incarcerated individuals in the crime scenes of the crimes they never committed, in an attempt to reclaim what was lost from their lives as a result of wrongful conviction and imprisonment.

MEMPHIS (1970), WILLIAM EGGLESTON.

The concept of “spontaneity vs. setting up photos” heavily comes into play when it comes to William Eggleston. While all of his photos, “Memphis” included, are shot in natural lighting, Eggleston made it a point to always stage his subjects in a manner that makes his pictures appear spontaneous, making his photos both staged and natural simultaneously.

A FAMILY ON THEIR LAWN ONE SATURDAY IN WESCHESTER (1968), DIANE ARBUS.

Taken from a Sunday Times Magazine special issue tackling the family, there is more to this picture than what meets the eye, tying-in with the concept of “having hidden meanings”. Arbus herself believes that this is not just a picture of a family enjoying a normal weekend, but rather a metaphor for how the parents are “dreaming their child”, and how the child is “inventing them”.

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marquise-de-clarabas · 6 years

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Nadar exposition: Victor Hugo

So I went to the Nadar (Félix Tournachon of his real name) photo exposition with my dad (basically Nadar was a photographer during the XIX century who did all of the portaits of the famous people of the time. The drawing above, made by Daumier (a great artist of the time), depicts him "Raising photography to an art", as he also was a pioneer in the medium, and often used his hot air balloon to take picture. But let's get to the subject

He took the more famous pictures of Victor Hugo, so much that Hugo used them in his business cards (and he scratched the address of Nadar's office. Rude)

Nadar was also an caricature artist. He put Hugo in the front of his "Panthéon Nadar" (an incredible piece of caricature with more than 250 influencial artists of the time!) You can also see in this fragment Alexandre Dumas and son, as well as Charles Baudelaire and the bust of George Sand (yes the women in this piece are represented as statues. Don't ask me why)

But all good things comes to an end. Nadar and his son Paul took the picture of Victor Hugo on his death bed, and his son tells the process.

In this drawing you can see Paul Nadard highlighting the model, while the outside light is obscured by a black sheet.

Bonus: as we came home we saw a rainbow outside of Notre Dame

Would you like to hear more about the exposition? I can make another post if people are interested

#victor hugo #les misérables #les miserables #notre dame de paris #nadar #photography #xix century

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the-djinn-inside · 5 years

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Giomis modern au

Where giorno is a model who is starting to become popular, also working as an actor in small roles and stuff and mista is a photographer. And it would be mostly centered around giorno and how his rise in popularity would help him affect a lot of people, he would tell his strong opinion about the governement and would also kinda become the male version of jameela Jamil. Basically he would be runing around beeing super serious and influencial all the time and mista would be here to calm him down and keep him grounded.

And i want mista to tweet horrible puns at the beggining of every chapter.

#giomis #giorno giovanna #mista guido #vento aureo #jjba #jojo bizzare adventure #modern au #giomis au #giomis fic idea

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kewlguy2012 · 5 years

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One of @illustradomagazine most influencial photographer @acereyesx #sketch #fashionillustrator #fashion #art #model #drawing #loveofart #handpaintedwithpassionandlove #fashionforwarddubai #talentadongpinoyworldwide #talentadongpinoyindubai #dubai2019 #proudtobepinoy (at Burj Khalifa) https://www.instagram.com/p/Bt303kTBR1N/?utm_source=ig_tumblr_share&igshid=1r1wfx5wuphsh

#sketch #fashionillustrator #fashion #art #model #drawing #loveofart #handpaintedwithpassionandlove #fashionforwarddubai #talentadongpinoyworldwide #talentadongpinoyindubai #dubai2019 #proudtobepinoy

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ulyanastreetgame · 6 years

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Ulyana Sergeenko (4th from left to right) photographed by Danil Golovkin for Tatler Russia September 2018 cover.

The magazine celebrates it’s 10th anniversary with ten of the most influencial Moscow woman and former cover girls: Julia Vysotskaya, Tatiana Navka, Lena Perminova, Ulyana, Renata Litvinova, Ksenia Sobchak, Maria Vinogradova, Olga Slutsker, Tina Kandelaki and Svetlana Bondarchuk.

Ulyana has been on the cover of Tatler Magazine twice: for the December 2012 and December 2017 issues.

#UlyanaWears for the cover: Max Mara Fall 2018 fur fringed coat and Jimmy Choo “Romy” velvet shoes ($ 725). For the editorial: Max Mara Fall 2018 Ready-To-Wear rosé fur coat; Mercury “Color Collection” ruby and diamonds ring, emerald and diamonds ring.

#Ulyana Sergeenko #ulyana street game #ulyanawears #Faidee #max mara #jimmy choo #photoshoot #danil golovkin #Tatler Russia #magazine cover #2018

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architectnews · 2 years

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House in Sta Joana, Aveiro Real Estate

House in Sta Joana, Aveiro Real Estate Building, New Portuguese Architecture, Portugal Residence Photos

Sta Joana House in Aveiro Real Estate

4 Apr 2022

Architects: NU.MA, architects

Location: Sta. Joana, Aveiro, Portugal

Photos: Ivo Tavares Studio

Sta Joana House, Portugal

In a street marked by a vast set of housings for the working class, the sense of repetition and systematization of the construction process is a strong characteristic here. NU.MA, architects wanted to follow the same idea … repetition/systematization when designing Sta Joana House.

The whole proposal started from a morphological condition of the terrain. This condition influenced, the programmatic and volumetric shape of the building.

In terms of location, the building is developed longitudinally and adapts itself to the terrain shape, creating and defining its boundaries.

The option to “close” the house to the street creates a sense of privacy and isolation. In our view, this should be one of the purposes and concepts of inhabit… to create a refuge where we feel good. Thus, the house is facing to the street only the main entrance area and the car access. The remaining program, of an intimate nature, turns to the interior of the terrain.

The general program is divided by its function. The social area is closer to the street and comprises the entrance hall, toilets, laundry, kitchen, common room and the access to the garage. And the private area, away from the street, with a reading area, sanitary facilities, rooms and the master suit.

Concerning the shape of the building, the house was designed to create 3 main volumes that are oriented from north to south, each with a inclined roof system. The exception arises with the volume of the garage that closes the land to the north.

These shapes are reflected on its interior, creating clarity and hierarchy of spaces

Descrição do projeto (PT) Numa rua marcada por um vasto conjunto de habitação para classe operária, o sentido de repetição e sistematização do processo construtivo, é uma forte característica deste arruamento. Quisemos trazer para o projecto essa mesma ideia… repetição/ sistematização.

Toda a proposta partiu de uma condicionante morfológica do terreno. Esta mesma condicionante influenciou em termos programáticos e volumétricos, todo o projecto de arquitectura. Em termos de implantação, o edifício desenvolve-se no sentido longitudinal e adaptando-se à forma do terreno criando e definindo os limites do mesmo. A opção de “fechar” a casa para a rua, fez com que se criasse um sentido de privacidade e isolamento. A nosso ver é esse o propósito do conceito do habitar… criar um refúgio onde nos sintamos bem. Assim, a habitação tem apenas voltada para o espaço publico, a zona de entrada e o acesso automóvel. O restante programa, de foro íntimo, volta-se para o interior do terreno.

A distribuição espacial interior resume-se à separação da forma por função. A zona de social fica mais próxima do arruamento e é composta por Hall de entrada, instalações sanitárias, lavandaria; cozinha, sala comum e o acesso à garagem.

Numa zona mais recatada e afastada do arruamento, surge a zona mais privada da habitação, composta por zona de leitura; instalações sanitárias, quartos e suite.

Em termos formais, a habitação foi pensada por forma a criar 3 volumes principais que se orientam de norte para sul, cada um com um sistema de cobertura de duas águas. A excepção surge com o volume da garagem que faz o fecho ao terreno a norte.

Estas formas refletem-se no seu interior, originando clareza e hierarquia dos espaços.

Sta Joana House in Aveiro, Portugal – Building Information

Architecture Office: NU.MA, architects – https://www.numa.pt/ Main Architect: Nuno Silva E-mail: [email protected] Facebook: https://ift.tt/dNkDb81 Instagram: https://ift.tt/q7vrk1P

Location: Sta. Joana, Aveiro Year of conclusion: 2020 Total area: 230sqm

Architectural photographer: Ivo Tavares Studio Facebook: https://ift.tt/DNrjwi9 Instagram: https://ift.tt/LMNjfPV

House designs

House in Sta Joana, Aveiro Real Estate images / information received 040422

Location: Sta. Joana, Aveiro, Portugal, south west Europe

New Portuguese Architecture

Contemporary Portuguese Architecture

Portuguese Architectural Designs – chronological list

Lisbon Architecture Tours by e-architect

Portuguese Houses

Selection of interesting Residential Projects in Portugal:

Casa Salicos, Carvoeiro, Algarve Architects: STUDIOARTE photo : Da Cruz Photo – Luís da Cruz New House in Algarve

Houses in Calçada dos Mestres neighborhood, Campolide hill, Lisboa Design: Orgânica architecture office photograph : Do Mal o Menos Houses in Calçada dos Mestres

Portuguese Architecture

Casa Moreira Architects: César Machado Moreira architect photograph : José Campos New Home in Porto

Ring House Design: Vasco Cabral + Sofia Saraiva photograph : José Campos New House in Santarém

Contemporary Houses

Lisbon Buildings

Porto Buildings

Portuguese Architect Studios

Comments / photos for House in Sta Joana, Aveiro Real Estate property design by NU.MA, architects – architecture network page welcome

The post House in Sta Joana, Aveiro Real Estate appeared first on e-architect.

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njmhukhgmibjhdcfbygncbngfh · 3 years

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On the 9th of December I want for a 1 day trip to Cracow, to be present during the photo session of the clothing collection I was honored to work with for previous months. I was a model, but also an assistant in directing the photo-shoot. During the day I finally met in person Paulina Ołowska, currently one of the most influencial among polish artists; I also met Agata Grzybowska, a photographer, very much known recently for being taken into custody for taking part in an 'illegal' march against inhuman laws forbidding abortions. What is more, I made friends with people from Cracow's Arts School.

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dpdanielpinheiro · 4 years

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Lords, mais uma rúbrica do #gettoknow, e hoje trago mais um criador de conteúdos! O Fábio Sengo, tem 25 anos, é lojista e vive em Almada, e é um criador de conteúdos da áera de moda, e pode dizer-se também de Lifestyle! Vamos conhecer um pouco melhor o Fábio?

Lords, another rubric from #gettoknow, and today I bring you another content creator! Fábio Sengo, is 25 years old, is a shopkeeper and lives in Almada, and is a content creator of the fashion area, and can also be said of Lifestyle! Let’s get to know Fábio a little better?

1. Como tudo isto começou, e de onde surgiu a ideia de te tornares um criador de conteúdo? / How this all started? And from where you hot the idea of turning into a Content Creator?

Fábio – Na verdade nunca pensei de forma voluntária em ser ou me tornar em um criador de conteúdos. Tudo começou naturalmente, em 2012 criei o meu Instagram onde partilhava fotografias “banais” como muita gente o faz, apenas em 2015/2016 é que comecei a perceber que talvez algumas dessas fotografias fossem mais vistas e apreciadas pelas pessoas que me iam seguindo.

Fábio – I never really thought voluntarily of being or becoming a content creator. It all started naturally, in 2012 I created my Instagram where I shared “banal” photographs as many people do, only in 2015/2016 did I start to realize that perhaps some of these photographs were more seen and appreciated by the people who were following me.

2. Quais foram / são as tuas influências nacionais e internacionais para a inspiração? Seja em estilo como em criação de conteúdo. / Which were / are your national and international influences for content creation?

Fábio – Para já tenho que dizer que o facto de tu acordares às 6h/7h da manhã para fotografares com tripé pelas ruas, isso é motivador para mim e creio que para muitos que te acompanham. A nível internacional quem nunca ouviu falar do Mariano Di Vaio? Comecei a seguir muitos dos seus looks e foi graças a ele que me inspirei em criar os meus. Fora essa grande referência eu tenho vários tópicos de influência seja a nível de Travel, lifestyle ou moda. Alguns deles são: Moritz Taylor, André Hellmundt, Fabrizio Aldo Belfiore, Manuel Fiori, Louis Darcis, entre outros.

Fábio – For now I have to say that the fact that you wake up at 6 am / 7 am in the morning to shoot with a tripod through the streets, that is motivating for me and I believe that for many who accompany you. At an international level who has never heard of Mariano Di Vaio? I started following many of his looks and it was thanks to him that I was inspired to create mine. Apart from this great reference, I have several topics of influence, whether in terms of Travel, lifestyle, or fashion. Some of them are Moritz Taylor, André Hellmundt, Fabrizio Aldo Belfiore, Manuel Fiori, Louis Darcis, among others.

3. Já tive a oportunidade de falar contigo, e ver que nós assemelhamos em certos princípios! Como foi para ti essa viragem? Esse ponto de deixares o que te fazia mal e focares o que te faz bem? | I had a chance of speaking to you, and i know we have similar principles! How was for you that turning point? That point of leaving what was hurting you and focus on what is good for you?

Fábio – Bem, acho que este tema dá pano para mangas, mas vou tentar ser o mais breve possível… Confesso que sempre fui uma pessoa demasiado preocupada com a opinião dos outros. Isso acabou por me limitar em algumas ocasiões na minha vida com receio do que os outros achavam/pensavam. A partir de uma certa fase da minha vida percebi que muitos daqueles que te “rodeiam” por vezes não são aqueles que te “apoiam”, então foi aí que comecei a fazer, exprimir e essencialmente a criar de mim para mim. Cheguei a “perder” muitos “amigos”, que na verdade fizeram-me ganhar percepção daquilo que eu queria para a minha vida. Na realidade, a seguir os meus sonhos e a fazer aquilo que realmente me faz feliz.

Fábio – Well, I think that this theme gives a cloth for sleeves, but I will try to be as brief as possible … I confess that I was always a person too concerned with the opinion of others. This ended up limiting me on some occasions in my life for fear of what others thought / thought. From a certain stage in my life, I realized that many of those who “surround you” are sometimes not those who “support” you, so that’s when I started doing, expressing, and essentially creating for me. I even “lost” many “friends”, who actually made me gain insight into what I wanted for my life. In reality, following my dreams and doing what really makes me happy.

4. Qual é para ti a maior dificuldade em criar conteúdo? E já agora, qual a maior facilidade? | What is your biggest difficultie on creatin content? And also, the easiest thing?

Fábio – Maior dificuldade é sem dúvida arranjar disponibilidade para fotografar, sendo que a minha vontade é sempre 200%. A maior facilidade, para mim é o pousar para as fotos (Pode até eventualmente haver outras facilidades na criação do meu conteúdo, mas juro que esta foi a primeira que me veio à cabeça).

Fábio – The biggest difficulty is undoubtedly finding availability to photograph, and my will is always 200%. The easiest thing for me is to land on the photos (There may even be other facilities for creating my content, but I swear this was the first one that came to mind).

5. Para este trabalho o que consideras fundamental? Qual o erro que tentas não cometer? | For this this work, what is for you fundamental? Is there a mistake that you try not to comit?

Fábio – Criatividade, dedicação e empatia com o público.

Fábio – Creativity, dedication, and empathy with the public.

… vou pegar no que faço e nessa dedicação para poder abranger mais áreas e tirar proveito disso.

6. Fazer disto a tua vida, é algo que tens como objectivo? Ou Queres fazer algo mais? Se sim, o que? | Doing this as your only job, is something that you see as a Goal? Or you want to do more than this? If yes, What?

Fábio – “Isto” que eu faço, eu fá-lo com 200% de dedicação e se a minha vida de alguma forma dependesse disso então claro faria “disto” a minha vida. Mas na verdade eu sei que em Portugal esta área é um pouco ingrata para nós que dedicamos horas em criar, então vou pegar naquilo que faço e nessa dedicação para poder abranger mais áreas e tirar proveito disso. Talvez um negócio próprio de vendas, a minha própria marca de roupa / acessórios ou até mesmo apostar no ensino, onde eu pudesse ensinar/incentivar e ajudar todos aqueles que de certa forma querem começar a desenvolver a sua área de criador de conteúdos.

Fábio – “This” that I do, I do it with 200% dedication and if my life in any way depended on it then of course it would make “this” my life. But in fact, I know that in Portugal this area is a bit ungrateful for us who dedicate hours in creating, so I will take what I do and this dedication to be able to cover more areas and take advantage of it. Maybe my own sales business, my own clothing/accessories brand, or even bet on teaching, where I could teach/encourage and help all those who in a way want to start developing their area of a content creator.

7. Como descreverias o mundo do Instagram neste momento? No que diz respeito ao conteúdo que vais observando. | How would you describe the IG game nowadays? In terms of the content that you see!

Fábio – O Instagram dá voz a milhões de pessoas, marcas agências e conceitos. É verdade que há muita “coisa” igual e repetida, mas cabe a nós de filtrarmos aquilo que queremos ver. O Instagram é uma excelente ferramenta de trabalho onde podemos dar a conhecer ao público aquilo que fazemos, seja em que área for. Quanto mais diferente e fora da caixa fores mais hipóteses de sucesso poderás ter. Então, nunca é tarde para começar e seres notado. Basta seres diferente.

Fábio – Instagram gives voice to millions of people, agency brands, and concepts. It is true that there are many “things” that are the same and repeated, but it is up to us to filter what we want to see. Instagram is an excellent work tool where we can let the public know what we do, in whatever area. The more different and out of the box you are the more chances of success you can have. So, it’s never too late to start and get noticed. Just be different.

8. Qual a tua função como criador de conteúdo? Influenciar? Inspirar? Dar aos seguidores o que eles querem ver? Porque? | What is your Goal as a content creator? Influenciate? Inspire? Giving your followrs whatever they want to see?

Fábio – O meu objectivo é somente criar algum tipo de sensação às pessoas. Uma reação. Pode ser positiva como negativa, mas o mais importante para mim é que as pessoas sintam necessidade de interagir comigo pelo conteúdo que posto. Se estou a inspirar ou a influenciar não sei, agora se estou a criar uma reação já levo isso como um incentivo para mim.

Fábio –My goal is just to create some kind of sensation for people. A reaction. It can be positive as well as negative, but the most important thing for me is that people feel the need to interact with me through the content I post. Whether I’m inspiring or influencing I don’t know, now if I’m creating a reaction, I take that as an incentive for me.

9. Além da moda, há mais alguma paixão? Algo que gostarias de fazer ou tentar? | Besides Fashion, any other passion? Something that you would like to try?

Fábio – Sou apaixonado por interação humana. Tudo que englobe o espírito de equipa, o envolvimento social e a empatia pelo outro eu identifico-me. Gosto de ajudar o próximo, incentivando, compreendendo e aconselhando, então qualquer área que abranja esses critérios é bem vinda e se puder fazer disso a minha profissão ainda melhor.

Fábio – I am passionate about human interaction. Everything that encompasses team spirit, social involvement, and empathy for the other I identify with. I like to help others, encouraging, understanding, and advising, so any area that meets these criteria is welcome, and if I can make it my profession even better.

Basta Identificar-me.

10. Quando se trata de patrocínios, quais são os teus critérios para aceitar uma parceria? Existe algum conteúdo que não farias? | When it comes to sponsors, which are your criteria to accpet that sponsor? Is there any content that you would not do?

Fábio – Basta identificar-me. Relativamente à segunda pergunta, acho que não faria qualquer conteúdo que não fizesse parte dos meus princípios.

Fábio – Just identify me. Regarding the second question, I think I would not do any content that was not part of my principles.

11. Descreve-me o Fábio em 3 palavras! | Descrive me yourself in 3 Words!

Fábio – Amigo, persistente e perfeccionista.

Fábio – Friend, persistent and perfectionist.

Espero que tenham gostado de conhecer o Fábio um pouco melhor! Deixem a vossa opinião nos comentários! Em breve sairá outra rubrica, por isso fiquem atentos!

I hope you like, to get to know better Fábio! Leave me your opinion on the comment box! Soon will come out another article, so keep tuned for that!

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Fábio Sengo

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#gettoknow | Qual a grande paixão do Fábio? Lords, mais uma rúbrica do #gettoknow, e hoje trago mais um criador de conteúdos! O…

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