Install Fuel Measurement System Yes 1997-02-28 R.L.L.
Replace Fuel Filter Yes 1997-02-28 RL.L.
Check For Fuel Leaks Yes 1997-02-28 R.L.L.
Inspect Hoses Yes 1997-02-28 K.J.D.
Inspect Brakes Yes 1997-02-28 K.J.D.
Relube Wheel Bearings Yes 1997-02-28 K.J.D.
Check Tire Inflation Pressures Yes 1997-02-28 S.C.
Check Hoses And Connections Yes 1997-02-28 D.F.
Check System For Coolant Leaks Yes 1997-02-28 K.J.D.
Check Battery Yes 1997-02-28 R.L.L.
Inspect Wiring Yes 1997-02-28 R.L.L.
Inspect Terminals Yes 1997-02-28 R.L.L.
Check Lighting Yes 1997-02-28 R.L.L.
Drain Transmission Fluid Yes 1997-02-28 D.F.
Replace Filter Gasket Yes 1997-02-28 D.F.
Replace Transmission Fluid Yes 1997-02-28 D.F.
Check For Fluid Leaks Yes 1997-02-28 D.F.
Drain Crankcase Oil Yes 1997-02-28 R.L.L.
Replace Filters Yes 1997-02-28 RL.L.
Replace Crankcase Oil Yes 1997-02-28 R.L.L.
Check For Oil Leaks Yes 1997-02-28 R.L.L.
Check Oil Level Yes 1997-02-28 R.L.L.
Lube All Chassis Grease Fittings Yes 1997-02-28 R.L.L.
Lube Universal Joints Yes 1997-02-28 R.L.L.
Replace Differential Lube Including Axles Yes 1997-02-28 R.L.L.
Replace Air Filter Yes 1997-02-28 R.L.L.
Inspect Air Compressor And Air System Yes 1997-02-28 RL.L.
Inspect Vacuum System Yes 1997-02-28 K.J.D.
Check And Adjust All Drive Belts Yes 1997-02-28 K.J.D.
Check Cold Start Assist Yes 1997-02-28 K.J.D.
Check Power Steering Hoses And Connectors Yes 1997-02-28 K.J.D.
Service Fluid Level Yes 1997-02-28 K.J.D.
Check Power Steering Operation Yes 1997-02-28 K.J.D.
Check Brake Operation Yes 1997-02-28 R.L.L.
Check Transmission Operation Yes 1997-02-28 R.L.L.


JSP Bump Cap, Top Cap. Lightweight fashionable 'Baseball Cap' style in Navy. Has HDPE comfort foam Cap Liner. Quick and easy to adjust for a perfect fit. 6 Ventilation ports , compatible with JSP Hearing products, also Face protection and Respiratory extras. Top Cap is wipe-able, particularly suits Food Industries. Other Colours available, minimum order quantity per colour 20.


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by Olaf von Voss | 17th July 2019
Remember "I'm Back" from 2018? A conversion kit for transforming your analogue SLR camera into a digital DSLR. No, it isn't a high-performance piece of gear for pixel peepers but it is a lot of fun to play around (and work) with! Now, almost a year later, I'm Back is back, with a new digital add-on for analogue medium format cameras! Samuel Mello Medeiros is a busy man. He is CEO of the company behind I'm Back and he seems to be a keen inventor and never-resting entrepreneur, indeed. After bringing the original I'm Back digital back for analogue (35mm full-frame) SLRs to market back in 2018 –read and watch our coverage here–, he felt that the family is still not complete. So he went back to the drawing board and, along with his colleagues, he created yet another digital back. This time for large, and undoubtedly professional-grade, analogue medium format cameras. the result is part of an Kickstarter campaign which is live as we speak. "I'm Back" Digital Back for Medium Format The concept behind this new line of digital backs is similar to the existing line for 35mm SLRs: Choose an adapter for your cameras make and model, attach the "I'm Back" digital back to that adapter and off you go! The build-in camera captures the image projected to the ground glass of the host camera through an attached lens. That way, all the grain and imperfection goodness of past days are being recorded to a SD card. This digital back was never designed to deliver perfect, high-res imagery. It was created to breath new life into long-gone tech while preserving its soul, so to say. Same goes for the new medium format digital back. Supported cameras include some famous medium format cameras such as: Rolleiflex Automat Mamiya RB67 Mamiya 645 Mamiya C330 Kiev 88 Hasselblad 500 / SWC / 1000 Bronica S Bronica ETSsi For each of these models (and more to come) there is a dedicated adapter, the digital back itself is the same for each of them. Technical Specs As stated before, the aim here is to create beautiful pictures and video, not to deliver high-end specs on paper. Having said that, the pure specs of this digital back are somewhat underwhelming but only on paper: The camera used for capturing the ground glass projection is build around a Panasonic 16 megapixel 1/2.33-inch sensor. It can shoot 1080/50p(60p) video or stills with a resolution of the aforementioned 16MP and that's pretty much it. So you see, this is more about transforming old and dusty medium format cameras into digital cameras to have fun with but of course you can use this if you're after that special in-camera look for a project. The "I'm Back" features a build-in touchscreen for controlling the camera settings and you also can hook up an external microphone and a USB battery pack to the unit. Furthermore, wifi is build in so you can connect a phone in order to stream a live feed to it and to control the digital back. Gadget or Creative Tool? The specs are not impressive. And that was never the goal for this device. It can't compete with professional digital back add-ons such as the Mamiya Leaf Credo 50 Digital Back, selling for $ 19,995. It's obvious that the "I'm Back" plays in another league well below professional gear. But still, in these days of pixel-count mayhem and overly sharp and clean imagery, a splash of vintage imperfection might be the cure. For us here at cinema5D this concept and Samuels presentation of the original "I'm Back" for 35mm cameras made such an impact, we just had to honor his efforts with a show award at Photokina 2018. Just like vintage glass, such as ARRIs signature primes or the freshly announced Sigma Classic Art Primes, this digital back has a certain look. As Samuel states, the "I'm Back" is dedicated to those who want to have fun and are tired to discuss about high resolutions and megapixels!!! And that's it: Don't pixel-peep but go out there and shoot something beautiful with all the imperfections and grainy oddities you might encounter on the way. The Kickstarter campaign runs until September 5th. All of the early bird tiers are already sold out but you still can get a digital back fitting your medium format camera for 399 CHF (roughly $ 400 / 360 €). You still need a SD card for recording stills and video since it's not included, everything else you might need is. Just choose the correct adapter for your camera. Samuel with his new digital back. If everything goes smoothly, the new "I'm Back" adapter for medium format cameras should be shipped out by June 2020. Remember, this is a Kickstarter campaign, not an online shop. Things can go south pretty badly and your investment might be lost. However, since this is not their first product, you can expect some expertise and hopefully this new back will be delivered just as fine as the last one. Sample shot from the Kickstarter campaign (the resolution is not great since the uploaded photo was tiny already) Link: Kickstarter | Homepage What do you think? Is this digital back worth dusting your old camera again? Share your thoughts in the comments below!
DISH – Satellite Signal Timecode Generator – Now on Kickstarter
by Jakub Han | 26th June 2019
DISH is a zero-configuration timecode generator which gets a precise time-of-day timecode in UTC from public satellites. It can sync unlimited number of devices on set and it records the linear time code (LTC) to an audio track. When without satellite signal, it keeps track of accurate time thanks to internal TCXO clock. The DISH is now live on Kickstarter. DISH timecode generator Professional productions typically record sound and picture on separate devices and many times there are multiple cameras on set. Each camera and sound recorder produces its own files for each take. Timecode sync lines up these files on an editing timeline automatically. Some of the most widely used devices for audio timecode sync nowadays are from Ambient and Tentacle Sync. DISH creator Ari Krupnik is an engineer with background in Tesla and other startups in Silicon Valley. He created DISH Kickstarter campaign to bring a plug-and-play alternative to other timecode syncing solutions on the market. Especially for cameras that typically don't offer timecode in/out, like DSLRs and mirrorless. DISH timecode generator The device takes public radio signals from atomic clocks and embeds precise timecode in cameras and audio recorders. All DISHes everywhere in the world report the same time-of-day timecode, in UTC (more specifically, in International Atomic Time). You don't need to jam-sync all the devices like in a typical timecode workflow. GPS is one of the multiple satellite systems DISH receives signal from, so it is redundant for increased availability. DISH also has a built-in temperature compensated crystal oscilator (TCXO) clock, so it can keep track of the accurate time even when temporarily out of reach of a satellite. For instance when shooting in a basement, underground, or tunnel, etc. If you stay out of reach of a satellite for a long time, the DISH will tell if the time drifts enough to need a resync with a satellite signal. DISH timecode generator in use. DISH locks down the frame rate and output level – it runs internally on 24 fps. To aviod confusion, DISH puts the timecode on an audio track. Audio streams are inherently continuous, and can take timecode at a different rate than the video in the same file. That means you can still shoot whatever framerate you prefer. The design is simple – DISH only has a locking 3.5mm jack output and a status LED. The device does not even have an on/off switch – it turns on as soon as the output cable is plugged in. It is a plug-and-play device, so it does not need any configuration whatsoever. It works with any camera/sound recorder that has a microphone input. Right now it is only in white, but its creator tries to find a suitable black material for the chassis which will not weaken the satellite signal. Many DSLRs disconnect onboard microphones if you plug in an external input. That's why there is a microphone in the device. If you plug a DISH into the DSLR, you get timecode on the left audio channel and scratch audio on the right. For one-man crews there is a Y-adapter to plug the DISH in the camera and in the audio recorder to get timecode on both devices. DISH timecode generator DISH outputs LTC (Linear Time Code), which is an international standard. Many NLEs support LTC natively (e.g., Avid, DaVinci). For NLEs that don't support it natively, there is a number of stand-alone software utilities that extract timestamps from LTC files. Additionally, Ari has created a free, open-source application – LTCsync – which runs on Windows, Mac and Linux. You can download a pre-release version from GitHub. The device itself is quite bulky in my opinion. It is partly because of the 2 AA batteries the DISH uses. The manufacturer claims that a pair of high quality AAs will keep the DISH operational for over 40 hours. Removable batteries might be bigger than a built-in lithium battery solution would have been (like in the Tentacle Sync devices), but they also have their advantage. When drained, they can be easily replaced with fresh ones within seconds. Most filmmakers usually carry spare fully charged AA baterries on a set. The campaign's $10,000 US financing goal is about to be met as this post goes live. It runs till July 12, so there is still time to pledge. The rewards range from $169 to $1,299 US depending on the number of DISHes you want to get. Estimated delivery time is September 2019. Interestingly enough – as one of the award – DISH creator offers three pieces of the v0.3 prototype to Kickstarter backers for $449 US each. They should be fully functional and are supposed to be shipped immediately after the successful end of the campaign in July. We say this at the end of every crowdfunding-related article: Please be aware of the risks when backing a project on crowdfunding platform. Please read Kickstarter's terms of use – especially Section 5 "How funding works". Keep in mind that there can be significant delays when delivering the product. Some projects even don't get delivered at all. What do you think of DISH? Which solution do you currently use to sync timecode on set? Let us know in the comments underneath the article.
Mikme Pocket – Compact Wireless Audio Recorder – Now on Kickstarter
The Mikme Pocket is a compact wireless audio recorder for clip-on microphones – now on Kickstarter. This new wireless audio recorder can act as a stand-alone product (Recorder) or automatically sync wirelessly with an iPhone (there is a failsafe copy recording on the Mikme recorder itself and, simultaneously, the audio is being recorded on the iPhone, too.) The Mikme App allows for 44.1kHz, 24bit high-quality audio to accompany the phone clips. Multiple Mikme Pockets can be connected to one phone. Thanks to the 16GB internal memory, it can provide a good audio source for any camera. Mikme Pocket Audio Recorder. Source: Mikme I dare to say that the majority of our regular readers already know how important it is to have good audio in video content. Audio tells the story and it is important to really focus on getting it right. When filming without a sound recordist and under time pressure, it is not always easy. This device could surely help. Mikme is an Austrian company, specialised on designing audio recorders. It was founded in 2014 in Vienna, Austria, by Philipp Sonnleitner (former product manager at AKG). Back in 2015, they launched their first audio recorder – Mikme. The first Mikme got successfully funded on Indiegogo. For more details about it, please check Nino's article here. Now it seems like the Mikme team is back to crowdfunding with their new product – the Mikme Pocket. They are launching the Kickstarter campaign for this new audio recorder today. But what is the Mikme Pocket all about? Mikme Pocket for Smartphones The Mikme Pocket is tailored to cater especially mobile content creators – filmmakers using their smartphone to record videos. When recording, the audio from the Mikme Pocket will automatically sync with the image. There is no need for post-production. When you lose the connection to the phone, it will auto sync afterwards when the connection is back. Even when live-streaming with a phone, the audio will be sent from the Mikme Pocket in real-time. For best resulting audio, it is necessary to use the Mikme App. The app is currently available for iOS only, but an Android version is planned to be released later this year. It supports 44.1kHz, 24bit high-quality audio wireless recording. There are no dropouts, thanks to the 16GB internal failsafe copy. Multiple Mikme Pockets can be connected to one smartphone, so recording interviews with more people should not be a problem. The Mikme Pocket also works with third party camera apps – but only in standard bluetooth audio quality, which is 16kHz in 16bit. Mikme Pocket Audio Recorder with the Mikme App. Source: Mikme The Mikme App supports live-streaming and has custom video settings, like frame rate, resolution, focus or exposure (manual and lock). Within the app, it is also possible to mix, edit or add effects to your audio files. The final video with its high-quality audio can be instantly published with your own branding. Mikme Pocket as Audio Recorder with any Camera The Mikme Pocket can also be used as a traditional audio recorder to provide high quality sound for footage from any camera. It has a 16GB internal memory, which is enough for up to 36 hours of uncompressed WAV audio (up to 96kHz in 24Bit) or up to up to 370 hours in compressed M4A format. When using an iPhone, it is possible to wirelessly start and stop audio recording and monitor the audio during recording on multiple Mikme Pockets (and vice versa, when pressing the Mikme record button, the iPhone, if connected, will start to record simultaneously). The audio files are stored on the internal memory and can then be offloaded to the editing computer via USB port on the Mikme Pocket or via the phone directly. Mikme Pocket Audio Recorder. Source: Mikme The Mikme pocket uses a mini XLR connector as a professional and secure way to connect the supplied microphone to the pocket body. Mikme Pocket Audio Recorder uses mini XLR to connect microphone. Mikme Pocket Key Specs Mini XLR connector for external audio sources Shipped with professional clip-on/lavalier microphone Audio frequency bandwidth: 25 to 22000 Hz Adjustable Microphone Gain: 0 to -30 dB Internal memory: 16 GB Recording in m4a or wav filetype, up to 370 hours m4a, 34 hours wav Sampling frequencies: 44.1, 48, 96kHz 24 Bit depth for sampling Processor: 2×168 MHz Cortex M4 920 mAh Rechargeable Li-Po battery, Battery-powered: up to 3 hours of recording, standby time: 6+ months Bluetooth 2.1 Mikme WirelessLink: immediate secure audio transmission with patented packet loss and sync detection = quality of service audio streaming with Mikme App (no receiver needed at smartphone), 44.1kHz audio bandwidth, no dropouts, automatic latency compensation, works with iOS and Android. Bluetooth HFP (Handsfree profile): works with any 3rd party audio/video app (no receiver at smartphone needed), 16kHz audio bandwidth, dropouts may occur, no latency compensation. Connectors: Micro USB, 3.5mm mini jack No latency monitoring of microphone capsule audio signal Used for Monitoring of headphones and Stereo audio out to DSLR or mixer 3/8″ thread for microphone stands and 1/4″ thread for DSLR tripods and mic stands Dimensions: 68 mm (2.68 in) x 75 mm (2.795 in) x 24 mm (0.94 in) Weight: 108 g (0.24 lbs) Apple MFi Certified Designed in Austria and made in Germany Mikme Pocket Audio Recorder. Source: Mikme The Mikme Pocket is available via its Kickstarter campaign and the price is starting at $279 US (249€). The development of the Mikme Pocket is done and production should start soon. The delivery of the Mikme Pocket to Kickstarter backers is planned for December 2019. There are, of course, other compact audio recorders on the market already, from Tascam, Zoom, or Sennheiser. They all have their strengths and weaknesses. After testing a pre-production model of the Mikme Pocket on various shoots over the past two months, we can say that it works very well and the audio quality is good. We say this at the end of every crowdfunding-related article: Please be aware of the risks when backing a project on a crowdfunding platform. Please read Kickstarter's terms of use – especially Section 5 "How funding works". Keep in mind that there can be significant delays when delivering the product. Some projects even don't get delivered at all. What do you think of the new Mikme Pocket audio recorder? Do you have any experience with the first generation Mikme? How do you record sound when shooting with a phone? Let us know in the comments section below.
SmallHD 13RX and 17RX Daylight Production Monitors Go Wireless With Zero-Delay
by Adam Plowden | 2nd June 2019
SmallHD's 13RX and 17RX monitors with integrated wireless transmission were revealed at Cine Gear 2019, enabling bright, flexible focus pulling and video monitoring with zero-delay. The two popular monitors now have integrated Teradek Sidekick wireless receivers, while the design of which has not increased the weight or size of the units. The 13RX and 17RX are compatible with many Teradek Bolt devices (Bolt 500, 1000 and 3000), and the 13RX is compatible with Teradek RT lens data, which can be overlaid on the screen. Best of all: zero-delay monitoring. Perfect for accurate focus pulling and monitoring critical moments of action. Daylight Viewing and Colour Gamuts There are minor differences between the SmallHD 13RX model and the 17RX model, which show where the monitors could fit into an existing production or pipeline. Both monitors display in 1920×1080 resolution, with the 13RX model rated at 1500 nits (ideal for daylight viewing), whereas the 17RX is rated at 1000 nits. Both models are usable in bright, outdoor shooting scenarios. The colour gamut differs between both models, where the 13RX displays 93% NTSC. The 17RX displays DCI-P3 100% gamut of the 17RX, which is leaning towards video village use for on set dailies and DIT grading previews. Trusted OS3 Software Both, the SmallHD 13RX and 17RX have the OS3 software installed, which includes the trusted monitoring features like customizable frame guides, customizable scopes and pages, and of course 3D LUT overlays. The monitor updates are simple, but effective in terms of reducing the setup time, cabling and power. Any updates that reduce that time or the amount of kit required for a shoot is a benefit to productions, rentals and studios. Does the SmallHD 13RX or 17RX integrate into your current setup? Can you see yourself using the production monitors on your future shoots? Let us know in the comments.
SmallHD 1303 HDR and 1703 P3X Bolt Sidekick – Wireless Production Monitors
by Jakub Han | 30th May 2019
SmallHD announced new 13-inch and 17-inch wireless production monitors, which will be on display at CineGear 2019 (starting tomorrow). The 1303 HDR Bolt Sidekick and 1703 P3X Bolt Sidekick can receive full HD video from Teradek 500, 1000, or 3000 Bolt transmitters at distances up to 500 feet line-of-sight. They have high-brightness 1080p screens and variety of smart functions with the SmallHD OS3. New SmallHD 1303 and 1703 Bolt Wireless Monitors SmallHD has been offering their 5″ and 7″ monitors with built-in wireless technology from Teradek for a while. Last year at NAB SmallHD introduced the Focus Bolt 5-inch monitors following with the 7-inch Focus Bolt this year. SmallHD is now expanding their range of wireless monitors by announcing bigger two larger screens. The SmallHD 1303 HDR Bolt Sidekick and 1703 P3X Bolt Sidekick are new 13″ and 17″ production monitors with built-in Teradek Sidekick II receivers. SmallHD 1303 HDR and 1703 P3X Bolt Sidekick Monitors The 1303 HDR Bolt Sidekick and 1703 P3X Bolt Sidekick can receive full HD video from Teradek 500, 1000, or 3000 Bolt transmitters at distances up to 500 feet line-of-sight. Both new wireless monitors have 2 SDI inputs, as well as 1 HDMI and 2 SDI outputs. There is zero latency when cross converting from SDI to HDMI. The monitors provide a wide viewing angle of 178° horizontally and vertically, so a number of crew members can view simultaneously. The 1303 HDR Bolt Sidekick features 1500 nit daylight viewable 13-inch screen with full HD (1920×1080) resolution. It delivers 10-bit color at 100% of Rec.709 color gamut, 1150:1 contrast ratio. As the name already implies, it is HDR capable. With a dense 170 pixel-per-inch (ppi) display, it is suitable for focus pulling. The dimensions of the monitor are 13″ x 9″ x 2.88″ (33.02 x 22.86 x 7.32 cm) plus antennas. The weight is 9 lbs (4.1kg). SmallHD 1303 HDR Bolt Sidekick The 1703 P3X Bolt Sidekick delivers 100% DCI-P3 color gamut and 10-bit color depth. The screen is Full HD (1920×1080) at 1000 nit-brightness. It features a 1400:1 contrast ratio, and a pixel density of 133 pixels-per-inch (ppi). The dimensions of this monitor are 17″ x 11.7″ x 2.5″ (43.18 x 29.72 x 6.35cm) plus antennas. The weight is 12 lbs (5.4kg). SmallHD 1703 P3X Bolt Sidekick Both monitors can be powered either by Gold-mount or V-mount battery packs via an optional battery pack adapter. AC power is, of course, also supported. These monitors feature a rugged milled aluminum chassis. The 17" offers hardened rubber corner bumpers and user-replaceable 3mm-thick screen protectors that drop-in and self-lock, as well as the RapidRail system that provides easy accessory mounting. The 17" also offers an ergonomic carry handle as well as multiple ¼-20 and ⅜-16 threaded mounting options around the frame. The new monitors are equipped with SmallHD OS3 software, so they offer quick-customizable professional tools including HD Waveform, Vectorscope, False color and Focus Assist/Peaking, Anamorphic De-squeeze, Framing Guides, and unlimited 3D LUTs via SD card. Price and Availability Both monitors are available now for pre-order. The price has been set to $5,500 US for the 13-inch 1303 HDR Bolt Sidekick and to $5,700 US for the 17-inch 1703 P3X Bolt Sidekick. We will update this post with buy / preorder links to B&H and CVP as they become available. SmallHD is of course present on CineGear Expo in LA and they will have their new wireless monitors on display in their booth 118. Our cinema5D team will try to get early hands-on with these new monitors so stay tuned for that. What do you think about the new 13″ and 17″ wireless monitors from SmallHD? Do you have experience with the 5″ or 7″ SmallHD Bolt wireless monitors? Let us know in the comments underneath the article.
Qinematiq Smart Ranger 2 – Precise Distance Measurement for up to 3 Subjects
by Jakub Han | 23rd May 2019
Qinematiq Smart Ranger 2 is a distance measurement device capable to measure the distance of up to 3 subjects, even in dynamic scenes when camera and/or subjects are moving. It uses ultrasonic measuring and two mobile radio reflectors – tags. Qinematiq Smart Ranger 2 To achieve certain shots, DPs sometimes put focus pullers in very difficult situations. With increasing focal length and low aperture numbers, the depth of field gets very thin. It is then real challenging to keep for instance a moving subject in focus. The Smart Ranger 2 from Qinematiq can be a great help (not only) for such situations. Qinematiq Smart Ranger 2 Smart Ranger 2 is a dual distance measurement tool. It automatically measures the distance of up to 3 subjects, even in a dynamic scene – when the camera and/or subjects are moving. The resulting distance values are always available on its screen for the focus puller. Smart Ranger 2 is based on two different technologies. First, as a traditional ultrasonic measuring instrument, it measures the distance to a subject in front of the camera by an ultrasonic signal. Second, the smart instrument is also a base unit for two mobile radio reflectors – so-called tags. The tag can be fixed to a subject or positioned in the working area, while the base unit is mounted on the camera. Distance measurement between subject and film plane is performed automatically and independently. Qinematiq Smart Ranger 2 – Base Unit and Tags. Smart Ranger 2 allows the simultaneous measuring based on an ultrasonic signal and a measured distance of up to two radio tags. All three measurement results are shown at a small display at the base unit. Switching between tag measurement and ultrasonic measurement is always possible. Using tags also enables distance measurement through obstructions between camera and subject, like glass panes, walls of leaves or clothes, behind a corner, etc. The base unit and tag are connected via a highly robust but harmless radio connection, which works well both indoor and outdoor. The transmission power of the system is much smaller than those of a mobile phone, wireless lens control system or wireless video link. Smart Ranger 2 works parallel to these radio systems. They are not impacted or disturbed, and do in turn neither impact nor disturb the distance measurement. Smart Ranger 2 Base Unit Specifications. Source: Chrosziel The base unit has a Lemo 6p serial interface that can be used for connecting a lens control system (LCS). This makes it possible to display the distance value on the LCS hand unit. This option is available for all lens control systems supporting the ultrasonic measurement systems cinetape or Arri UDM, for example systems by Arri, cmotion, Preston or Chrosziel. Smart Ranger 2 Radio Tag Specifications. Source: Chrosziel What I find interesting is the possibility of automatic focusing. When connected to the Chrosziel MagNum follow focus system, the distance values will be displayed on its screen. Via the assignable user keys on the MagNum hand-unit, the autofocus function can be activated. The measuring device then takes over the focus motor based on its built-in lens tables. Chrosziel MagNum Wireless Follow Focus Kit The base unit features a compact body with a 2.4″ TFT display on the side. It can be powered directly from the camera's battery via D-tap. Additionally, 2 Lemo 4p CAN bus interfaces are available to link the system. On a special display unit, the distance values are even easier to read. The display unit is available as an additional device. The "Betz lens motor" can be directly connected to this interface. Smart Ranger 2 Versus Image+ Both Smart Ranger 2 and Image+ are distance measurement devices for film sets. Their areas of applications are different. For more information about the Qinematiq Image+ system, make sure to check our video article from IBC 2017. Smart Ranger 2 provides automatic distance measurement between the base (anchor) unit and a reflector (tag). It works without manual operation or manual adjustment. Prior to the shooting, the operator determines the reference markers by placing the tag in space or fixing them to a subject. Image+, on the other hand, creates a 3D image of a scene that contains an unlimited number of distance values. There is no need to have markers on set. Before or during the actual shooting, the operator can decide which area is to be focused. Via auto-tracking function, the subject is followed automatically. The measurements carried out by Image+ are performed in real time and the resulting 3D image can be used for further processing (post-production, computer graphics, etc.). Price and Availability The Smart Ranger 2 will be first presented at Cine Gear Expo in LA next week. Chrosziel is taking care of distribution and so the Smart Ranger 2 will be available in Chrosziel Kit. The kit includes one base unit, two radio tags, D-tap power cable, battery charger, and Chrosziel custom made case. The list price for the whole kit is $7,115 in the US and €6,350 (plus VAT) in Europe. What do you think about the Qinematiq Smart Ranger 2? How do you measure distances on set? Could this ease your workflow? Let us know in the comments underneath the article.
A New Era of 8K 360 VR? Meet the Pilot Era!
by Olaf von Voss | 13th May 2019
This new little gadget is called Pilot Era and it claims to be the first all-in-one 8K 360° VR camera with in-camera stitching. No post-processing needed. The camera is in the midst of an Indiegogo campaign right now so let's have a closer look, shall we? Pisofttech (spelled Pi-Soft-Tech, just to be clear) is the company behind this new Pilot Era camera and according to them it is a fully self-containing device, no extra accessories needed. When acquiring VR or 360° footage you usually end up with either a very limited image quality or with a giant and cumbersome rig and lots of post-processing. The Pilot Era seems to solve that and Pisofttech claim to offer high quality 8K 360° footage while maintaining a very compact form factor. The Pilot Era 8K 360° Camera The aim with the Pilot Era seems to be usability. The unit itself fits in your hand and comes with everything you need to start shooting immediately: Four 12MP Sony CMOS sensors, each equipped with a f/2.2 aspherical fisheye lens 9-axis image stabilization via gyroscope 3.1″ 800 x 480 TFT LCD touch screen 512 GB UFS (universal flash storage) built-in 7200 mAh battery – around 3.5hrs of 8K recording 4G and wifi module for stand alone live-streaming So we get everything we need to get start right away. Nice! No more external control via smartphone app, no stitching in post, no need for multiple SD cards, the list goes on. In order to get a better idea of this camera, watch the Indiegogo campaign video below: So where's the catch? Well, while this camera might be a decent tool for most of your 360° video needs, it certainly has some downsides for professional use cases. You can't swap out the internal storage, for example. You have 512GB built in but you can't expand that capacity via external media. Furthermore, the Pilot Era doesn't seem to offer any kind of Log profile for now, not even a flat "HLG" type of profile. Hopefully, they'll implement one in the future but for now the Pilot Era really seems to be a what-you-see-is-what-you-get device with convenience and ease of use as the top priority. Speaking of convenience: The Pilot Era really seems to be a handy device and you don't have to watch tons of tutorial videos about 360° and VR in order to get decent results with this camera. And if you're wondering why you'd need 360° video at all here's a possible application: Pisofttech have implemented a feature which enables you to be a non-paid Google contributor who captures 360° content for the Street View section of Google Maps. Thanks to the built-in GPS module Google knows where you are and you can upload your footage from around the globe via the built-in 4G cellular (5G module is coming) and dual-band wifi connection. The touch screen is a really nice feature, as it eliminates the need for any external controls or monitors. The Pilot Era is built around a custom Android operating system, called Pilot OS. You still can connect your phone running the Pilot Go app for controlling the Pilot Era but you really don't have to since you can control everything from the device itself using the touch screen. I personally prefer having physical buttons on professional equipment but still, the screen is a nice, well, touch. Another advantage of the underlying Android system is the possibility of OTA updates whenever new features are ready (Log profile, anyone?). The camera is capable of live stitching incoming footage for streaming it right out again. But it is limited to 7fps @ 8K and 30fps @ 4K in that mode. When stitching the footage in-camera (but not live) it is capable of processing 24fps @ 8K. Watch a sample 360° video @ 4K (you can set it to 8K) below: Of course, watching such a video on a laptop screen might not be as fun as using a dedicated viewing device such as the Oculus Rift S for example. Specifications The Pilot Era 8K 360° camera comes with some impressive specs, indeed. If it holds up in terms of image quality remains to be seen, of course. The Indiegogo campaign already succeeded its funding goal by almost 500% and it's still live until June 7th. The $1.799 super early bird offer is already gone but you still can get a Pilot Era for $1.999. An extra battery is yours for an additional $65. The good thing is: You won't have to wait for months and months until the camera finally (and hopefully) ships. The estimated shipping date is June, so right after the campaign closes. (Still, please keep in mind that Indigogo is not a shop or market place and there are certain risks when backing up a project). Link: Indiegogo campaign Are you into 360° video and/or VR? Share your thoughts about this new camera in the comments below!
Teradek Bolt 4K Announced – 4K 10-Bit 4:2:2 HDR Zero-Delay up to 1,500 Feet
by Jakub Han | 11th April 2019
Teradek has announced the industry's first zero-delay 4K wireless video transmission system. The Teradek Bolt 4K will be able to transmit 4K 10-bit 4:2:2 HDR video at a range of up to 1,500 feet line-of-sight over the unlicensed 5GHz band. The company will showcase the Bolt 4K during NAB (Booth C5725). Teradek Bolt 4K. Source: Teradek Teradek, now part of Vitec Group, is known for huge innovations in the field of wireless video transmission. Their current top-of-the-line system, Bolt 1000, can transfer zero-delay video signals at up to 1080p resolution 60fps to a distance of up to 1,000 feet line-of-sight. With the recent announcement, Teradek improves the wireless video transmission technology significantly. They have just announced the Teradek Bolt 4K. Let's take a brief look at this new product! Teradek Bolt 4K The Teradek Bolt 4K transmits 10-bit, 4:2:2 HDR video at a range of up to 1,500 feet line-of-sight over the unlicensed 5GHz band, and can multicast to 6 receivers, simultaneously. For HDR workflows, the Bolt 4K supports HDR-10, PQ, and HLG standards and can transport extended camera metadata, timecode, and record triggers over the wireless link. It will come in two version: a Teradek Bolt 4K 750 TX/RX set with range of up to 750 feet (about 228 meters) and a Teradek Bolt 4K 1,500 TX/RX set with the maximum range of 1,500 feet (about 457 meters). Teradek Bolt 4K. Source: Teradek The Bolt 4K is the first 4K HDR wireless video system, providing uncompressed, zero-latency (<1ms) transmission. The new Teradek Bolt 4K features interoperability – any model range can transmit and receive from another. For example: a Bolt 4K 750 is compatible with a Bolt 4K 1500. The transmitters feature dual 12G-SDI and HDMI 2.0 inputs, while the receivers feature two 12G-SDI outputs and an HDMI 2.0 output. Every Bolt model supports timecode and start/stop flags from major camera manufacturers, including RED, ARRI, Canon, Sony and Panasonic. Bolt 4K TX's offer various mounting options, including an ARRI ⅜-16" pin-Lock mounting point for camera arms, as well as an optional camera-back mount with Gold/V-Mount pass-through power. Bolt 4K receivers offer optional Gold and V-Mount battery plates with pass-through power and a built-in NATO rail. Teradek Bolt 4K. Source: Teradek Like Teradek's existing Bolt devices, the Bolt 4K offers strong protection with AES-256 encryption and RSA 1024 key pairing. Combined, these two technologies ensure that nobody may decrypt the wireless feed or connect another receiver to the system, without explicit authorization. Both, transmitter and receiver feature OLED displays to access the Bolt 4K settings and software features, such as spectrum analyzer, channel selection, 3D LUTs and more. Teradek Bolt 4K. Source: Teradek To further simplify the use of wireless video on set, Teradek has launched a free iOS application to manage and monitor every parameter of a Bolt 4K in real-time. The smartphone communicates with the Bolt 4K via Bluetooth and enables users to manage transmitter/receiver pairing, wireless channel selection, and the application of 3D LUTs. The app also offers a real-time quality and range analyzer to determine the best transmission distance for a given area, as well as the popular 5GHz spectrum analyzer to detect congestion on specific channels. Pricing and Availability Both Teradek Bolt 4K sets are now available for pre-order. The units should start shipping in June 2019. Price points are $3,990 for the Bolt 4K 750 and $7,990 for the Bolt 4k 1500. Teradek is of course present at NAB 2019 in Las Vegas, so if you want to see this new technology live, make sure to visit them at booth C5725. What do you think of the new Teradek Bolt 4K? Do you need 4K wireless video for your productions? Let us know in the comments underneath the article.

redpajama_set_name: RedPajamaCommonCrawl


Studies, Foundations and Archives that represent figures from the world of architecture and design, firmly believe, like us, in the exchange and sharing of knowledge and have enthusiastically joined the project Archivia.
"The founders of Studio 5+1AA confront the contemporary in the way they address the relationship between territory, city and architecture, constructing this relationship as a representation of reality.
They founded 5+1 in 1995 and they first designed the Visitor Centre and Antiquarium in the Forum of Aquileia, the University Campus of Savona, the Wyler Vetta Pavilion in Basel, the headquarters of the Ministry of the Interior in Rome, the Low Emission Building in Savona, the Palazzo del Ghiaccio e dei Frigoriferi Milanesi in Milan, the Assago Retail Park, the Villa Sottanis and Exhibition Centre in Casarza Ligure, the Blend Building and the Blend Tower for General Properties in Milan, the Marina Residence in Cotonou (with Peia Associates) and the Fiera Milano business headquarters. In 2003, for research activities, they were awarded with the title of "Benemerito" from the Culture and Art School of the Ministry of Heritage and Culture. In 2005 they created 5+1AA. In this year they won, with Rudy Ricciotti, the competition for the new Palazzo del Cinema in Venice. In 2006 Simonetta Cenci became a partner of 5+1AA, and they opened a studio in Milan. In 2007, they opened an architectural office in Paris together with Nicola Spinetto, who in 2009 became an associate. They developed the Master Plan on the basis of which Milan would prepare for the Expo in the city in 2015. In 2008 they won the competition for the new Fiera Milano business headquarters, built in 2010. In 2009 they won the competitions for the redevelopment of the docks of Marseille and for the Officine Grandi Riparazioni Ferroviarie in Turin, where the 150th anniversary celebrations of the Unification of Italy were held. In 2010 they won the competition to design the Generali SGR residential complex in Milan, and they also built the Museo del Giocattolo e del Bambino in Cormano, the 'Torre Orizzontale' in Milan, and residences in San Giuliano di Puglia. In 2011 they won the Philippe Rotthier European Prize for Architecture.This was awarded for the best combination of urban activity and local integration, for the Frigoriferi Milanesi project. In the same year they won the International Chicago Athenaeum Prize for the best global project of 2011 with the 'Torre Orizzontale': new headquarters of the Fiera in Milan.
In 2012 they completed the New Italian Space Agency building in Rome, the requalification of the former Metalmetron industrial site "Ex Officine" in Savona and the new integrated project of social housing for Aler, S. Polo Torre "Tintoretto" in Brescia. They develop in conjunction with Jean-Baptiste Pietri and Christian Biechier a residential project for the city of Evry, in France, they designed a strategic masterplan for the city of Palermo in Sicily, a urban programming and study for the sector around the Grand Paris area, a masterplan for the "Yeni Shenir" in Istanbul and for the "Secteur Étoile" in Ginevra. In the same year they won the competition for the new BNL/BNP Paribas headquarters in Rome and for the complex of social residences in wood in Brescia. They won the Award "Architetture Rivelate" with the Officine Grandi Riparazioni Ferroviarie in Turin and the "Trimo Architectural Award" with the project of Ex Metalmetron Area in Savona. In 2013, they built the Deledda Centre and the area of the Beleno Barracks in Venaria Reale, the new school complex in Zugliano and the fourth section of the headquarters of the Ministry of the Interior in Rome. They won the competition for the regeneration of the former Fitram site in La Spezia and the competition for the urban requalification of the Michelet RRG site in Marseille with Carta Associés for Altarea-Cogedim. In the same year, they were entrusted for the reconversion of the Lots 4 and 9 of the Harbour of Tangier, in Maroc, and for a residential project in Paris, as well as being invited to participate in international competitions in Algeria, Germany and China. In 2014, they won the competition for the restructuring of the Bank of Italy in Rome, they have been entrusted with the project for the new tramway in Istanbul and have been invited for the new Ferragamo logistics centre in Florence. In March 2014, the IULM Knowledge Transfer Centre in Milan, received a special mention in the section of "best architectures" at the AIT Awards ceremony in Frankfurt, Germany. In 2015 they complete the IULM project in Milan, the GLF/MSC towers in Genoa and they are commissioned for the El Sokhna Masterplan in Egypt.
They have recently received invitations to take part in International limited competitions in Algeria, Germany and China. Their Projects currently under construction includes the second parcel of "CM" residential and officies complex in Brescia, the new Port Authority Headquarter in Savona, the new BNL-Paribas Headquarters in Rome and the requalification of the Marseille Docks.
Born 17 October 1905 in the countryside north of to a well-to-do bourgeois family, Franco Albini always preserved fond memories of Brianza, of its gentle landscape, its traditions, and the lessons learned from its peasant and domestic culture: the passage of time emphasized by the changing seasons, the forces tide to the principles of rationality and economy of rural work, the dictates of art apllied to every occupation, the precise beauty of agricultural and domestic tools.
Franco Albini always held the poetry and the power of such a tradition in his memory, just as he always felt the reverberations of a childhood amid a happy family and long conversations with his sisters.
After high school he attended architecture school in Milan, applying him self with great discipline to the eclectic course of academic studies than in favor.
He graduated in 1929 and served his apprenticeship with the Milanese Architects Gio Ponti and Emilio Lancia, in which time he had direct contact with talented cabinet-makers and craftsmen, from whom he sought to discover the potential of every craft and the range of freedom each would allow. Then Franco Albini discovered the Modern Movement.
His early travels took him to Barcelona and to the German Pavillion by Mies Van der Rohe; to Paris where he made a revential visit to the studio of Le Corbusier; then encounters with Edoardo Persico, raffaello Giolli, Giuseppe Pagano Pogatschnig, and his contemporaries Giancarlo Palanti and Renato Camus.
During the 1930's, "Progressive" architects and intellectuals where exasperated with the establishment and with Academia. Polemics betwin the "Modernist" and the " Moderns" (the Progressives) used to be attributed to motives of style. Clearly, young architects where interested in the risk, in the desire to substantially modify formal language.
During these years the most pertinent group of Milanese Rationalists gathered around Pagano, persico, Giolli, and the magazine Casabella.
They probed beyond questions of form and architectural language, delving into social issues and problems of production.
Casbella ventured to introduce criteria of modularity and seriality into architectural practice, in order to successfully industrialize the building industry.
At the 1936 Milan Triennale, while Ponti proposed "luxurious art for the elegant house" and" luxurious handycrafts for the Italian house" within the Palazzo dell'Arte, Pagano and his group presented their case in the external pavilions for indistrialized building that would allow "a house for everyone".
The young architects were conscious that the important large commissions were going to architects of the regime, they focussed on minor themes, often ephemeral in duration. These activities, important in the way they helped to communicate new issues, were the focal point of intense personal research.
Collaboration was a frequent condition for young architects. Franco Albini gave his full commitment to significant projects and presentations (Milano Verde, 1938, in collaboration with Camus, Mazzoleni, Pagano, Palanti; Mostra dell'abitazione, at the VI Triennale, 1936, with Camus, Clausetti, Gardella, Minoletti, Mazzoleni, Mucchi, Palanti, Romano). But he most freely developed his own poetics when he collaborated in small groups (the Mostra dell'Oreficeria at the VI Triennale, 1936, with Giovanni Romano) and especially when he was able to work alone.
Whether working alone (Room for a Man, VI Triennale, 1936; Living Room for a Villa, VII Triennale, 1940; INA Pavilion, Fiera di Milano, 1935) or in collaboration, he always adhered resolutely to the principles and examples of the Modem Movement, as expressed by the Casabella/ Pagano group in Milan. Following Persico's standard, he always sought "the coherence between conscience and language," but in this regard he embellished his expression with his personal interests and great sensitivity in originai solutions that sometimes border on paradox.
Franco Albini turned his attention to many fronts. First, there was his respect for the "mie of art." The analysis of the intrinsic reasons and conditions of the theme, of the technical possibilities of realization, could enrich one's sense of invention and poetics but, at the same time, could be arbitrary obstacles.
He believed in studying models of centrai European Rationalism that proposed exemplary contemporary solutions in modem terms and in reflecting upon works from ali eras, realized by others, in order to grasp the value and the interactions of proportions, measures, volumes, and transparencies, and to understand the substance of the architectural language in question.
His penetration of the problem at hand was both profoundly reasoned and originai. For example, in 1941, on the occasion of the Scipione exhibition in the Napoleonic rooms of the Brera, he used expanses of paper along the perimeter of the rooms and detached from the walls, imbuing the spaces with a sense of depth and indicating the ephemeral duration of the intervention through the impermanent and spare material.
Evenearlier, in 1938, he carne up with the unusual solution of a completely exposed radio, mounted within a supporting system of glass panes. In 1940, for the Villa Neuffer in Ispra, he designed a staircase as a spatial object hung by slender tierods that occupied the volume of the entrance atrium. His sensitive solutions were always rigorously verifiable, subject to tests of feasibility and usability.
The war years, from 1940 to 1945, brought the fall of Fascism and the events of the Resistance. Persico died; Giolli died in a German concentration camp; Pagano, a veteran of the Albanian campaign, was active in the Resistance and was hidden in Albini's house, but he too later died in a German concentration camp. Camus left the studio and collaborated with the Germans; Palanti, earlier active on the left, moved permanente to Sao Paolo, Brazil.
It was a time for doubt and reflection. While there was interest in looking to one's own roots for ideas to enrich the language of the Modem Movement, there was also an awareness that the themes to be faced and the trials to be overcome were major in scale and rthat the structures, tools, and methods available were inadequate.
New dialogues emerged with the young Giancarlo De Carlo and the dynamic Giuseppe Samonà. Albini, silent but always attentively involved, if detached, acquired a clearer knowledge of social and politicai values and, at the same time, became very interested in looking back at vernacular architecture.
Even before the war, Pagano had begun a study of "rural architecture," one of the first investigations into the values of vernacular architecture tied to primary functions. Along these lines Albini a mountain climber and expert on the Alpsbuiltthe "Casadei Ragazzi" inCerviniafor his friend Pirovano. He turned to certain typological elements and construction methods typical of shepherds' huts in the Alps and in the summer pastures of the Valle d'Aosta.
Polemics and criticism of Albini's project immediately ensued: was it a revival? A folkloric renewal? Where were the sacred principles of functionality and rationality?
This new interest in vernacular architecture, promoted by the 1951 Triennale exhibition organized by Albini with Samonà and De Carlo, clarified the causes and the significance of this renewal. The architects involved sought to insert their work within an ancient environment, clearly according to modem necessities but with great delicacy, without disturbing the older fabric with grand structures in reinforced concrete.
Albini's Casa dei Ragazzi became an important point of reference.
During the same period, Albini approached an urban pian for Reggio Emilia (carried out in collaboration with Enea Manfredini, Luisa Castiglioni, and Giancarlo De Carlo) with a desire to find a complete and complex analytical method, capable of supporting decisions interrelated to many problems, not only spatial ones.
The creation of prewar working class quarters and urban plans, such as the one for the San Siro quarter of Milan or the one for Milano Verde, addressed simple sets of problems. They provided partial solutions, important in the way they broke with then current formalizations and in the attention they gave to issues of daylight ex-posure and distribution, but they were schematic in their approach.
The Reggio Emilia pian required a somewhat broader approach. Albini wanted to seek out certainties upon which he could base decisions and designs. The study for this pian is one of the first in Italy that focussed on the actual state and complex analyses of social problems and issues of development.
Albini's urban planning work continued in Genoa, with a study of some important detailed plans. He developed working relationships and collaborations with old friends Giovanni Romano, Ignazio Gardella and with Genoese architects and enlightened public servants and administrators from the municipality of Genoa.
It was a period of new hope and enthusiasm. Indeed, it was in Genoa that Albini's work achieved its highest degree of fulfillment. Genoa is a fascinating but difficult city, full of contradictions, rich in "monuments," in highly suggestive architectural solutions, with an urban fabric that is very distinctive but in a state of decay. During the 1950s the city officials and administrators included numerous open minded figures who had foresight and the ability to see projects through to completion.
Under the aegis of mayors Adamoli and Pertusio and Counsellor Doria, Genoa called upon various architects from the Milan school to collaborate with locai professionals and with the municipal technical offices. Caterina Marcenaro (director of the Division of Fine Arts and History of the Municipality of Genoa from 1949 to 1971) proposed the renovation of the city's museums, and she entrusted the Chiossone Museum to Mario Labò, Columbus' house to Ignazio Gardella, and the Palazzo Bianco Museum to Franco Albini.
Working with Caterina Marcenaro, a woman of exceptional sensitivity, tenacity, and rigor, was often difficult on account of the severity of the demands she imposed, but Albini's working methodology was characterized by a desire to understand to the greatest degree possible the problems at stake, delving into them thoroughly. He responded to her insightful criticisms, strengthening his work with new images and new suggestions. It is worth noting that in ali his museum projects Albini concerned himself above ali with how to display the exhibited work to best advantage, without ever expressing a judgment about the work itself.
At the beginning of my collaboration with Albini, at the time of the 1953 exhibition of Italian Decorative Art in Stockholm, one of the paradoxes that he frequently used to express himself succinctly was: "There are no ugly objects, one only has to display them well.
It was not an ambivalent position, but it was his committed way of conveying his specific role, his professionalism. It was not in his nature to become enraptured before a piece or to assume a criticai stance; rather it was his role to make available his technical expertise and his abilities to understand the problem and to best resolve it.
The Palazzo Bianco was important both for the rigor of the museum design and for the flexible interpretation of the collections to be exhibited, for the building's role as a historic container, and for its surrounding environment. In addition, Albini designed the Treasury Museum (a hypogeum in the courtyard of the archbishop's palace, adjacent to the cathedral), and the Palazzo Rosso, on the via Garibaldi.
While Albini's interventions were always measured and ratìonal, he succeeded in creating a particular "atmosphere." Objects were exhibited to be best appreciated by the public, but the space, even if basic, had an emotional charge that heightened one's perception of the values of the materials exhibited.
Around 1950-52, Franco Albini began his teach-ing career. I believe his interest in teaching was quite strong during the early years of his professional practice, but the politicai conditions and the hegemony of the academic establishment excluded figures like Albini, who were open minded and basically skeptical.
Only with the "opening" of the postwar period did Albini begin to teach, first, briefly, a course in "interior design" at the Polytechnic Institute in Turin, and then, more appropriately, in that extraordinary complex, the University Institute of Architecture in Venice, which, under the direction of Giuseppe Samonà, had assumed a leading role among architecture schools in Italy.
As I have already indicated, Albini's commitment was intense, concentrated, tenacious, even relentless. This fundamental character informed his teaching, both at the university level and in the establishment of his own practice.
His was a linear but rigorous and Constant method, which demanded that every problem be faced without preconceptions and analyzed in depth and objectively. The parameters to which he referred were considered in their complexity and interrelationships; the method of analysis was approached with rigid logie and a sense of experimentation, especially in terms of the drawing, which is the specific tool for making architecture.
Initially the drawing expressed the first glimmer of an idea. Bit by bit the idea was clarified, defined, and refined through the drawing. It did not matter if one didn't draw well; what counted was that the drawing was clear and useful for the development of the architectural idea, that it could be used with fluency, in various techniques, at various scales. The drawing was not an end in itself but was intended to serve a function as the drawing of an architect, not of an illustrator or a painter. The drawing would vary, whetherit was to communicate an idea or to specify the construction issues at hand. It was used to specify the idea itself, to communicate to others the intentions of the project, to control formai aspeets, and to ensure the project's feasibility. A drawing, even a first sketch, had to be in scale; if it was not, even if it were a beautiful drawing, it failed to fulfill the requirements of making architecture.
Dimension is the basis of form, and the architect's drawing must bear this in mind. As soon as the idea had to take shape and become something realizable, concerns for method and pos-sible alternative means of execution guided the design process. Along with the sheet containing the general design, numerous little sketches were produced for a joint, for a structural system, for openings, for door or window trame juncture to verify "How will this be built?" as well as innumerable orthogonal, axonometric, and perspective sketches to verify "How will this be seen?
This continuai concrete and pragmatic commit-ment was part of Franco Albini's way of looking at things made by others, whether ancient or contemporary. Both the whole and the detail were invested with his lively and Constant curiosity in knowing how things were done, in understanding why, in evaluating the effect, and in understanding the elements that these effects generated. He had profound admiration for work well done, for the correct solution, and for work brought to resolution. The memory of things he had seen became part of his intellectual resources as an architect.
His attention to objects, to projects, to methods of execution, and to tools was in no way speculative or abstract, but was rather the attention of a craftsman who showed a broad interest in the everyday problems his work continually posed.
As it was earlier for Giuseppe Pagano, tradition was charged for Franco Albini with values to be recaptured and handed down. The construction skills of the past; the wisdom and balance of the solutions of vernacular architecture; the complex values of spaces and their geometry, linked in their modifications to the unfolding of history, of custom, of technological possibilities; the perfor¬mance of materials over time; the expression and the creativity of successive cultures; the semantic value of determining elementsali of this is tradition, and ali of this must be present in the consciousness of a modem architect. This is a modem architect who will work in modem terms, according to the methods and the language of his time, without betraying the society in which he is a participant and a representative, always aware of the most complex contemporary examples, but mindful of the innumerable messages that tradition contains and watchful that the "rule of art," heeded as law in the old traditions, is respected in contemporary works.
Between 1950 and 1970 Albini's professional commitments grew. The most ambitious themes and most of his collaborative projects led to new solutions. One element that was often present was the integration between traditional values and new technological research. I remember how it was working with Albini, and how with continuai, tireless rigor he put together a school. In the midst of ali the new academic movements, for the most part revivalist, amid the confusion of languages, Albini and his studio and school continued to be not only rational, but also reasonable. The tie with the Modem Movement is a conceptual one, but it functions to overcome schematicisms and to elaborate upon language while renewing it. The future of culture demands a renewal of expression, not a withdrawal into already resolved formai experiences (even if they can be marvelous and fascinating). What Albini put together was not a movement, but a school, founded on principles, criteria, and rich but not arbitrary methods.
After 1950 I was a continuai participant in the work of the studio, and I was later joined by Antonio Piva and his son, Marco. Giuseppe Rizzo, Luigi Mereghetti, and Ambrogio Giani have worked in the office for more than thirty years, and their contributions, guided by Albini's example, have always been of the highest quality. It is more an association than an office, interwoven with esteem and reciprocai affection.
Clients change, the size of projects grow, but the work always is marked by a respectful continuity with twenty years of Franco Albini's solitary professional lite.
The Rinascente department store in Piazza Fiume in Rome, which utilizes the channeling of services to punctuate and characterize the volume (prescribed by the preexisting pian), is also an investigation into new construction tech-niques. The prefabricated exterior wall is mounted on site, like a curtain wall, but it is by no means rigid, mechanical, or colorless, like the curtain walls in most commercial buildings. The same is true of the Baths of Salsomaggiore and with the third SNAM office building in San Donato Milanese, where services are placed at the very end of the building, giving a distinctive cast to the volume as well as being extremely efficient. In this latter case too, the investigation of new materials is accompanied by a research into new forms, strictly interrelated with the necessities of function.
Along with these important commissions there were many other ventures buildings of various sizes, exhibition and trade show installations, design projects. Whatever the requirements, each one was approached through the most appropriate means, without making allowances for the minor scope of a job, and always enriching the environment.
In conclusioni Franco Albini had naturai gifts of fantasy. The invention of new forms, the control of proportions, the richness of composition these carne easily to him. His work, however, was not facile; thoughtful deliberation went into every project.
Albini did not let himself get carried away by his own optimistic nature, but sought to delve thor oughly into every idea, analyzing its motives, verifying its validity, foreseeing its consequences. At the same time, he attempted to endow each project with the greatest possible individuality, enhancing the dominant formai and con¬structive idea. What was difficult was the fact that choosing a particular design path meant rejecting ali others; it required an effort of continuai restraint, Constant self control. His innate shyness and reserve could perhaps be daunting to those who did not trouble to examine and follow his work in depth.
I worked by him, for him, with him, for over thirty years, and I don't think there has ever been an artist who has been more generous in transmitting his knowledge, more open to a democratic exchange and to an equal collaboration with ali who were willing, as he was, to believe in and to labor toward intelligent work.
Franco Albini died in November of 1977. Certain ventures that he had begun, such as the designs and built projects in Riyadh, Saudi Arabia and the SantAgostino Museum in Genoa, were continued and brought to conclusion by his colleagues. Other projects (the M.M. station in Molino Dorino, the AGIP branch headquarters in Ortona, restorations and renovations of monu¬mentai buildings in Genoa and Milan, temporary exhibitions such as the Pitocchetto and Moretto shows at Santa Giulia in Brescia, and permanent installations, like the Marino Marini Museum in the Villa Reale, on the via Palestra in Milan) were designed and carried out by his studio, which continues as a close knit unit in the school of Franco Albini.
During the period of radical and experimental architecture he was a prominent figure in movements like Cavart, Alchymia and Memphis. De Lucchi has designed furniture for the most known Italian and European companies.
For Olivetti he has been Director of Design from 1992 to 2002 and he developed experimental projects for Compaq Computers, Philips, Siemens and Vitra.
He designed and restored buildings in Japan, Germany, Switzerland and in Italy for Enel, Olivetti, Piaggio, Poste Italiane, Telecom Italia.
In 1999 he was appointed to renovate some of ENEL's (Italys principal Electricity Company) power plants. For Deutsche Bank, Deutsche Bundesbahn, Enel, Poste Italine, Telecom Italia, Hera, Intesa Sanpaolo and other Italian and foreign banks he has redesigned the service environments and corporate image, introducing technical and aesthetic innovation into organization of their working environments.
He designed buildings for museums including the Triennale di Milano, Palazzo delle Esposizioni di Roma, Neues Museum Berlin and the le Gallerie d'Italia Piazza Scala in Milan. In the last years he developed many architectural projects for private and public client in Georgia, that include the Ministry of Internal Affairs and the bridge of Peace in Tbilisi, the Radison Hotel and Public Service Building in Batumi.
In 1990 he founded Produzione Privata, a small-scale production and retail company through which Michele De Lucchi designed products that are made using dedicated artisans and craft techniques. From 2004 he has been using a chain saw to sculpt small wooden houses which create the essentiality of his architectural style. In 2003 the Centre Georges Pompidou in Paris has acquired a considerable number of his works. Selections of his products are exhibited in the most important design Museums in Europe, United States and Japan.
Born in Milan from a family of Genoese origin who for four generations moves with passion and consistency to architecture; he graduated in engineering from the Politecnico di Milano in 1928 while receiving the degree in architecture in 1949 at the IUAV.
Besides being dedicated to pure project, Gardella teaches at IUAV and was appointed full professor since 1962: also active in the field of design bases, along with Luigi Caccia Dominioni "Azucena", drawing mostly furniture.
Between the ' extensive list of works include: the Anti-tuberculosis dispensary in Alessandria (1934-38) which is one of the masterpieces of rationalist. At the same time he is the protagonist of the major cultural events, such as CIAM.
In the first postwar Gardella he resumes activity with full force producing many important works and masterpieces, like the Borsalino's houses in Alessandria (1952), the Pavilion of Contemporary Art, Casa Stork Zattere in Venice, the Mensa Olivetti in Ivrea, the House at the Gardens of Hercules in Milan, designed by Roberto Menghi and Anna Castelli Ferrieri, House Tognella, called "House in the Park", via Paelocapa (with L. Ghiringhelli) 1947-54, the extension of the Bocconi University of Milan and the projects for the chain Esselunga Supermarket.
The figure of Gardella remains at the top of the architecture for the 60s and 70s, with intense professional activity whose importance is evidenced by the presence on the major international journals.
In the last period of his life Gardella, now among the deans of Italian architecture, still it produces significant projects, such as the Faculty of Architecture in Genoa (1975-89), that place still at the forefront of architectural debate.
at the Venice Biennale (1996), the titles of honorary member of the RIBA (Royal Institute of British Architects), a member of the Accademia di San Luca (of which he was President 1979-1990) and honorary member of the Academy of Fine Arts of Brera.
Già professore ordinario di Composizione Architettonica e Progettazione Urbana, è professore emerito al Politecnico di Torino. E' Accademico Nazionale dell'Accademia di San Luca a Roma e socio dell'Accademia delle Scienze di Torino.
Vito nasce a Firenze il 29 luglio 1912, da una famiglia di origini modenesi trasferitasi poco dopo a Milano, città dove Vito e il fratello minore Gustavo avranno modo di compiere il proprio percorso formativo, oltre che di svolgervi larga parte della futura comune esperienza professionale.
Nel 1930 Vito Latis consegue il diploma di maturità scientifica, per poi intraprendere gli studi di architettura al Politecnico di Milano, portati a termine nel luglio del 1935, con una tesi di laurea sulla realizzazione di una casa per abitazioni.
Giulio Minoletti graduated in 1931 and began his career with a dual role: that of an architect and urban accompanied by the teacher at the Polytechnic between the 30s and 40s. Already in 1934 he won the victory in the competition of the plan of Busto Arsizio, followed by a second award to Gallarate; numerous competitions in which it participates along with prominent personalities of Milanese rationalism and signature "Milano Green" – poster rationalist urbanism Milan in 1938 with, among others, Mario Pagano, Franco Albini, Ignazio Gardella, Giangiacomo Predaval, John Romano Giancarlo Palanti; in the same years designs and builds important buildings among which the house in Piazzale Istria (1936), the Cologne Climate in Formia (1937), the House of Beam in Gallarate (1942) and the house for the weekend in Varenna – Fiumelatte (1945 ).Architect working on the debate on the architecture of those years, he has been President from 1953 to 1955 MSA (Movement of Studies for Architecture), INU member since 1930 and involved in the planning and building committees of the City of Milan. Between the 50s and 60s made other important buildings such as the pool Ettore Tagliabue at Monza (1951), the Cedar House in Milan (1953-1958), the Mensa to Pirelli Bicocca (1956 demolished), the home villas in overlapping in Arcadia Gardens in 1959 his Milan residence), the Palace of Fire in Piazzale Loreto (1964) and together with Eugenio Gentili Tedeschi and Mario Tevarotto concludes work at the Porta Garibaldi station (1963); his signature several hotel buildings among which the famous Grand Hotel Timeo made in the 70s.Among the architectural curiosities on the theme of hospitality is to be considered the project to the hut Minolina, small prefabricated removable still present at a campsite in Scario. To remember the important collaboration with the Breda (numerous exhibitions for Montecatini and Breda), for which he designed the interiors of the electric-train Settebello (1953) and those for the four-BZ 308 (1948) and the task for the preparation the cabins of some transatlantic including the Andrea Doria (1952) and the Cristoforo Colombo (1954).
Shiro studio is a London based design practice established by Andrea Morgante in 2009, committed to the creation of unique architecture and objects. The studio believes in integrity of materials, purity of perception, coherence. Nature's efficiency, digital fabrication and art are recurrent trajectories of investigation that permeate the studio visual language and design process.
Andrea Morgante is a registered ARB, RIBA Architect in the UK. After working in 1997 with RMJM in London he joined Future Systems in 2001 where he became Associate Director, working closely alongside the late Jan Kaplicky. In 2008 he collaborated with Ross Lovegrove, developing a number of innovative energy self-sufficient architecture projects. In 2012 Andrea completed the construction of the Enzo Ferrari Museum in Italy, winning the prestigious RIBA International Award.
Since its inception Shiro studio has continuously engaged in architecture and product design. Since 2009 the studio has completed projects for, amongst others, Ferrari, Alessi, M&C Saatchi, Peroni, D-Shape, Agape, Poltrona Frau, Seiko Japan, Electa. Andrea's work has been extensively published on numerous magazines and book, including Wallpaper, Casabella, IW, Casa Brutus, The Independent, Architect's Journal, Blueprint, Icon, Interni, Stella Magazine, receiving numerous international awards.
Andrea is also Visiting Professor at the Milan Polytechnic where he teaches spatial design.
Among the leading architects of the structural architecture of the 20th centuryl, Pier Luigi Nervi (Sondrio, June 21, 1891 – Rome, Jan. 9, 1979) continued his research developed at the beginning of the century by the great engineers as pioneers François Hennebique, France , and subsequently, among others, Robert Maillart in Switzerland. Designer and manufacturer at the same time, as both of his predecessors, Nervi has made, using the same technique of reinforced concrete works of great charm, combining art and science of building.
According to him, the concept of structure is similar to that of the classical period, when the architect was the leading actor in each phase of the construction process, while using current methods and techniques entirely different. In most projects Nervi remained faithful to traditional reinforced concrete – a material that is easy to mold into the desired shapes and tough – trying to develop its full potential, without use of the new technique of prestressed concrete, but instead by exploiting to the maximum, and with great genius, the extraordinary freedom of composition and structural offered by the use of prefabricated elements.
Nervi has based its work, as well as on its solid experience in the design and construction, also on an intelligent intuitive, with a continued strong focus on relationship-shaped structure. He gave such life to a kind of general expression, in which each part of the structure is made strictly according to internal forces which it is subject, and the role it plays is clearly manifested in the overall design.
The first impressive works of Nervi was the stadium of Florence and a number of hangars for the Italian Air Force, built between 1935 and 1940. In these works Nervi pursues a refined formal result, while devoting special attention to economic considerations, causing it to adopt innovative techniques and, in particular in the case of the hangars, to experiment for the first time that use extensive of the prefabricated elements, which will become a constant in a large part of his next production.
After the war Nervi designs and builds some of the most extraordinary works for industrial and civil buildings (the Pirelli skyscraper in Milan together with Gio Ponti, the audience hall at the Vatican), exhibition facilities and sports facilities, in particular in connection with the Olympic games in Rome 1960. Since the fifties became the best-known Italian designer in the international arena, creating works of great prestige in Europe (the UNESCO headquarters in Paris with Bernard Zehrfuss and marcel Breuer), North and South America (the terminal bus New York, the St. Mary's Cathedral in San Francisco, the skyscraper Stock Exchange in Montreal, the Italian Embassy in Brasilia, etc.), and Australia (Australia Square Tower in Sydney).
In 2010 Pier Luigi Nervi is celebrated with a major retrospective that international touring, with several cuts always, came from Brussels and Venice, Rome and Turin in December in 2011 will touch Italy and then continue in other European capitals and America.
Each stage deepens one side of this multifaceted engineer symbol of the great moment of Italian engineering after the war.
Examples of these projects are the Nestlé Headquarters in Assago, the restructuring of the "Serenissima" or "Gioiaotto", "The Cube by Electrolux" travelling restaurant, Salewa Headquarters in Bolzano and the latest international stores for Brioni fashion company or the most recent new pop up pavilion for a restaurant Priceless Milano, all projects that have helped build the firm's reputation and are frequently published in specialist magazines and invited to take part in leading national-international architecture exhibitions.
Piero Portaluppi was born in Milan on 19 March, 1888 to Luisa Gadda and Oreste, a construction engineer. In 1905, he obtained his school-leaving certificate from the Carlo Cattaneo Technical High School and subsequently enrolled at the Polytechnic University of Turin, where his classmates were Enrico Agostino Griffini and Carlo Calzecchi. While studying at university, he began working as a cartoonist for several Milanese satirical magazines, amongst which "Il Babau", "A quel paese" and "Il Guerin Meschino".
In September 1910, he graduated in architecture and was awarded the gold medal prize, which the Association of Engineers and Architects of Milan used to award to the best graduate of the Polytechnic. The following year he was appointed "associate lecturer appointed by the University Management Committee" linked to the course held by Gaetano Moretti and he thus began his academic career. At the same time, he established his own architectural practice.
After the first minor works – decorations of façades and some tombs – in 1912, he began his long collaboration with Ettore Conti, a leading figure in the Italian power sector. From 1912 to 1930, Portaluppi designed numerous hydroelectric power plants – situated mainly in Val Formazza – for Imprese Elettriche Conti, or firms connected to it. Amongst these, the most famous are: Verampio (1912-1917), Valdo (1920-1923), Crevoladossola (1923-1924) and Cadarese (1925-1929). From 1918 to 1920, he also built the Grosio power plant for Azienda Elettrica Municipale di Milano. In June 1913, Portaluppi married Lia Baglia, Conti's niece, his sister's daughter whom he adopted in 1939. The couple had two children Luisa, born in 1914, and Oreste (familiarly called Tuccio), born three years later.
During the First World War, Portaluppi served as an officer in the Engineer Corps in Veneto and Friuli. In 1916, he was detailed to Val Formazza for the reconstruction of power stations that had been destroyed by enemy bombing. After the Battle of Caporetto, he asked to be reassigned to a combat troop division.
In the same period, Portaluppi was appointed professor of architecture. At the end of the war, he resumed his private architectural practice. In 1919, he was commissioned important projects, including the headquarters of the Linificio e Canapificio Nazionale, the renovation of the Pinacoteca di Brera, Villa Fossati and, above all, Casa degli Atellani in corso Magenta (Ettore Conti's house). Thanks to Conti, Portaluppi was introduced to important Milanese middle-class clients. The following families became his clients: first Borletti and Fossati, followed in the 1920s by Crespi, Angelo Campiglio and Mino Brughera. In 1920, Portaluppi developed two projects, which are iconic of his architectural practice: – the skyscraper that appears on the New York skyline for the company S.K.N.E. – whose initials were pronounced "scappane" by Portaluppi (which in Italian means "Get out of here!"), which was almost a warning, and; – the residential blocks for the Allabanuel district – (which he read backwards to form the Milanese expression "L'è una balla" ("It's a hoax"). These exemplify the architect's ironic stance with regard to modernism and urban design. In 1926, these works were followed by his design for an infernal utopia called "Hellytown". The twenties are a period of intense design activity. Besides being commissioned the prestigious projects of the Banca Commerciale Italiana office building (1928-1932) and the Hoepli Planetarium (1929-1930), he also worked on the following major residential projects: the Buonarroti-Carpaccio-Giotto building (1926-1930), Casa Crespi in corso Venezia (1927-1930) and palazzo Crespi in piazza Crispi (1928-1932). In the industrial sector, in addition to hydroelectric power stations, he built factory buildings for Società Ceramiche Italiane in Laveno and, between 1925 and 1928, the Alfa Romeo, Agip and Pirelli pavilions at the Milan Trade Fair. In 1926, together with Marco Semenza, he won the competition for the Milan General Plan, with the project called "Ciò per amore" (meaning "This for Love") from the anagram of their names. In 1929, as he was widely recognised as being a highly acclaimed architect, he was invited to build the Italian pavilion for the Barcelona Universal Exposition. In the same year, with the restoration of the Atellani Chapel, wanted by Conti, he started working on the church of Santa Maria delle Grazie. Portaluppi restored the church between 1934 and 1938, and was then charged with the reconstruction (1944-1948) and restoration (1958-1959) of the sacristy designed by Bramante.
The 1930s saw the consolidation and stabilization of his private profession, in the electricity sector – due to the fact that Conti had left Edison – but this was firmly focused on a series of important public and private projects in which there was a shift towards moderately modern stylistic features. This is apparent in the Villa del sabato per gli sposi, built together with BBPR for the fifth edition of the Triennale in 1933. Amongst his most important projects are the INA building in piazza Diaz (1932-1937), Villa Campiglio (1932-1935), the Ras insurance company building in via Torino (1935-1938), the headquarters of the Federazione dei Fasci Milanesi (Milan Federation of Fascists) in piazza San Sepolcro (1935-1940) and Palazzo dell'Arengario, built between 1937 and 1942, together with Griffini, Muzio and Pier Giulio Magistretti, after winning a competition for rearranging Piazza del Duomo.
The war dramatically marked his personal life due to the death of his son Tuccio. After the Liberation of Italy, two lawsuits were brought against him to remove him from his post of university professor and from the register of architects. He was acquitted of the charges brought against him between the end of 1945 and 1946. Reinstated as dean of the Faculty of Architecture, Portaluppi retained this position until he withdrew from academic life in 1963.
After World War II, his presence in institutional circles increased – with his appointment as chairman of the Association of Architects (1952-1963), as a member of the Governing Council of Fine Art and Antiquities and the Papal Commission for Religious Works of Art, and as chairman of the Technical Committee of the Teatro alla Scala – while his professional activity slowed down. Portaluppi, however, worked on some of the most important historical buildings of Milan: Brera (1946-1963), the conversion of the Convent of San Vittore into the Museum of Science and Technology (1947-1953), the conversion of the hospital Ospedale Maggiore into the Università Statale (Milan University) (from 1949), the Piccola Scala (1949-1955) and the project for the rearrangement of Piazza Duomo (1964). He also designed new buildings, some of the most well known being: the Milan headquarters of the Ras insurance company, in collaboration with Gio Ponti (1956-1962), and the Italian hall of residence of the Cité Universitaire de Paris (1952-1958).
Piero Portaluppi passed away in his home in corso Magenta on 6 July, 1967.
RuattiStudio Architects was founded in 2007 in Milan – Lambrate after more than 20 years of activity began a collaboration between Renato Ruatti and Silvia Cesaroni.
Mariano Pichler, born in Mezzocorona and graduated from the Polytechnic of Milan in 1977, is attentive and sensitive contemporary art collector who has always combined his passion with his profession of architect entrepreneur.
In 2000 he undertook an important work of urban regeneration in the industrial district of Lambrate in Milan, creating a new center of art and design. Pilot project still growing, Lambrate has become a model for subsequent interventions in other neighborhoods of Milan.
He obtained an architectural degree at the Politecnico of Milan in 1975.
He is an architect and designer. His expertise ranges from urban planning to architectural projecting of the buildings, from internal architecture to single objects. Several are his projects of hotels. In the design field he cooperates with the leading Italian and worldwide manufacturers of furniture, office ware, lighting, bath ware, coatings and gifts.
He ran projects throughout Italy and in France, Spain, The Netherlands, Russia, Greece, Cyprus, Japan, Armenia, Kazakhstan. He carried out a project in China for Shanghai Expo2010 involving a new neighborhood in PJ South – Shanghai.
His works have been published in the most important magazines in the field. Five monographs have been dedicated to his projects: Alfabeto. 82 progetti di design di Luca Scacchetti, with essays of F. Burkardt, M. Byars, A. Colonnetti and V. Pasca, Bologna, Compositori, 2006; Luca Scacchetti, disegni 1983/2002, with essays of P. Portoghesi e M. Brusatin, Milano, Federico Motta, 2002; Luca Scacchetti – architetture with essays of E. Ambasz, R. Bofill, A. Cantafora, G. Motta, F. Moschini and P. Portoghesi, Milano, Idea Books, 1991; Walking in different ways, edited by V. Pasca, Tecno publishers, Milano, 1990; Luca Scacchetti – forme oggetti architetture 1975/198, edited by F. Moschini, Roma, Kappa, 1986.
Alessandro Scandurra started his career working on several theater settings. He designed the set of the opera Fidelio for the open air Berlin National Opera production; this has been performed in Berlin, Paris, Venice and Jerusalem on the occasion of the 3000th anniversary of the Jewish city.
In 2001 he founded Scandurrastudio. He pursues his professional career in parallel with research, publishing and teaching activities. Visiting professor at SUPSI Lugano-based Swiss University since 2005, he has been teaching at the Milan Polytechnic from 2004 to 2007. In 2011 he published the book "Carlo Scarpa e l'origine delle cose" (Marsilio publishing house) and in 2012 he has been nominated Head of Advisory Board of Portaluppi Foundation.
In 1926 he graduated from the School of Architecture at the Politecnico of Milan and in the same year, he co-founded the "Group 7", signing, with a series of articles on "The Italian Festival", the first document about modern architecture in Italy.
In 1927 he began his professional career in Como, participating in the I and II Exhibition of Rationalism in Rome in 1928 and in 1931, the tenth anniversary of the show in Rome in 1932, the V Milan Triennale in 1933. During these years he also took part in several group exhibitions of painting with works inspired by the current of the "twentieth century"; later he will collaborate with artists of abstractionism from Como and Milan; he started the magazines "Dial" in 1933 and "Primordial Values" in 1938. In 1933 participates in the IV Congress of CIAM in Athens, together with Le Corbusier.
His most famous works are the monuments to the fallen of Como and Erba, the residential building "Novocomum", the Casa del Fascio in Como, the Sant'Elia kindergarten in Como, Villa Bianca in Seveso, the Danteum in Rome, "Casa Rustici" in Milan, "Casa Giuliani Frigerio" in Como.
The originality of its projects is characterized by inventive design solutions, but with forms for "a desire for truth, logic, order, for a lucidity that knows of Hellenism". His work put him in a position out of the official culture of the fascist regime, and set it apart from the strict rules of the European and American functionalism, which tend to adjust the architecture with abstract patterns and replicable in fixed modules.
Called to Arms in 1939 and consigned the following year on the Russian war front, back to Como physically and mentally jaded, and died suddenly on July 19, 1943.
Although his works are concentrated in just 10 years of feverish activity, Terragni is unanimously considered today the most important Italian architect of the first half of the twentieth century.
After studying architecture and urban design at the Università Iuav di Venezia and at the Escola Tècnica Superior d'Arquitectura de Barcelona, has worked for Cino Zucchi Architetti in Milano, and for Claus en Kaan Architecten and SeARCH in Amsterdam. Co-founder of B22, he's currently teaching assistant at Politecnico di Milano and member of the board of directors of the Chamber of Architects of Milan.


Yummo! | My Cup Runneth Over ... and So Does My To Do List!
My Cup Runneth Over … and So Does My To Do List!
I used my dehydrator for the first time today! My first experiments foods that I dehydrated are bananas, apples with cinnamon, kiwi, oranges, pineapple, and peaches. I tried a variety to get an idea of what we liked most, and now I know what to make a lot of.
The results? Apples with cinnamon are loved across the board! The kiwis were tart and liked by most, but not by all. The bananas are my least favorite, but loved by hubby and all the children, so I will be sure to make more of them. The oranges are disliked by most, but I will make more of them to have on hand to use with herbal teas. The peaches and pineapples are still on the dehydrator because they aren't quite ready yet. However, we all got a little taste of each anyway, and we know that we are going to love both! The children were requesting that I make more pineapple already, so I will be putting more on tonight this morning before I fall into bed.
Here is a visual of some of the goodies that are ready to be consumed….and most of it has already been!!