Sentences with phrase «design objects such»

In order to highlight the link between art and industry, iconic design objects such as the Olivetti Valentine typewriter designed by Ettore Sottsass will also be on display.

The MA History of Design and Curatorial Studies curriculum offers practical and theoretical instruction in researching and displaying interiors and design objects such as furniture, ceramics, metalwork, textiles, and works in other media.

Not exact matches

When designing products for your line, keep in mind that a product isn't just a physical object made of such - and - such material, weighing so many pounds, and having particular dimensions and colors.

Rather, it says: «But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government and to provide new Guards for their future security.»

According to Cutie Candy Pop, simplicity is the key to kawaii characters and design: «As if drawn by children... this is especially appealing when the faces are drawn on everyday objects such as a milk carton or a piece of toast.»

Now University of Vienna physicist Markus Arndt has designed an experiment suggesting that larger objects may also possess such strange quantum duality.

The Compton Gamma Ray Observatory (CGRO), designed to detect gamma rays from distant astrophysical objects such as neutron stars and supernova remnants, had also begun recording bright, millisecond - long bursts of gamma rays coming not from outer space but from Earth below.

At the center, they meditated daily using techniques designed to foster calm sustained attention on a chosen object and to generate aspirations such as compassion, loving - kindness, emphatic joy and equanimity among participants, for others and themselves.

As well as being valuable in fluid dynamics and aeronautical design, Osher's work has been widely used in computer graphics and animation for depicting complex objects such as flames.

Last year, Qi and his colleagues at Georgia Institute of Technology, in collaboration with scientists at the Singapore University of Technology and Design, used a composite made from an acrylic and an epoxy along with a commercial printer and a heat source to create 4 - D objects, such as a flower that can close its petals or a star that morphs into a dome.

«WPI brings an outstanding theoretical tool that allows us to understand how microscale objects, such as sperm, interact with their environment; and we are able to design this know - how into real microfluidic devices, clinically validate what we designed, and experimentally improve it into a real - world application.»

For decades, neuroscientists have been trying to design computer networks that can mimic visual skills such as recognizing objects, which the human brain does very accurately and quickly.

Major advances in computational design, physical modeling and rapid manufacturing have enabled the fabrication of objects with customized physical properties — such as tailored sneakers, complex prosthetics, and soft robots — while computer graphics research has seen rapid improvements and efficiencies in creating compelling animations of physics for games, virtual reality and film.

While it's mainly designed to measure objects, it can also move tiny objects such as carbon nanotubes.

«NIRES is expected to be one of the most efficient single - object, near - infrared spectrographs on an eight to ten - meter telescope, designed to study explosive, deep sky phenomena such as supernovae and gamma ray bursts, a capability that is in high demand.»

An example of this collaboration is the El - E robot, designed to perform simple tasks such as opening drawers and retrieving objects.

Objects such as sex toys and vibrators are designed to help with female masturbation.

It is generally designed to be brought into the «field» or local area where such objects exist to help distinguish between similar objects.

Using low - cost materials, they designed prosthetic arms capable of performing a series of practical challenges, such as throwing a ball toward a target, picking up and relocating household objects, or tightening a bolt.

Students design and make objects, such as scarves.

School grounds should be inspected for potential hazards such as: • Verandah poles outside doorways, in thoroughfares or in situations where students are unlikely to see them, especially while running; • Steps and changes in level which are poorly proportioned, difficult to see or lack handrails; • Fencing, gates and railings which students climb and which have structural problems, sharp protrusions, splinters or other hazards; • Trip hazards at ground level — protruding drainage pit covers, irregular paving, cracks or tree roots in thoroughfares, broken off post or other remnants of old structures; • Loose gravely surfaces on slopes and where students run; • Slippery patches which may stay damp in winter; • Rocks which students can fall onto or throw around; • Embankments which students can slip down or which have protruding sharp objects; • Blind corners in busy areas; taps and hoses which are positioned where students play or walk; window glass at low levels through which students could fall; • Holes, cracks or exposed irrigation fixtures in ovals; • Trees or shrubs with poisonous parts, sharp spikes or thorns or branches at eye level; • Splinters and deteriorating timbers in seats, retaining edges and other wooden constructions; • sSeds or other areas with hazardous chemicals or machinery to which students have access; rubbish skips which students can climb into or around, or which place students at risk when trucks enter the school; • Areas within the site used for car parking when students are present; and, • Sporting equipment such as goal posts or basketball rings which have structural or other design or maintenance problems.

Digital content options can be «bright shiny objects», due to their ability to distract implementers from critical activities such as determining the key need that they want to solve and iterating their design to meet objectives.

Safe Pullaway is also being tested, which is designed to reduce low - speed collisions — both in traffic, and also with stationary objects such as garage doors, walls and parked cars.

The system uses stereo cameras mounted next to the rear - view mirror designed to detect objects that could pose the risk of a collision, such as slowing traffic.

The test is designed to replicate what happens when a vehicle's front corner collides with another vehicle or an object such as a tree or utility pole.

The new 2017 Armada provides a unique combination of luxury, power and utility, including best - in - class2 standard towing and a suite of advanced Nissan Safety Shield technologies such as Predictive Forward Collision Warning3 and Backup Collision Intervention4.It also offers a fresh exterior design, enhanced performance from a new 5.6 - liter Endurance ® V8 with best - in - class2 390 - horsepower and new 7 - speed automatic transmission, a comfortable full - feature cabin and class - exclusive2 available safety and security features — including Blind Spot Intervention (BSI) 5 and Around View ® Monitor (AVM) with Moving Object Detection (MOD) 6.

The test, which is sometimes called a narrow offset test - is designed to replicate what happens when the front corner of a car collides with another vehicle or an object such as a tree or utility pole.

Gallery On Collection Tiki (1-9-10 Ebisu - Minami, Shibuya - ku, 3711 - 8678) epitomizes contemporary Japanese design with stone floors, wood slab tables and a changing roster of shows that usually feature utilitarian objects such as carved bowls or handblown glassware.

Character design is quite varied between the six characters available for selection as every character has unique traits within their personality such as Candyman who hits the ball with his cane, tap dances, dresses in a jazz fashion sense and has a special ability to change the molecular compound of particular objects to provide them with strangely altered properties.

The environment design is effectively an evil character in itself as the surrounding environments are full of traps including sharp edged objects such as spikes, windmill blades, pistons and more besides are progressively introduced, although the environments can be tamed by manipulating time.

The environment design is faithful to the subject matter as it includes iconic environments from Star Wars films such as the remote desert planet of Jakku and the ice planet of Starkiller Base containing a deadly energy weapon within the core of the planet, while a new feature which generally sets environments apart from this game in comparison to other LEGO games is the introduction of multi-build paths that effectively allows players to build an object to complete a new objective or reach a new area, dismantle it, then re-build it as an alternative object in order to complete another new objective or reach another new area.

i was pleasantly surprised that such a simple design of taking away the «walls» on the top and bottom of the screen can add such a challenge but also make certain aspects of the game less stressful when you're about to rage quit because of a moving object or because of that one spike that doesn't know what's good for it!

• Follow the level design pipeline from «pen & paper» game designs to implement spectacular character based levels and ultra-fun gameplay mechanics • Work closely with level layout artists to identify level assets and gameplay direction to ensure visual and technical quality for the levels • Follow direction of Lead Level Designer to maintain gameplay vision consistency • Contribute to level concept, layout, implementation (camera, entity, etc.), prototype modeling, scenario creation, event scripting, game balancing, pacing, and gameplay tuning • Contribute to general game design, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on ddesign pipeline from «pen & paper» game designs to implement spectacular character based levels and ultra-fun gameplay mechanics • Work closely with level layout artists to identify level assets and gameplay direction to ensure visual and technical quality for the levels • Follow direction of Lead Level Designer to maintain gameplay vision consistency • Contribute to level concept, layout, implementation (camera, entity, etc.), prototype modeling, scenario creation, event scripting, game balancing, pacing, and gameplay tuning • Contribute to general game design, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on ddesign, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on dDesign team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on details

At the core of his work is an exploration of modernist design and the public realm - his installations recall archetypal 20th century landscapes, such as playgrounds, urban parks, the abandoned garden and the corporate lobby as well as modernist interior motifs and familiar objects like fireplaces and lamps presented in entirely new forms.

Inspired by objects and notions from her childhood designed to help us understand our environment, Glovinski is known for her unique approach to recreating such objects as beach chairs, nature books, and gardening zone maps.

The department has in recent years been addressing this lacuna by buying objects that express high - Victorian taste, such as the «Pericles dressoir» designed by Bruce Talbert in 1866.

Pop Art Design includes works by artists such as Andy Warhol, Claes Oldenburg, Robert Rauschenberg, and Roy Lichtenstein, which are contrasted by design objects by Charles & Ray Eames, George Nelson, Ettore Sottsass, Achille Castiglioni, and other designers of theDesign includes works by artists such as Andy Warhol, Claes Oldenburg, Robert Rauschenberg, and Roy Lichtenstein, which are contrasted by design objects by Charles & Ray Eames, George Nelson, Ettore Sottsass, Achille Castiglioni, and other designers of thedesign objects by Charles & Ray Eames, George Nelson, Ettore Sottsass, Achille Castiglioni, and other designers of the time.

While Cameron - Weir's new sculptures are informed by her study of historical objects made to protect, punish, or stand in for bodies — medieval armor or torture devices, and early - Renaissance orthopedics — they also reflect her interests in aspects of evolutionary design, such as corporal symmetry and the possibility of biological systems that harbor intelligence and self - awareness.

Smith's work examines the interstice where design objects from places such as Pier 1 Imports imitate culturally specific products.

He was not interested in fabricating utilitarian objects, such as the workers» uniforms designed by Aleksandr Rodchenko or the teacups and saucers made by second - rate Productivists.

The uses of imagery and materials in this exhibition are wide - ranging and experimental: rhinestones, sand, matches, cowrie shells, handmade set designs, appropriated sports footage, family snapshots, found objects from the 1950s, 60s and 70s, and black contemporary and historical icons such as Harriet Tubman, Paul Robeson, Nigerian Cardinal Francis Arinze, John Coltrane and Terrell Owens.

Art - world power - hitter Todd Levin curated this sprawling ode to the city where he was born and raised, with such objects culled from Detroit institutions as historical portraits, industrial design, fashion, music, and works of contemporary art.

Curated by renowned museum director Prof. Dr. Martin Roth before his passing, it features numerous design objects loaned from some of Germany's most significant cultural institutions such as the Vitra Design Museum, Neue Samdesign objects loaned from some of Germany's most significant cultural institutions such as the Vitra Design Museum, Neue SamDesign Museum, Neue Sammlung,

As the titles of these sculptures note, each component or group of objects is an interpretation of designs for clothing, clothing as sculpture or costumes by such artists as Sonia Delaunay, Lucio Fontana, Kazimir Malevich, Liubov Popova, Alexander Rodchenko, Mimi Smith, Varvara Stepanova, Rosmarie Trockel, Konstantin Vialov, Franz Erhard Walther or designers André Courrèges and Alexander McQueen.

At the time of his death in 1994, Judd had designed nearly 100 pieces of furniture, as well as objects such as cups, saucers, and plates.

This show features architectural drawings for prominent buildings such as the Horse Guards at Whitehall and the Treasury, as well as objects and designs from his famed commissions at Chiswick House, Wanstead House and Houghton Hall.

The multifarious artist's colorful geometry, rendered in a range of techniques, was applied to so many surfaces and objects that it irritated the distinction made between art and design in the 1920s and»30s — and continues to provoke thoughts about such distinctions here, featured in an art exhibition at an institution devoted to design.

Works such as Desk Chair (2012), an acrylic painting on aluminum, studies the graceful curves and ergonomic design of a common school desk, inducing the viewer to consider the form and function of such mundane objects more closely.

Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames» paintings break down hierarchies of mark - making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective «infinite scroll» of images and information we encounter in both the online and real world.

In his paintings, he celebrates their «affectations» and surrounds them with prized art and design objects of the 1920s, such as Donald Deskey's red leather club chairs and still - lifes that suggest the work of Bloomsbury Group painters Vanessa Bell and Duncan Grant.