The Harvard Graduate School of Design (GSD) awarded 212 degrees at Commencement this year. But only 10 were from an entirely new program.Artists, architects, and entrepreneurs were in the first cohort of Art, Design and the Public Domain (ADPD), a new “area concentration” within the traditional Master in Design Studies (MDesS) program. (There are seven other MDesS concentrations, including conservation, history, ecology, sustainability, and real estate.)The new program is a flexible, interdisciplinary pathway for midcareer artists, designers, architects, and others. The idea is to blend art practice with the academy, and let each world enrich the other. Afterward, let these creators make the entire public domain — the physical and the virtual — their studios at large.Within design, this idea of art as public engagement is called “spatial practice.”“The built urban environment [is] a great hope and opportunity for its inhabitants,” said Krzysztof Wodiczko, who coordinates the new two-year program. It is open to “critical and creative practitioners” from all disciplines, for those who “wish to practice art and design in the built environment, while critically reflecting on it.”Wodiczko, the GSD’s professor in residence of art, design, and the public domain, is a renowned artist known for his large-scale installations, often video projections cast onto public facades. He is also known for sober themes: war, trauma, and economic injustice, and for art that moves from the realm of dissent to social action.Born in Poland during the 1943 Warsaw ghetto uprising, Wodiczko views the urban landscape as a setting for art that is socially engaged, critical, and probing. “He brings out the dark bits that people don’t want to talk about,” said Jutta Friedrichs, MDesS ’12, a member of the first ADPD cohort.A 2012 still from “The Inconspicuous Life of Walls,” a thesis project by Jutta Friedrichs MDesS ’12. This bullet-scarred wall in Berlin shows artifacts of 1945 street fighting.When he was an aspiring artist and designer, there was no such pathway back to the riches that a university can offer, Wodiczko said. “I needed to learn by myself — and not without unnecessary difficulties and shortcomings.” For practicing artists, a two-year sojourn in the academy, he added, “offers an intellectual framework, and a laboratory.”Dan Borelli, MDesS ’12, director of exhibitions at GSD and also a member of the first ADPD cohort, said traditional postgraduate art programs deal with “individual responses within a studio space,” and then they are about the movement of an art product to a market. But with ADPD, “you’re dealing with social issues and how they play out in … public space.”ADPD’s antecedents are not artworks for the gallery or the marketplace, said Borelli, but, for instance, the art produced during the AIDS crisis in the 1980s and during feminism’s rise in the 1970s. He called such art “highly public demonstrations and displays” about difficult subjects.The program in 2012 included architects, arts entrepreneurs, and a scattering of practicing fine artists, like Borelli, who trained as a painter. They also represented many cultures, including those of Mexico, Germany, South Africa, and Singapore. All of the participants had lively careers before the GSD program, and yet wanted something more than the studio-to-market model of a traditional MFA.Friedrichs also finds this storefront near Berlin’s main train station still bears the marks of fighting from the 1945 Battle of Berlin.“I made a conscious choice not to go to an art school,” said Friedrichs, who has been a product designer and founded her own firm in China. “I wanted something more solidly grounded in theory. I had already practiced art for so long, I didn’t have the feeling somebody had to tell me how to make things.”At the start of each semester, “we all went out in different directions,” she said. Students spent two weeks scouring catalogs for courses. The point was to expand their learning and explore how art can help formulate fresh ways of expressing knowledge.Her own final project was “The Inconspicuous Life of Walls,” a photo, video, and sculptural installation about heritage-protected Berlin facades pocked with bullet holes. She consulted authorities on archaeology, art conservation, photography, forensics, videography, materials science, and even dermatology. That eclectic pursuit reflected how wide afield most ADPD students went during the program. At Harvard, she said, “One could get the best kind of knowledge, in any field.”After fanning out, Friedrichs and the others were drawn back to a common center, that idea of “spatial practice.” They wondered: How can art and design record, transform, or question — and use the public domain to do so?“We welcome people who are committed to contributing to urban life through new ideas and projects” — and people whose explorations of urban space are “analytical, visionary, interventionist, and transformative,” Wodiczko said.Those qualities were evident in the final projects. A few were traditional written works, on art and urbanism, for example, or on “knowledge production” in 21st-century public libraries. Another investigated the implications of building facades in a Mexican city.Borelli found his final project, “The Cloud of Unknowing,” in his boyhood hometown, Ashland, Mass., just 22 miles southwest of Boston. In 1982, one of the first U.S. Superfund sites was established at the town’s former Nyanza Coloring & Chemical Co. plant. That had closed in 1978, leaving a legacy of cancer scares. It also left tons of buried waste, polluted wetlands, and toxic groundwater. On this local stage, where emotion, memory, and science clashed, Borelli said he used “the techniques of art to visualize public knowledge.”A viewer earlier this year at the Harvard Graduate School of Design looks at part of “The Cloud of Unknowing,” an installation by Dan Borelli MDesS ’12. Photo courtesy of Justin KnightHis art installation was a set of objects, maps, books, oral history videos, and a backlit display of federal pollution data. (With a related website, it will become a permanent display at the public library in Ashland.)“This is their knowledge,” Borelli said of the townspeople he grew up with, some of whom were felled by cancers. “They don’t know it. It’s buried in government websites.” Art and design, he said, can help people know and see.So it is with the war-scarred walls that Friedrichs studied. “People don’t perceive them,” she said. But art and design can provide an awakening — in this case to a form of material history that could never be captured in a museum case.It’s like the knowledge a university has to offer; why keep it in a case? Friedrichs brought up Wodiczko again. “He’s an advocate for this knowledge to be used,” she said, “for it to be activated, and change things in the world.”
“I have been getting an increased amount of complaints regarding political signs being stolen from lawns and private property… people who engage in this behavior are subject to criminal prosecution”, Delaware County Sheriff Craig DuMond said. The sheriff’s office said in a news release removing, alerting or defacing a political sign is punishable under New York State law. DuMond also said surveillance cameras can and will be used to assist law enforcement if any political signs are taken or defaced. (WBNG) — The Delaware County Sheriff’s Office is warning against damaging or stealing political signs ahead of the 2020 Election.
26 Vakuta Street Fig Tree PocketThis architecturally designed home has sold before auction for $1.7 million. The home at 26 Vakuta St, Fig Tree Pocket.Mr Goesh said that although the suburb was popular, there was a shortage of properties available to buy.“There aren’t enough homes for sale to satisfy the demand,” he said.Data from CoreLogic found median prices in the area were up 35.8 per cent in the past year. The home at 26 Vakuta Street Fig Tree Pocket.“It’s still a leafy, rural suburban area with generous block sizes and less density,” he said.“Plus the schools and parks are a huge draw card for potential buyers.” Inside 26 Vakuta St, Fig Tree Pocket.“There’s good separation in the home and multiple entertaining areas,” he said.“That really appealed to a lot of buyers.”Mr Goesh said this sale was a strong start to 2018 and a positive reflection on the market in Fig Tree Pocket. Inside 26 Vakuta St, Fig Tree Pocket.More from newsParks and wildlife the new lust-haves post coronavirus21 hours agoNoosa’s best beachfront penthouse is about to hit the market21 hours agoMarketing agent Kel Goesh of Brisbane Real Estate said it was the layout of the home that enticed the new owners, a family renting in the area, to buy the property. The home at26 Vakuta St, Fig Tree Pocket.The property, at 26 Vakuta St, Fig Tree Pocket, sits on a 1494sq m block surrounded by rainforest.
European Union negotiators are thought to have failed to reach an agreement on the revised IORP Directive at a trialogue meeting that lasted until early morning today (16 June), but, according to the chair of the European Parliament’s economic and monetary affairs committee (ECON), they are “close to a deal”.Robert Gualtieri made the comment in a post on Twitter at around 3:30 CET this morning, adding that the negotiators had made “very good progress”. Brian Hayes, Irish MEP and IORP II rapporteur, had earlier turned to the social media platform to provide an update on the negotiations. “IORP negotiations continuing late into the night,” he said. “Making progress but still a lot to be decided.”Although neither explicitly stated so, the negotiations – between the European Parliament, the European Commission and member states – are understood to have failed to produce a final revised IORP Directive.IPE contacted Hayes for confirmation but did not hear back by the time of publication.IPE understands that a seventh trialogue meeting is due to take place before the Dutch presidency lapses at the end of June.Slovakia then assumes the presidency until the end of the year.Jeroen Dijsselbloem, Dutch finance minister and president of the Europgroup, had on Tuesday said he hoped last night’s meeting would be the last and that the negotiations were “close to successful closure”.Cross-border funding is likely to have been the main hurdle to reaching an agreement last night, according to a source, having been the most challenging item over the months previous.
Press Association “Golf is looking to someone to put their hand up and try to dominate and I want to be that person. I want be to be the guy that goes on and wins majors and wins majors regularly. I feel like there’s a lot more left in me.” McIlroy revealed he would look to copy 2013 champion Phil Mickelson by drinking top quality red wine out of the Claret Jug – at least initially – and also why he had a heckler removed from the crowd on the 16th hole. “He was giving me grief all day, actually,” McIlroy said. “I sort of put up with it for the first 15 holes and then he deliberately coughed on my downswing on the 16th tee. I still hit a great drive but I heard it halfway down and I knew who it was. So I turned around and got him chucked out, thankfully.” “It feels absolutely incredible,” said McIlroy, who saw his six-shot overnight lead cut to two on four occasions before sealing victory with a closing 71. “It’s cool that they put your name on there even before you get it. “It’s been an incredible week. I’m happy I gave myself enough of a cushion today, because there was a lot of guys coming at me, especially Sergio and Rickie (Fowler). Just to be sitting here and looking at this thing and having my name on it, it’s a great feeling. It obviously hasn’t sunk in yet. I’m going to enjoy it and let it sink in tonight in the company of my friends and family.” “I’m immensely proud of myself. To sit here 25 years of age and win my third major championship and be three-quarters of the way to the career grand slam, I never dreamed of being at this point in my career so quickly. “The Open Championship was the one you really wanted growing up, and the one you holed so many putts on the putting green to win, to beat Tiger Woods, Sergio Garcia, Ernie Els, whatever.” McIlroy’s two-shot win over Garcia and Fowler makes him the first European player to win three different majors since the Masters was founded in 1934 and the third player after Woods and Jack Nicklaus to win three majors by the age of 25. And he believes he has the ambition to attempt to match the achievements of Woods and Nicklaus, who have won 14 and 18 majors respectively. “I definitely hope so,” McIlroy said. “I’ve really found my passion again for golf. Not that it ever dwindled, but it’s what I think about when I get up in the morning. It’s what I think about when I go to bed. “I just want to be the best golfer that I can be. And I know if I can do that, then trophies like this are within my capability. I’d love to win a lot more and am really looking forward to – even though there’s still one major left this year that I want to desperately try and win – to next April and trying to complete the career grand slam. A year on from labelling his own play “brain dead”, Rory McIlroy spoke of his pride at winning the Open Championship at Royal Liverpool and immediately targeted more major glory. Missing the cut at Muirfield last year prompted McIlroy to make a withering assessment of his own game as he looked a shadow of the player who had won the 2011 US Open and 2012 US PGA Championship. But 12 months on the 25-year-old has his hands on the Claret Jug and is just one step away from winning the career grand slam after holding off a spirited challenge from Ryder Cup team-mate Sergio Garcia.