#graham gund

[miamaimania]

"Upside Down Teacup" by Graham Gund

[jaybuilds]

I'd like to know your opinion about what exactly one needs to add to a model to give it a Trans am system? Like if I wanted to put it into something from the WFM line and combine it with the Gund Format, how much do you think I would need to modify the model itself?

Considered I’ve dabbled in this sort of integration at times, I’ll just give my general thoughts on it and hopefully you can understand a little better. So let’s begin, shall we?

My earlier projects straight-up just attached GN Drives to the back, and left it as-is. While this certainly has more of a Build-universe vibe to it, and it’s not too out of line from what you can see in 00 with Graham’s Flag that just hastily taped one to his machine as well. It doesn’t look elegant because it lacks what really makes the 00 aesthetic.

For latter works of mine, I felt the need to make these look more authentic; these feature round sphere-like bits on joints/the chest/etc, in a manner similar to that of the Exia itself. The purpose of these is that it alludes to how a proper GN machine would have regulators throughout its body to have a more faithful implementation of such a thing, and actually look more in-line with the 00 universe itself.

But then there’s my Exia Repair….

This frankenstein monstrosity was meant to be as unapologetically defiant to this design as I could think of, while still keeping a mental note that it would have to look functional. It’s got the Drive, it’s got the regulators, but the difference here is that I decided to play around with the aesthetics of IBO as well, which is why all the exposed bits on it look like they have the same sort of energy running through them, that’s also coming from the GN tech.

With all of that said, and if you want a better answer, I have to respond with a follow up question myself: Do you intend to combine Trans-AM with Permit Scores? Or is this merely just including it as its own/secondary power source? Because the system itself has its own sort of interactions to keep you scratching your head over.

[ofhouses]

713. Graham Gund /// Patterson House (Roofhouse) /// Fishers Island, New York, USA /// 1983

OfHouses presents Record Houses, part XI. (Photos: © Steve Rosenthal. Source: “Architectural Record Houses of 1984″, Mid-May 1984; “AIA Journal” 05/1985.)

[zonkout]

Graham Gund, Charles Perkins School Renovation, 145 Saint Botolph, Boston.

[chriswolak]

Chihuly in the library

A big part of what makes this modern art installation so striking is the contrast of its environment and its almost 500 year-old base.

If you Google “Chihuly in the library,” you’ll see that there are a variety of Chihuly art installations in libraries. I’ve come across Chihuly pieces here and there, like this one below at the Mohegan Sun Casino in Connecticut. With Book Cougars co-host Emily at Mohegan Sun About ten years ago I was fortunate to visit the Chihuly Garden and Glass exhibition in Seattle when it first opened. I…

[little-biscuit2]

eee tanks!

Please read my dni in my bio before interacting

Made this agere outfit for my friend @little-biscuit2! It's an outfit for her stuffie Graham :3

[lauras-happy-place]

I'd really love Blues Room of all the things that remind me of my favorite stuffie Graham (my icon) Hes a GUND Growler stuffie and Id love him placed in the room somewhere, with lots of other stuffies, esp teddy bears and lions bc theyre strong and safe.

Oh and um Graham is friends with Pooh. I just got the Christopher Robin version pooh stuffie and Id love my Pooh in there too?

Graham makes me think of: graham crackers, yellow, bumblebees, treehouses, acorns, yellow wellies, wood toys, the woods, crayons

Sorri i um talk too much

Sorry for the mess, I’ll clean it up before you move in!

[urtopia]

Hyatt Regency Hotel, Cambridge MA

Graham Gund, 1979

[moma-prints]

Time Extended/Distance Extended, Dan Graham, 1970, MoMA: Drawings and Prints

Partial gift of the Daled Collection and partial purchase through the generosity of Maja Oeri and Hans Bodenmann, Sue and Edgar Wachenheim III, Agnes Gund, Marlene Hess and James D. Zirin, Marie-Josée and Henry R. Kravis, and Jerry I. Speyer and Katherine G. Farley Size: composition: 17 15/16 x 18 3/16" (45.6 x 46.2 cm); sheet: 22 7/16 x 22 3/4" (57 x 57.8 cm) Medium: Lithograph

http://www.moma.org/collection/works/147048

[archiveofaffinities]

Graham Gund Associates, Davis Summer Residence, Mishaum Point, South Dartmouth, Massachusetts, 1981-1983

[salamanderinspace]

On view in GFS’s West Gallery, Michael Rees: Synthetic Cells presents an unparalleled dialogue between object, perception, and reality. Recognized internationally as one of the pioneers of new digital media, Michael Rees has continually pushed the boundaries of sculpture creating thoughtful viewer-to-object encounters. There is always a sense of discovery of new materials and technologies across Rees’ oeuvres.  His newest sculptures challenge the viewer to experience how the boundaries of our physical and digital experiences are converging. The exhibition is curated by GFS Chief Curator, Tom Moran.

Since the advent of our internet age, Michael Rees has been redefining objects by using digital technology and innovative material to engage contemporary themes and subjects with sculpture. The object serves as the starting point for a variety of social, psychological, spiritual and political issues in Rees’ work. In this exhibition, he continues to explore materials by using inflatable objects—supplemented with the overlay of augmented reality—to add multiple layers of complex semiotic relationality. Inflatable objects have historically been seen in utopian furniture, architecture, and toys dating back to the 1960s.

Rees’ work is equal parts science fiction, sculpture, architecture, and philosophy, as he creates multivalent, accessible experiences for viewers of all ages.  For this project, the artist has created seven 10-foot cube sculptures in varying hues of vinyl as well as augmented reality dioramas of animals and insects, activated by tablet computers that are part of the exhibition. Images applied to the walls and the vinyl skin of five of the seven cubes become triggers for that augmented reality experience. Hovering a tablet device near these images generates a composite view, or augment, for the visitor that overlays the tangible work. Through the supplied tablet’s viewfinder, the visitor experiences the actual sculpture combined with a computer-generated virtual layer, a collage of the virtual and the real. Rees has described the exhibition as the collision of utopias, first the older inflatable designs then overlaid by the augmented reality pieces.

Inspired by contemporary network culture and the concept of the “Chautauqua,” a popular movement during the late 19th and early 20th centuries that brought together the arts, sciences, and politics for educational opportunities, Michael Rees invited other artists to participate in the augment portion of this project. Site (Para) Site, the augmented reality portion of this exhibition, was guest curated by noted digital experts, Murat Orozobekov and Edward Winkleman, who founded the Moving Image. These digital overlays were created by Michael Rees as well as three other artists invited to collaborate on this project: Claudia Hart, Chris Manzione, and Will Pappenheimer.  In the fall of 2018, three more artists will supply augmented reality experiences: John Craig Freeman, Tamiko Thiel, and Carla Gannis. Prior experience with technology is not necessary for visitors to enjoy the virtual environment that the augments create.

Michael Rees: Synthetic Cells is funded in part by the Elizabeth Firestone Graham Foundation and the following exhibitions supporters: Gordon and Lulie Gund.

(source: Grounds For Sculpture)

[markshruby]

Proposed lobby and exterior for Boston office building, 1992 scale: 1″=1′ marble simulated with polished lacquer architect: Graham Gund fabricator: FW Dixon Company

[ofhouses]

694. Graham Gund /// Jane and Warren Shapleigh House /// Mishaum Point, South Dartmouth, Massachusetts, USA /// 1978

OfHouses presents Record Houses, part IX. (Photos: © Steve Rosenthal. Source: “Architectural Record Houses of 1979″, Mid-May 1979; “Architecture” 02/1984.)

[valiantdonutpersonllama]

Check out this listing I just added to my Poshmark closet: Plush Stuffed Animals Variety Majority Vintage Lot Of 9.

[roodboi]

Graham Gund Architects out of Cambridge, MA on a Screen Stars Tee 🏢🏛🕋 sz L • available on the site (at Cambridge, Massachusetts) https://www.instagram.com/p/CRjmVlZBxoH/?utm_medium=tumblr

[takashipom]

Last night with my master my YODA ... mr. TUJI. Takashi Murakami: Lineage of Eccentrics A Collaboration with Nobuo Tsuji and the Museum of Fine Arts, Boston October 18, 2017 – April 1, 2018 Ann and Graham Gund Gallery (Gallery LG31) @mfaboston (Museum of Fine Arts, Boston)