#maria karalis

[goalhofer]

2024 olympics Greece roster

Athletics

Emmanouil Karalis (Athens)

Miltiadis Tentoglou (Grevena)

Mihail Anastasákis (Chania)

Christos Frantzeskakis (Athens)

Polyniki Emmanouilidou (Thessaloniki)

Antigoni Drisbioti (Karditsa)

Katerina Stefanidi (Cholargos)

Eleni-Klaoudia Polak (Athens)

Ariadni Adamopoulou (Athens)

Tatiana Gusin (Athens)

Panagiota Dosi (Corfu)

Elina Tzengko (Nea Kallikrateia)

Stamatia Scarvelis (Santa Barbara, California)

Basketball

Thomas Walkup (Deer Park, Texas)

Giannoulis Larentzakis (Kythnos)

Dimitrios Moraitis (Maroussi)

Vassilis Toliopoulos (Athens)

Nick Calathes (Winter Park, Florida)

Panagiotis Kalaitzakis (Heraklion)

Georgios Papagiannis (Megara)

Vassilis Charalampopoulos (Maroussi)

Konstantinos Papanikolaou (Trikala)

Niko Chougkaz (Athens)

Giannis Antetokoumpo (Athens)

Konstantinos Mitoglou (Thessaloniki)

Cycling

Georgios Bouglas (Trikala)

Equestrian

Ioli Mytilineou (Athens)

Fencing

Theodora Gkountoura (Athens)

Gymnastics

Leftherios Petrounias (Athens)

Judo

Theodoros Tselidis (Vladikavkaz, Russia)

Elisavet Teltsidou (Athens)

Rowing

Stefanos Ntouskos (Ioannina)

Antonios Papakonstantinou (Marousi)

Petros Gkaidatzis (Thessaloniki)

Evangelia Anastasiadou (Kastoria)

Christina Bourmpou (Thessaloniki)

Dimitra Kontou (Mytilene)

Zoi Fitsiou (Kozani)

Sailing

Cameron Maramenides (Anna Maria, Florida)

Osysseas Spanakis (Amarousio)

Byron Kokkalanis (Athens)

Ariadne Spanaki (Thessaloniki)

Shooting

Charalampos Chalkiadakis (Chania)

Efthimios Mitas (Athens)

Christina Moschi (Athens)

Emmanouela Katzouraki (Chania)

Anna Korakaki (Drama)

Swimming

Stergios Bilas (Amarousio)

Apostolos Siskos (Thessaloniki)

Panagiotis Bolanos (Athens)

Konstantinos Stamou (Athens)

Evangelos Ntoumas (Alexandroupoli)

Kristian Gkolomeev (Athens)

Apostolos Christou (Athens)

Evangelos Makrygiannis (Athens)

Dimitrios Markos (Athens)

Apostolos Papastamos (Chania)

Odysseus Meladinas (Cholargos)

Andreas Vazaios (Athens)

Konstantinos Englezakis (Marousi)

Athanasios Kynigakis (Chania)

Sofia Malkogeorgou (Athens)

Evangelia Platnioti (Athens)

Anna Ntountounaki (Chania)

Georgia Damasioti (Marousi)

Dora Drakou (Patras)

Table tennis

Gio Gionis (Athens)

Tennis

Petros Tsitsipas (Athens)

Stefanos Tsitsipas (Monte Carlo, Monaco)

Maria Sakkari (Barcelona, Spain)

Despina Papamichail (Barcelona, Spain)

Water polo

Nikos Gillas (Athens)

Emmanouil Zerdevas (Athens)

Konstantinos Genidounias (Athens)

Dimitrios Skoumpakis (Chania)

Efstathios Kalogeropoulos (Amarousio)

Ioannis Fountoulis (Chios)

Alexandros Papanastasiou (Athens)

Stylianos Argyropoulos-Kanakakis (Athens)

Nikolaos Papanikoulaou (Athens)

Konstantinos Kakaris (Athens)

Dimitrios Nikolaidis (Thessaloniki)

Angelos Vlachopoulos (Thessaloniki)

Panagiotis Tzortzatos (Cholargos)

Athina Giannopoulou (Athens)

Maria Myriokefalitaki (Amarousio)

Chrysoula Diamantopoulou (Athens)

Eleftheria Plevritou (Thessaloniki)

Ioanna Chydirioti (Cholargos)

Nikole Eleftheriadou (Athens)

Margarita Plevritou (Thessaloniki)

Eleni Xenaki (Amarousio)

Alexandra Asimaki (Athens)

Maria Patras (Agria)

Eirini Ninou (Glyfada)

Vasiliki Plevritou (Thessaloniki)

Ioanna Stamatopoulou (Marousi)

Wrestling

Georgios Kougioumtsidis (Thessaloniki)

Dauren Kurugliev (Derbent, Russia)

Maria Prevolaraki (Athens)

[whypolar]

Character Creation Tag

Was tagged in this a few days ago by @diseonfire

(If I tag you in this and you don’t want to do it for any reason don’t worry about it. I just picked some people who sprung to mind.)

I’m going to use Maria for this.

1. What was the first element of your OC that you remember considering (name, appearance, backstory, etc.)?

Appearance. She was one of the first four IC characters I designed, before IC was actually a thing. Maria, Vikas and Ravi were all conceived as cousins, and they were all based on the same old character from when I was in highschool.

2. Did you design them with any other characters/OCs from their universe in mind?

Yes. Pretty much all the characters in IC were built with each other in mind, since it’s a story about family.

I would say that she links most closely with Tommy and Lila (since they are her most immediate family members), followed by Ravi (since they have a few very important things in common).

3. How did you choose their name?

I don’t remember exactly how I picked them, but she and her siblings all have names derived from figures in Christianity. Maria is easily the most blatant choice you can get for that lmao

Karalis is a greek surname (constructed from borrowed turkish afiak). It has a number of meanings in other languages, too, which may not have any shared etymology but are still pretty neat imho - latvian karalis and latin caralis.

4. In developing their backstory, what elements of the world they live in played the most influential parts?

f a m i l y

5. Is there any significance behind their hair colour?

Red Brown Looks Cool.

6. Is there any significance behind their eye colour?

Brown Eyes Are Common.

7. Is there any significance behind their height?

Heights for ic were decided collectively based on 1) structure of the family tree and 2) visual variety in character design.

She’s on the shorter side, like Lila, while Tommy and Silas are both taller like their father.

8. What (if anything) do you relate to within their character/story?

She’s one of the characters who I consider to be more ‘like me’, particularly in regards to self-perception and how she relates to other people (or doesn’t).

9. Are they based off of you, in some way?

I would argue most of my characters are based on me, even the ones that don’t resemble me at all by the end. I’ve only ever been myself. Maybe that’s just being pedantic though.

The very earliest incarnation of her relationship with Cindy in IC was basically a cautionary tale, directed at myself, about selfishness. Since I was writing that version while in the middle of a long-term abusive relationship, I eventually had to gut all of that content and rebuild from the ground up. The ‘moral’ from that version of the draft was pretty nonsensical and unfair, since it was driven by personal guilt and a partner with unreasonable expectations.

10. Did you know what the OC’s sexuality would be at the time of their creation?

She’s been a lesbian since day one. Pretty sure she’s the only character under 30 who hasn’t had their canon sexuality change at least once.

11. What have you found to be most difficult about creating art for your OC (any form of art: Writing, drawing, edits, etc.)?

A lot of what is most compelling about her is not visually apparent by design, since her storyline is themed around being closed off, flat, etc. It doesn’t especially make for interesting standalone illustrations.

12. How far past the canon events that take place in their world have you extended their story, if at all?

Oh, not at all. IC ends where it ends, and where the characters go after that is anybody’s guess.

That’s a long way off though. Maybe I’ll change my mind eventually.

13. If you had to narrow it down to 2 things that you MUST keep in mind while working with your OC, what would those things be?

She is driven more by obligation than desire.

She habitually prioritizes other people’s needs and wants, and has a difficult time even identifying her own.

14. What is something about your OC that can make you laugh?

Her general demeanour is deadpan, and it drives the more reactive characters up the wall. She can antagonize a good chunk of the cast without even trying.

15. What is something about your OC can make you cry?

That’s probably spoilers.

16. Is there some element you regret adding to your OC or their story?

Hah. I have had regrets before, but I usually just… change the thing. I can’t say I won’t regret anything in the future, once I’m far enough along in the comic that they can’t be changed, but I can’t really predict that. If I could, they wouldn’t be regrets!

17. What is the most recent thing you’ve discovered about your OC?

Bro I have so much more parental health angst material now, it’s gonna be a nightmare

18. What is your favourite fact about your OC?

In the very oldest version of her character - before any of the current plot or structure existed - I decided that she was going to ‘steal’ Ravi’s girlfriend by the end. lmao

(They both had fairly different personalities at this point. Ravi was still being written as a man. He wasn’t the protagonist yet, either! Vikas was the protagonist!!!! 

Anyway, proto-Ravi fucking sucked. The fact these early versions of the characters were not very likeable or fun for me to write is a large part of why I scrapped them.)

TAGGING... @hierophanthistorian @denzelle @machi-tobaye @plaguecraft  @slugpuppie @ladyisak @ghoultwink

and anyone else who wants to do it! don’t let your dreams be dreams!!!

[architectnews]

Woods Bagot Architects: Practice Information

Woods Bagot Architects Melbourne, Australia Architecture Practice, Design Office News

Woods Bagot Architects Practice

Australian Architecture Studio – Design Offices News & Information

post updated 12 May 2022

Woods Bagot Architects News

Woods Bagot Architects News, chronological:

12 May 2022 Kirsti Simpson joins Brisbane Studio

For over 25 years, Kirsti has been designing ground-breaking workplaces and commercial towers for international and local clients. For clients advocating for change in their workplaces, Kirsti is their supporter and mediator in how design can actualise this innovation—forge new collaborations between once isolated teams, foster commitment in existing employees and excitement in potentials. At a time when the workplace has become a key site for design innovation, Kirsti’s appointment represents Woods Bagot’s commitment to continue its visionary work in this sector.

Kirsti joins Woods Bagot’s Australian workplace interiors team, contributing to a portfolio and calibre cultivated by Amanda Stanaway in Sydney, Rosina Di Maria in Adelaide, Bronwyn McColl, Cassandra Fahey and Wuff Keeble in Melbourne and Melanie Porrins in Perth. With Kirsti, Woods Bagot sees the elevation of its workplace interior capabilities across the Northern Australian Hub, combined with the workplace consulting strategy prowess within ERA-Co UX.

Kirsti Simpson with David Lee outside 80 Ann Street:

Kirsti’s deep roots in Brisbane work in tandem with her global distinction to make her a powerful addition to our team. It is a rare duality that is shared by Woods Bagot – of global expertise paired with local depth and loyalty – and is exactly what Kirsti says attracted her to the team.

As Brisbane Studio Chair, Kirsti will work closely with Woods Bagot Associate Principal David Lee as they embark on a period of tremendous growth in the Queensland market ahead of the 2032 Brisbane Olympic Games as well as growing the cultural foundation of the Brisbane Studio and team.

Nik Karalis – CEO

Studio Locations: Adelaide Studio: Level 14, 11 Waymouth Street, Adelaide Auckland Studio: Level 3, 106-108 Quay Street, Auckland Brisbane Studio: Level 3, 262 Adelaide Street Brisbane Melbourne Studio: Mezzanine 498 Little Collins Street Melbourne Perth Studio: The Palace 108 St. Georges Terrace Sydney Studio: Level 2, 60 Carrington Street, Sydney NSW Hong Kong Studio: Level 22, The Centrium, 60 Wyndham Street, Central Hong Kong Shanghai Studio: Plaza 336, 9F, 336 Middle Xizang Road, Huangpu District, Shanghai China 20000 Beijing Studio: 10F, Building H, Phoenix Place, No A5 Shuguangxili, Chaoyang Beijing, China 100028 Shenzhen Studio: Unit 781, 7/F, Tower A, SCC Financial Centre, 88 First Haide Road, Nanshan District, Shenzhen China Singapore: 38 Bukit Pasoh Road, Singapore 089852 London Studio: 75 Riding House Street, London W1W 7EJ, United Kingdom Abu Dhabi: Cloud Spaces, Level 1 Town Square, Yas Mall, Yas Island, Abu Dhabi, UAE Dubai Studio: Level 3, Suite 313, Dubai Emarat Atrium Sheikh Zayed Road, Dubai, UAE New York Studio: 30 Broad Street, 7th Floor, New York, NY 10004 Los Angeles Studio: The Bradbury Building, 304 South Broadway, Floor 2, Los Angeles, CA 90013 USA San Francisco Studio: 128 Spear Street, Ground Floor San Francisco CA 94105 USA

Sydney’s streets as car-free market gardens

Could there be a $2.9 billion positive impact by reducing cars in Sydney? Join this Committee for Sydney live event.

From Barcelona to Bogotá, blueprints for carless cities are emerging. What could Sydney’s strategy be to reduce car usage and retain the quieter streets we’ve come to enjoy as a result of Covid-19?

ERA-co has analysed the impact on family spending and wellbeing of reducing traffic on main thoroughfares or turning quiet community streets into more parks and market gardens – which could provide life satisfaction benefits valued at $2.9 billion.

Join head of impact valuation at ERA-co, Meg Bartholomew, and Woods Bagot principal John Prentice for the Committee for Sydney launch of ERA-co’s report Streets Ahead: A New State of Wellness and a discussion on the positive economic impact of these compelling scenarios.

Live Event: Sydney’s streets as car-free market gardens Thursday October 15, 2020 4 -5 pm

Hosted by Eamon Waterford, Deputy CEO & Director of Policy, Committee for Sydney

About the Speakers

MEG BARTHOLOMEW

Architect and Engineer – Head of Impact Valuation, ERA-co

An architect and an engineer with a master’s degree in city making for social outcomes, Meg spends most of her time thinking about how to make our cities better places for everyone. Her passion is for understanding how intangible qualities can be more transparently valued in development feasibility and for the true social costs and benefits of planning to factor in decision making and underpin responsible investment in cities.

ERA-co is an experience consultancy that applies evidence-based thinking to create transformative places.

JOHN PRENTICE

Principal and Regional Transport Leader (A&NZ), Woods Bagot

John’s approach to architecture and urban design conveys a strong sensitivity to human experience, and he thrives on making places great through considered and sustainable design. Currently leading Woods Bagot’s architectural teams on the design of new metro stations at Sydney’s historic Central Station and Crows Nest, John was also instrumental in the design of Wynyard Walk, a pedestrian link that cuts walking time between Wynyard Station and the Barangaroo waterfront to just six minutes and makes public transport a much more attractive option.

Woods Bagot is a global architecture and consultancy studio spanning design, research, data, and performance to create People Architecture.

28 Jun 2018 Woods Bagot Architects WAF Shortlisted Buildings

Seven Woods Bagot projects – three future projects and four completed buildings – are finalists in this year’s World Architecture Festival (WAF) Awards – the world’s largest, live architectural award program – and its sister program, the INSIDE World Festival of Interiors.

Woods Bagot Architects WAF Shortlisted Buildings

16 Jan 2018 Woods Bagot Expands Senior Design Team

The London studio of Woods Bagot, an international design practice, has made two senior appointments as their expansion continues, appointing Chris Crombie as the new Transport Leader for Europe and Debby Ray as Associate Principal to build on recent wins in all sectors.

Chris Crombie

image courtesy of architects

With 15 years of global experience, Chris’s career has focused on winning, developing and delivering world-class transportation projects for both aviation and rail, including: Heathrow Terminal 2B and the world’s largest single terminal at the New Istanbul Airport. In addition, Chris also played a pivotal role on the multi-award winning Pulkovo Airport Terminal 1 project in St Petersburg, which included not only the design and construction of a new 17m pax international facility with landside car parking, but also an international hotel and provision for a new heavy rail connection to the city centre.

Chris’s extensive rail experience includes leading roles on numerous high-profile projects such as Crossrail and High Speed 2, where he led the design for the New London Terminus at Euston. He has worked internationally on the development proposals for new stations in Delhi and Mumbai in India and metro systems in Australia. Chris will lead Woods Bagot’s European transport sector.

Debby Ray

Debby’s flair for design is matched only by her passion for sustainability. She is registered in both the UK and the US, and joins Woods Bagot’s London team with 25 years of experience leading high-profile and award-winning projects both locally and internationally. Having honed her skills with Alsop, AHMM and Perkins & Will across the education, residential, commercial and masterplanning sectors, some of her notable successes include 150 Holborn, Wood Wharf, Manchester’s New Islington and the Stirling Prizenominated Westminster Academy.

Debby’s projects have won RIBA, AIA, Civic Trust and WAF awards. Throughout her professional career she has remained actively involved with universities and has been a guest critic at the Bartlett School of Architecture and the University of Westminster.

Woods Bagot’s CEO Nik Karalis said: “Debby and Chris join us with impressive credentials and a huge amount of knowledge and expertise. Our London Studio already boasts an innovative built portfolio and the combined experience of Debby and Chris reinforces our offering to clients and reaffirms our position as a premier practice. We’re thrilled that they have both joined our London team and we’re excited to continue to build upon the studio’s success in 2018.”

8 Nov 2017 Woods Bagot’s London studio advice

Woods Bagot’s London studio advises Australian residential market on Build to Rent

Principal Jonathan Clarke and Associate Principal Simon Saint from Woods Bagot’s London residential team have completed a two-week tour of Australia sharing their knowledge of the build-to-rent (BTR) market in the UK. Earmarked as the next global location to adopt the rental model with an estimated $300 billion investment forecasted, the London team visited two of Australia’s largest cities, Melbourne and Sydney to educate key players in the Australian property market and decision makers.

Key to Woods Bagot’s success in the BTR market in the UK is their commitment to people focused design and this was a key message during their time in Australia. A relatively new phenomenon in the UK, Build to Rent is creating 95,918 new homes and has changed the landscape for urban cities, supporting a global shift in people’s views on home ownership. Jonathan comments on the change in approach for citymakers and developers: “This is a new model for city living which demands a new approach to marketing, funding and management; BTR operators need to think of their portfolio as a brand and something that people will want to come and be a part of”.

In addition to end user based design, Jonathan and Simon argued that amenities are integral to the success of BTR schemes. Jonathan comments on the importance of flexibility; “It is essential for end users and the durability of BTR that these homes provide personality and flexible amenities that contribute to the community. Developers need to create flexible space which can be modified with the emergence of new trends and they need to understand their tenants’ mindsets to keep them from jumping ship to another scheme”.

Simon argued that this end user focus needs to stretch to every generation; “Build to rent schemes shouldn’t just be for the younger communities. In the UK, retirement living has also seen a big change in mindset and the housing market is needing to adapt to this quickly. Retirees no longer want to be miles away from a city and in their own little bubble, they want to enjoy being part of a community and live the same lifestyle they have been accustomed to. Creating communities that can interact with one another is also key to Build to Rent schemes”.

In addition to meeting with State Government agencies, Jonathan and Simon met with Western Australia’s Minister for Housing, the Honourable Peter Tinley AM MLA, the Department of Planning, Lands and Heritage and the Metropolitan Redevelopment Authority, as well as speaking at the build-to-rent Property Council of Australia Business Lunch in Sydney.

Woods Bagot London designed projects for both Quintain and Essential Living and conducted extensive research into the rental model. For further information, visit the following link – https://ift.tt/98m36rY.

2 Aug 2017 Woods Bagot relocates Workplace Interiors leader to London Studio

Woods Bagot is further strengthening its Workplace Interiors team in London by relocating Senior Associate Colin Devereaux, to the London studio. Colin originally joined Woods Bagot in 2008, and has previously worked in the practice’s Sydney and San Francisco offices.

Colin has 20 years of Workplace Interiors experience, working on some of Google’s international headquarters, including Moffett Place in California and offices in Sydney, Hong Kong, Shanghai and Singapore. His understanding of the UK property market comes from his involvement in some of the city’s most notable workplace schemes, including Cisco’s City of London office and Allen and Overy Headquarters.

Colin’s career at Woods Bagot started at the London studio, before moving to Sydney in 2009 and San Francisco in 2015. This global experience has enabled Colin to work on a wide range of projects, from boutique to large scale headquarter fit-outs along with multi-residential schemes, in the US, UK and Australia. In addition, Colin has been instrumental in leading environmentally-friendly schemes, delivering one of the first LEED v4 ID+C:CI certified projects outside of the US for Google Australia in Sydney.

Colin comments on his return to the London studio: “It’s our common belief at Woods Bagot that buildings should be designed from the inside out and it is crucial workplace in London is designed around this ethos. Our London studio is leading the charge in Workplace Interiors and I am looking forward to re-joining the team, bringing with me my global learnings.”

Jonathan Clarke, Global Residential sector leader and Chair of the London Studio, said: “Colin’s global experience and most notably, understanding of leading technology giants’ will be of great benefit to the London Studio. It is crucial that as a practice we share our global talent and we’re thrilled to have Colin re-join the London team.”

16 Jan 2017 Woods Bagot named seventh ‘Most Admired Architect’

Global design practice maintains top ten ranking in Building Design’s 2017 World Architecture Top 100

Global architecture and consulting firm Woods Bagot has ranked in the top 10 global practices for the third consecutive year, according to Building Design magazine’s 2017 World Architecture Top 100 list, an annual survey of the world’s largest companies ranked by the number of fee-earning architects employed.

This year, Woods Bagot ranked overall #7 – down one place from #6 last year. The practice is once again the only Australian firm in top 10. The global studio was honoured to be listed as one of the world’s ‘Most Admired Architects’, ranking equal seventh with Kohn Pederson Fox, Nikken Sekkei, UN Studio and Zaha Hadid Architects. Foster + Partners topped this list for the 11th consecutive year.

Woods Bagot ranked #2 (by fee income) in the Australasia region. Breaking down market sectors and specialisms, Woods Bagot claimed #7 In Offices, #7 in Residential, #8 in Retail, #9 in Interior Design and equal #7 in Planning.

Woods Bagot’s Chief Executive Officer Nik Karalis said the 2017 WA100 rankings reflected the company’s year of consolidation and expansion, with recent teams being added in Kuala Lumpur, Singapore and Auckland.

“This year, Woods Bagot has maintained a vigorous global presence in 17 studios worldwide,” Karalis said.

“We have strengthened our alliances with local partners, established key relationships and explored new ventures in Asia, Australia, Europe, Middle East and North America, and we have engaged with thought leaders in these regions to bring design and innovation to the next level.”

“Delivering results in the transformation of cities means having a presence in these cities of opportunities and responding to the changing needs of the business,” he said. “We foresee the convergence of physical and digital communities creating limitless user experiences that reflect the ways people want to live, work and play.

In early December of 2016, Woods Bagot relaunched its website with a broader social and ecological purpose of bringing clients engaging enterprises which includes UrbanSystems—The Way We Live; SuperSpace—Analysing The Way We Live; and BrandStudio—Narrating The Way We Live. There is a strong focus on editorialised visual content tailored to maximise visitors’ online experience in this digital era.

“The culmination of their development over the past six months is now revealed in a new format—a website that presents projects in a more conversational and personal manner, revealing a practice that is at the forefront of the new role and responsibility of urbanism architecture and interiors.”

“As we move forward, we expect an array of current and potential work prospects with revenue to increase throughout 2017 and 2018. With the unwavering dedication of our leaders, 59 shareholders/ principals, 11 associate principals and staff members, we remain resolute in delivering excellence to our practice.”

Woods Bagot Global Development Officer Mark Mitcheson-Low reported Woods Bagot’s opportunities continued to be strong in Australasia, North America and Europe.

“As architects and designers, we have a rare opportunity to spearhead the world in implementing the key drivers of change by tapping into conversations around the future of cities, places and people,”

“At Woods Bagot we are deeply committed to not only opening the dialogue on economic, ecological, social and liveability in large metropolitan areas but also in providing practical solutions that will have a positive impact on people in our global cities.”

Woods Bagot’s most significant projects in 2016 include: Christchurch Convention Centre, New Zealand; Adelaide Convention Centre, Australia; 1 William Street, Australia; University of Sydney Business School, Australia; Wynyard Walk, Australia; Chongqing Tower, China, Jay Street residences, North America, One Journal Square, North America; 108 Chambers Street, North America; Sunshine Insurance HQ, China; Farpoint Mega Kuningan, Indonesia; Telkom Tower, Indonesia; Collins Arch, Australia; Leicester Square Hotel, England; Virgin Domestic Terminal 1, Perth Airport, Australia; New Quality Quay Central, Australia; and Ten Trinity Square, England.

For the full report and breakdown please visit: https://ift.tt/QPsrt52

6 Dec 2016 Woods Bagot reveals a new website direction

Woods Bagot Reveals a New Website Direction A strong focus on editorialised visual content to create a more personal online experience

6th of December 2016 – Woods Bagot launches its new website that redefines an architectural practice web-based interface with a broader social and ecological purpose of bringing new client engaging enterprises:

1) UrbanSystems—The Way We Live; 2) SuperSpace—Analysing The Way We Live; and 3) BrandStudio—Narrating The Way We Live.

“The culmination of their development over the past six months is now revealed in a new format—a website that presents projects in a more conversational and personal manner,” said Nik Karalis, Chief Executive Officer.

“This engaging display reveals a practice that is at the forefront of the new role and responsibility of urbanism architecture and interiors.”

The new website deploys both computational and emotional strategies to create experiences that provide value and relevancy to Woods Bagot clients in this digital era. There is a strong focus on editorialised visual content tailored to maximise visitors’ online experience.

The centrepiece of thought leadership and the execution of People Architecture is Sector Futures with an endless permutation of projects created by the confluence of collaboration between Woods Bagot partners, thought leaders and disciplines.

“We’re offering our clients an engaging insight into thought leadership beyond an image repertoire,” said Karalis.

“It’s about bringing what’s relevant to our industry, our sectors and disciplines front and centre for our clients to access with ease and simplicity, allowing them to gain an understanding of our vision of People Architecture and exploring our human-centric design methodologies.”

With more than 1,000 experts across the globe, Woods Bagot redefines the notion of a global community across both physical and digital channels, relying on cross collaboration and collective intelligence to deliver excellence. Designed with the concept of storytelling, the website uses different formats to communicate the narratives. The aim is to provide an ultimate user-friendly experience with the website’s much improved navigation and functionality.

photo : Trevor Mein Photography

Its new features allow users to access:

Woods Bagot’s expansive portfolio of detailed case studies • “Enterprise” section where users can learn about the agile culture of smart creatives, supported by three new Enterprise Functions: UrbanSystems, SuperSpace and BrandStudio • “Talks” – a new series that encompasses a global conversation, including In(di)visible Cities, FIRSTPASS interviews and other rich online content across a wide range of sectors and disciplines • “Ideas” section where thought leaders share their latest innovations and experiences • Direct link into the human behaviour analysis SuperSpace Agency

According to Woods Bagot Brand Studio Leader Garrett Miller, the approach to the new website showcases architectural work in a more conversational tone. “This is an amazing opportunity to connect our clients with the compelling narratives and stories of existing and future Woods Bagot projects, and the website has been distinctively designed to reflect this strategy.”

Miller has been engaged in the development of the new website from start to finish, working with key stakeholders and leaders across the company to articulate the vision from a graphical perspective. The new website aims to bring clients’ brands to life through architectural expression and digital storytelling. It allows clients to stay informed with recent news about projects and people. The “News” section features events coverage, speaking engagements, stories on groundbreaking project wins and best practices.

“Feedback is important to us,” said Karalis. “Talking to our clients help us find enterprising creative solutions to all our projects and services.”

For more, visit Website: www.woodsbagot.com

Woods Bagot Architecture

18 Oct 2013

Woods Bagot News

Adaptive knowledge approach recognised for the fifth time

Korea, 17 October 2013 – Woods Bagot today announced that for the fifth time the firm has been recognised as a winner at the World Knowledge Forum in Seoul, Korea, as a 2013 Asian Most Admired Knowledge Enterprise (MAKE).

The global design firm has been has recognized for management of its enterprise-wide collaborative knowledge sharing and is the only architecture firm acknowledged in the awards.

Woods Bagot Beijing Studio: image : Woods Bagot

“A decade ago we realised that to remain competitive we needed to accelerate the delivery of design intelligence on projects by tapping into the collective knowledge of our projects and our people,” said Ross Donaldson, Group Managing Director.

Embarking on a research journey over eight years ago, Woods Bagot implemented an aligned knowledge strategy that focused on mobilising knowledge beyond regions, growing knowledge capabilities and driving a knowledge innovation culture.

“How we manage our knowledge globally and then apply that intelligence to projects is what differentiates Woods Bagot from our peers,” continued Ross.

“Our vision is ‘one global studio’ which is about building a culture of knowledge across the whole firm. To our clients this means that we collaborate locally and globally to deliver incomparable design. To knowledge, it means we have no boundaries to capturing, sharing and applying our experiences, ideas and intelligence. Our design methodology and how we operate as a business is built on this philosophy and it is humbling to see we have again been acknowledged as a Most Admired Knowledge Enterprise,” said Ross.

Building Woods Bagot’s knowledge framework has been a dynamic process for the firm.

“Our knowledge strategy maintains an ‘edge of chaos’ equilibrium to remain responsive to new knowledge, communications and technology approaches,” said Felicity McNish, Global Knowledge Manager.

“We sustain this equilibrium with continuous horizon watching, testing, evaluation and adaptation of our knowledge tools and platforms. Our knowledge framework is an ongoing journey.”

The firm’s commitment to knowledge extends to a research driven design methodology; using a tailored design portal for each project to harness knowledge and connect across borders; creating a global intranet community; investing in industry based knowledge forums; and communicating pertinent thought leadership to clients and peers.

Recent outcomes of Woods Bagot’s research and knowledge approach include design of the new $200 million South Australian Health and Medical Research Institute (SAHMRI); China Southern Airport City, Guangzhou; Telkom Landmark Tower, Jakarta; National Australia Bank Docklands, Melbourne, Australia; and the ZERO-E modelling tool for zero emission buildings developed jointly with Buro Happold.

About Woods Bagot

Woods Bagot is a global design and consulting firm, with a team of over 850 people working across Australia, Asia, the Middle East, Europe and North America.

The firm’s unique ‘One Global Studio’ philosophy drives unprecedented knowledge sharing and true collaboration across time zones, producing innovative, inspired and functional design solutions.

Underpinning Woods Bagot’s knowledge culture is Public, the firm’s research arm, created in collaboration with leading thinkers and academics.

Specialising in five key sectors – Aviation and Transport; Education, Science and Health; Lifestyle; Sport; and Workplace – Woods Bagot’s diverse portfolio spans more than 140 years, a legacy of design excellence. The firm’s high-profile projects include: Shijiazhuang International Exhibition and Convention Centre, China; 100 Bishopsgate [London], Qatar Science and Technology Park, Melbourne Convention and Exhibition Centre [in joint venture with NHArchitecture], Ivy, Sydney [in collaboration with Merivale, Cornwell Design, Hecker Guthrie], Sunshine Insurance Group HQ [Beijing], Delhi One [Noida, India] and WAF 2013 shortlisted project Knox Innovation Opportunity and Sustainability Centre [KIOSC, Australia].

Disciplines: Architecture, Consulting, Interior Design, Urban Design, Master Planning

2 Oct 2013

Woods Bagot Singapore

Woods Bagot announce the launch of a Singapore studio. The studio, a joint venture between Woods Bagot and award-winning local practice Forum Architects, means that Woods Bagot now has an on-the-ground presence in 17 cities globally and in all the crucial regional business hubs – London, New York, Sydney, Dubai, Hong Kong and now, Singapore.

Woods Bagot Singapore

14 Aug 2013

Architect Tim Narey joins Woods Bagot London

London — Woods Bagot announced that leading transport and infrastructure architect Tim Narey, has joined the firm’s London Studio. Tim will lead a new Transport and Infrastructure Group for Europe and the Middle East, working closely with the Global Head of Aviation and Transport, James Berry.

Architect Tim Narey joins Woods Bagot London Studio: photo from Woods Bagot, architects

Tim joins Woods Bagot from Aedas where he was a Divisional Director and led a variety of major transportation projects across Europe, Asia and North America. His most notable career projects include the Emirates Air-Line and the Eden Project as well as the new Highway407 Station in Toronto which is under construction.

Jonathan French, Regional Executive Chairman for Europe and Middle East commented: “Woods Bagot is already world-renowned as a transportation sector specialist, demonstrated through our work for the aviation industry which has contributed to our shaping the airports of tomorrow. We are now seeing a surge in major transport – and particularly rail-related – projects across Europe and the Middle East. Tim’s appointment will further enhance our expertise in the design and delivery of these important and socially beneficial projects.”

Tim Narey commented: “Transportation affects us all on a day-to-day basis and these unique projects provide architects with a chance to enhance the lives of millions, making a positive impact on society whilst supporting economic prosperity. I am delighted to be joining Woods Bagot and I welcome the chance of working with Jonathan and James to build on the recent successes of the Studio.”

The global transport team at Woods Bagot is currently involved in projects in Hong Kong, Los Angeles, New York, and recently won the design competition for the first stage of the AUD$1billion “Project Switch” at Sydney airport which includes a new international terminal at the T2 / T3 campus. Other projects include the AUD$2 billion expansion of Perth Airport in Australia and the new international terminal for the capital of Azerbaijan in Baku.

30 May 2013

Jonathan French joins Woods Bagot as Regional Executive Chair for Europe

Global architects Woods Bagot today announced the appointment of Jonathan French as Regional Executive Chair for Europe.

A Chartered Architect and MBA, French has over 25 years’ international experience across a number of highly respected practices, including David Chipperfield Architects, Ove Arup and EC Harris. Jonathan has worked for a range of blue-chip clients, including Pfizer, GlaxoSmithKline and IBM and has built practices in the UK and internationally. Recently he was Managing Director of David Chipperfield Architects, where he was responsible for all management, HR and commercial issues, the successful leadership of which resulted in the achievement of tangibly improved revenues and profitability over a four-year tenure.

Jonathan French, Woods Bagot as Regional Executive Chair for Europe: photo from Woods Bagot, architects

Ross Donaldson, Group Managing Director, Woods Bagot said:

“Jonathan has the ability to combine excellence in architecture with strong commercial acumen and management, and he has done this in a diverse range of international locations. Europe has have been and will continue to be, integral to our global success. We have ambitious plans for the growth of Woods Bagot and believe that Jonathan is the right person to carry us through the next phase of development. I look forward to welcoming him to the studio.”

Jonathan French said:

“Woods Bagot has a proven track record of international success. The firm’s global reach, combined with its specialist sector focus puts it in a strong position to exploit market opportunities. I am excited to join such a talented team and look forward to helping the practice thrive.”

28 Mar 2013

Woods Bagot shortlisted for three Australian Interior Design Awards

Woods Bagot has three projects shortlisted in this year’s Australian Interior Design Awards.

The Awards, co-presented by the Design Institute of Australia, DesignEX and Artichoke magazine, will be announced on 31 May 2013 in a ten-year anniversary event at Melbourne’s historic Plaza Ballroom.

Woods Bagot’s Sydney studio and their design of Mirvac’s workplace in Melbourne were shortlisted in the Workplace category, while their design for Pony restaurant in Brisbane was shortlisted as part of the Hospitality category.

Woods Bagot Sydney Studio (Workplace) photo from Woods Bagot, architects

Woods Bagot’s global studio is a 24/7 agile team. Designed to be warm and liveable, Woods Bagot’s Sydney studio embodies a continual commentary on design, agile teams, model making and material research, resulting in a dynamic workplace for architectural research.

Woods Bagot – Mirvac (Workplace) photo from Woods Bagot, architects

Mirvac is well known for high end residential developments, so when Woods Bagot set about designing their new workplace it was natural to look at high end domestic interiors for inspiration. Through conducting a series of workshops to extract the new vision workspace, a series of recommendations were created.

Woods Bagot – Pony restaurant (Hospitality) photo from Woods Bagot, architects

Brisbane’s new Pony restaurant is about indulging the senses and the theatrical staging of food preparation for the charcoal grill. The design narrative is built around the ‘farrier’ or blacksmithing, incorporating raw materials and featuring a two-metre steel ribbon winds that through the space, implying metal that can forged.

21 Mar 2013

Glowing orb to be made from construction cones for Vivid Sydney 2013

A team of designers from Woods Bagot’s Sydney studio introduces Planet Under Construction – or PUC

PUC (Planet Under Construction), a light installation by a team from Woods Bagot’s Sydney studio, has been selected as part of this year’s Vivid Sydney: the Southern Hemisphere’s largest annual festival of light, music and ideas with an estimated half a million attendees.

Planet Under Construction – or PUC: image : Woods Bagot, architects

Made of orange construction cones to symbolise our architectural work, Planet Under Construction – or PUC – is a spherical lighting sculpture that mimics a planet. This celestial body features orange peaks as “volcanoes” that speak of energy and renewal.

Lights at its core will escape through cracks and holes in the structure, reacting to the sound of the passing train, and lighting patterns will be triggered by sensors around its base, creating a public interactive element.

PUC is situated near the corner of George and Alfred Street under the Cahill Expressway in Circular Quay, making it an important marker near the point of entrance to the event for visitors coming from the train station and the city.

Vivid Sydney runs from 24 May – 10 June 2013. To find out more visit www.vividsydney.com Find out more about PUC: https://ift.tt/52qyGJP

Thank you to PUC’s partners and supporters: Structural Engineer: Partridge Builder: Paul King PTY LTD Electrical consultant: Medland Metropolis Technology Integration by: MySmartCTI Lighting Integration by: Xenian

More Woods Bagot projects online soon

Woods Bagot Architecture Office – practice info archive

Location: London, England, UK

Architecture Practice Information

Woods Bagot Architects

Australian Architects

International design practice, Woods Bagot provides its clients with innovative design solutions that are both functional and inspiring. This is demonstrated by the successful delivery of a range of high profile projects within the commercial workplace, hospitality, mixed-use, education and science sectors.

Established in 2001, Woods Bagot’s London studio has a dynamic team of 85 professionals. Since its inception, its young, integrated team has developed a diverse portfolio of significant projects including:

– Piccadilly Tower, Manchester – Liverpool Central Village – Multiplex headquarters, London – Rolls building, London – Eversheds LLP new London headquarters

Woods Bagot Shanghai : New Studio – Dec 2009 image from architecture office

Architecture Studios

Practice offices in Australia Adelaide, Brisbane, Canberra, Melbourne, Perth, Sydney

Practice offices in Asia Bangkok, Beijing, Hong Kong, Kuala Lumpur, Shanghai

Practice office in Europe London

Practice offices in Middle East Abu Dhabi, Dubai

Sydney Architects

Office Buildings

Australian Institute of Architects Awards

Qatari Science and Technology Park

Buildings / photos for the Woods Bagot Architects page welcome

Website: www.woodsbagot.com

The post Woods Bagot Architects: Practice Information appeared first on e-architect.

[andreasprassas]

PiETA- Antonia Oikonomou (Roes Theatre-May 2018) - Showreel from Antonia Oikonomou on Vimeo.

P i E T A

A work by Antonia Oikonomou Roes Theatre (May 2018)

The piece is an ode to Michelangelo’s artistry as materialized in one of his most crucial sculptures: The Pieta. The Pieta (1498–1499) captures the moment when the body of Christ lies on the lap of the Virgin Mary after his Deposition from the cross of his martyrdom. Despite the iconographic complexity of this emotionally charged moment, Michelangelo succeeds in expressing all aspects of this intricate scene in an effective and holistic manner. The experience of this masterpiece is manifold as it may evoke different and contradictory emotional reactions to its viewers. The idea of a mother accepting the inevitable doom of her son, alludes to a scene of a tragic death but, surprisingly enough, inspires a sense of immense relief. The unbearable but, still, necessary mourning. One is found in absolute awe in front of the Pieta, because of its divine connotations, its immense sense of exultation, despite its tragic nature. The notion of the body is key for the understanding of Michelangelo’s artistic oeuvre. Throughout his life he focused on the exaggerated depiction of the musculature of the human figure and on the notion of the beautiful body, not in its idealized form, but in extreme motion. In the piece seven dancers are called upon to translate the approach of Michelangelo towards the human body into their movement on stage. From absolute stiffness and stillness to extreme motion. From resistance to acceptance. The dancers are accompanied by one musician who performs live on stage the original soundtrack composed by Sotiris Tsolis, and by the pre-recorded musical compositions of George Kravvaritis.

Info Date: 25,26,27 May 2018 Venue: Roes Theatre

Credits Conceptualized | Directed | Choreographed: Antonia Oikonomou Music Composer: Sotiris Tsolis Composition of pre-recorded music: George Kravvaritis Artistic Director: Antonia Oikonomou

Material performed and devised by: Xenia Tabourlou, Periklis Petrakis, Pavlos Likoudis, Christina Gazi, Christos Santa Maria, Sofia Kourtesi, Xenia Stathouli

Live Music: Sotiris Tsolis (Drums), Panagiotis Raptis (Sax), Labros Papanikolaou (Double Bass)

Light Design: Antonia Oikonomou

Stage Design: Giannis Theodorakis Costume Design: Vasiliki Sirma Crinoline design and construction: Giannis Theodorakis, Elissavet Zacharaki Direction and Cinematography Trailer: Christina Moumouri Montage Trailer: Christos Giannakopoulos Photography: Evaggelos Karalis, Petros Chytiris Sound Engineer: Tasos Botsios Showreeel Montage: Giannis Nelson Eskioglou

Executive Producer: Antonia Oikonomou Production: ERGO

[arqyurb]

LUXURY Connoisseur || Kallistos Stelios Karalis || + Pinned to Arquitectura by Ana Maria Portillo

[marocatlantis]

Les Sardes (Sardos ou Sardus en sarde, Sardi en italien et sassarais, Saldi en gallurais, Saldus en catalan alguérois, Sordi en ligure tabarquin) constituent le peuple qui vit en Sardaigne, île de la Méditerranée occidentale et région autonome de l’état italien, dit officiellement en sarde « Regione Autònoma de Sardigna » et en italien « Regione Autonoma della Sardegna ».

Les plus anciens habitants connus de la Sardaigne sont les Sardes que l’on rapproche des Ibères cousins génétiques des Maures (Hespérides). On ignore s’il faut leur attribuer ces curieux et énigmatiques monuments connus sous le nom de Nuraghi et dont on en retrouve encore 3000. On discute aussi leur identification avec les Shardana, cités parmi les envahisseurs de l’Égypte au temps de Ramsès III, et dont le nom rappelle également celui de la cité lydienne de Sardes.

L’île fut visitée par les Phéniciens qui eurent un comptoir à Caralis (Cagliari); ils eurent pour successeurs les Carthaginois, lesquels soumirent au début du Ve siècle les populations indigènes des Iliens et des Corses et fondèrent plusieurs villes. En 238 av J-C, les Romains profitèrent de la guerre des mercenaires (aussi appelé guerre de Libye) pour annexer la Sardaigne. Manlius Torquatus en repoussa les Carthaginois (215). Une révolte en 181 fut écrasée par le consul Tiberius Sempronius Gracchus, lequel égorgea ou vendit comme esclaves 80.000 sardes; l’expression de « Sardes à vendre » devint proverbiale pour désigner une denrée abondante et sans valeur. Une révolte en 114 fut comprimée en deux ans par le proconsul M. Caecilius Metellus, qui célébra un triomphe à cette occasion. La Sardaigne formait depuis l’annexion une province, comprenant aussi la Corse, et généralement administrée par un préteur. Elle payait un tribut en argent, plus la dîme du blé. Sa richesse en blé et l’insalubrité du climat furent constamment signalées. On y exila souvent durant l’Empire, notamment des Juifs sous Tibère et des chrétiens sous Commode, quoique ce fût devenu une province sénatoriale (proconsulaire). Constantin la sépara de la Sardaigne.

En 456, les Vandales la conquirent, Cyrille la reprit pour Justinien en 534 et elle demeura province du diocèse d’Afrique (nom de la Tunisie à l’époque). A partir du VIIIe siècle, les Sarrasins (Bédouins Arabes) la ravagèrent; l’île, que les Byzantins ne pouvaient défendre, se rendit indépendante sous des magistrats qui s’intitulaient juges. Après l’an mille, l’émir Moudjehid de Denia, maître des Baléares, conquit la Sardaigne. Elle lui fut enlevée dès 1015 par les Génois et les Pisans, qui repoussèrent en retour offensif l’année suivante; eux-mêmes se brouillèrent et Pise l’emporta, s’assurant le monopole commercial en Sardaigne. mais comme le pape Benoît VIII avait concouru à la victoire de 1016, ses successeurs revendiquèrent la suzeraineté de la Sardaigne, en particulier Grégoire VII. Les quatre juges ou Rois d’Arborea, Cagliari, Gallura, Torre (Logadovo) qui se divisaient l’île étaient assez disposés à reconnaître cette suzeraineté théorique.

Les évêques de Pise furent déclarés légats permanents du pape, avec délégation de son autorité. Cependant la lutte contre Gênes continuait. L’empereur intervint à son tour : Frédéric Barberousse nomma puîné de Sardaigne son oncle Welf, puis Roi de Sardaigne le juge Bareso d’Arborea (1164), puis donna l’île en fief à Pise. Frédéric Il maria son bâtard Enzio à Adelasia, héritière de Torre et Gallura (1238) et lui donna le titre de Roi de Sardaigne. Il n’eut guère que le titre; la possession effective continuant à se disputer entre Pise et Gênes. En 1297, le pape Boniface VIII donna à Jacques Il d’Aragon la Sardaigne et la Corse, afin de lui faire rendre la Sicile à Charles de Naples. Alphonse, fils de Jacques II, réussit à s’emparer de la Sardaigne (1322), avec l’aide du juge d’Aiborea, et à faire reconnaître sa suprématie par les Pisans (1326). Depuis lors, l’île demeura aragonaise. On lui donna une constitution (1355); des Stamenti, où siégeaient les représentants du clergé, des nobles et des villes, furent convoqués à Cagliari (1366). Les juges d’Aiborea s’insurgèrent cependant, et la veuve de l’un d’eux, Eléonore, maîtresse d’une grande partie de l’île, promulgua la Carta di Logu, qui demeura la base du droit sarde. Elle mourut de la peste (1404), et les Aragonais reprirent le dessus. Un vice-Roi gouverna l’île en leur nom, puis en celui du Roi d’Espagne. Charles-Quint réunit pour la seconde fois des Stamenti (1519). Philippe III créa une Université à Cagliari; Philippe IV promulgua un nouveau code, les pragmatiques royales. Le traité de Rastadt la donna en 1714 à l’Autriche. Alberoni l’occupa, et elle fut en 1720 attribuée au duc de Savoie, Victor-Amédée II, en échange de la Sicile, devenant la base nominale du Royaume de Sardaigne. Dépouillés de leurs Etats de terre ferme par la France, les Rois de Sardaigne Charles-Emmanuel et Victor-Emmanuel se réfugièrent dans cette île et y résidèrent de 1798 à 1814. (A.-M- B.).

Les origines des Sardes :

    La Sardaigne a été peuplée par vagues de nouveaux arrivants entre le Paléolithique supérieur, le Mésolithique et le Néolithique ancien, par des peuples qui venaient de la péninsule ibérique et italienne. À la moitié du Néolithique d’autres populations arrivèrent depuis la zone des Pyrénées-Provençales, et ensuite depuis des îles se trouvant dans la mer Égée (Crète et Cyclades) ; aux premières on doit le mégalithisme, aux autres la culture de Ozieri, répandue dans toute l’île. Au Enéolithique apparait la culture de Monte Claro puis la Culture campaniforme (bocal en terre cuite), introduite depuis la zone franco-ibérique et l’Europe centrale par des petits groupes d’individus qui furent amenés à vivre avec les populations locales. À cette culture nous devons, notamment, de nouvelles techniques de travail du métal, de nouveaux styles de céramiques, et, probablement, une langue indo-aryenne. Durant la première période de l’Age de Bronze, la culture du vase campaniforme, est apparue avec des influences polonaises, transformant la culture de Bonnanaro.

La civilisation nuragique apparaît à l’Age de bronze moyen, tandis que l’île se peuple d’un grand nombre d’ethnies : les plus importantes sont les Balari, les Ilienses et les Corsi ; cette dernière a donné le nom à l’île de Corse (Còssiga en sarde), à ne pas confondre avec les corses modernes. Selon certaines études, les anciens Sardes auraient un lien avec la population appelée Shardanes.

En ce qui concerne l’origine des Sardes, nous avons très peu de preuve de leurs origines indo-aryenne que prétende les pseudo-chercheurs eurocentristes, mais nous notons des influences avec les invasions barbares successive. Nous ne savons pas quelle(s) langue(s) se parlait en Sardaigne à l’époque préhistorique. cependant Il se pourrait que la langue nuragique (limba / lingua nuraghesa en sarde) ait des ressemblances avec le basque, ou bien alors avec la langue étrusque, voir libyque car voisin frontalier de la Tunisie. D’autres études montrent, cependant, que la Sardaigne avait d’autres systèmes linguistiques, pré-indoaryens à l’instar des Ibères et des Basques qui existaient bien avant l’arrivé des Barbares nordiques.

Au xe siècle av. J.-C., les phéniciens ont fondé plusieurs colonies et ports sur la côte méridionale et occidentale, comme Karalis, Bithia, Sulki. La partie méridionale de l’île (Su cabu de giossu), ancienne région de Sardaigne, fut conquise par les Carthaginois au vie siècle av. J.-C. puis par les Romains aux iiie siècle à la fin de la Première guerre punique. C’est de cette façon que les romains ont beaucoup « latinisé » la Sardaigne et les Sardes, y compris les montagnards qui, vivaient dans une zone appelée Barbaria. Pendant longtemps les coutumes antiques ont été conservées. Le sarde moderne est, en effet, considéré comme une des langues romaines les plus conservatrice.

Le géographe maure Al Idrissi, décrivant la Sardaigne, a déclaré que :

« les Sardes sont d’origine latine africaine, mais ils sont redevenus des barbares, et vivent à part des autres Latins ; ils sont braves, entreprenants et ne quittent jamais leurs armes ».

Ici Al Idrissi dit clairement ils ont des origines latines et tunisienne, car à cette époque l’Afrique était le nom de la Tunisie, rien d’étonnant quand on observe la proximité de la Sardaigne avec le continent libyque et particulièrement la Tunisie.

Les Sardes sont à l’image des peuples autrefois libyens comme les Corses, les Guanches, les Hellènes, les Italiens, subissant tellement d’invasions barbares qu’ils finirent par se replier sur eux-même pour survivre, oubliant leurs origines, leurs liens avec le vieux continent, le continent libyen. Bien sur nous n’avons pas subit le même sort car notre résistance a été farouche face aux envahisseurs barbares venu nous coloniser et nous asservir, pourtant le combat continue et nous ne devons jamais oublier nos frères des îles méditerranéens et atlantiques.

    Les Sardes ces Libyens Occidentaux oubliés Les Sardes (Sardos ou Sardus en sarde, Sardi en italien et sassarais, Saldi en gallurais, Saldus en catalan alguérois, Sordi en ligure tabarquin) constituent le peuple qui vit en Sardaigne, île de la Méditerranée occidentale et région autonome de l’état italien, dit officiellement en sarde « Regione Autònoma de Sardigna » et en italien « Regione Autonoma della Sardegna ».

[whypolar]

Reasons various IC Characters wear makeup

Maria: trying seem ‘professional’ and ‘put-together’ while also being unremarkable and avoiding scrutiny, likes the idea of ‘concealing her real face’ from observers

Cindy: fashion, artistic impulse, self-expression, ‘why WOULDN’T I want to have neon purple eyelids’

Felicity: habit developed during early gender exploration, ‘idk what I do is super easy and it looks good so why stop’, increases likelihood of being correctly gendered at a glance when wearing “masculine” clothing

Ravi: fashion, anxiety about perceived flaws in skin, desire to look good, fear of being caught in an unexpected photograph

Jean: trying as hard as possible not to think about getting old oh man oh god oh man

Claire: Ravi and Jean’s reasons combined

Tommy: projecting a sense of being flamboyant and disruptive, hiding or accentuating signs of poor physical health depending on mood, gender fuckery, making himself attractive or repulsive to different kinds of people

Sam: grew up in pop punk scene and now has a pathological need to wear eyeliner or he’ll die

(Additional notes: Lila very rarely wears makeup and Nicole never does.)

[whypolar]

Maria was harder than expected so I may tweak her design more later, but this is my attempt

[whypolar]

This one got updated apparently so I was able to attempt more characters. Thanks

[whypolar]

You were laying on the carpet Like you’re satin in a coffin. You said, “Do you believe what you’re sayin’?” Yeah right now, but not that often.

Are you dead or are you sleepin’? Are you dead or are you sleepin’? Are you dead or are you sleepin’? God, I sure hope you are dead.

[whypolar]

when you’re at the funeral and have to pretend you know what feelings are

[whypolar]

In the first days Of the springtime Made you a prince with a thousand enemies Made a trail of A thousand tears Made you a prisoner inside your own secrecy There's a ghost in me Who wants to say I'm sorry Doesn't mean I'm sorry

[whypolar]

I feel like people might look at Maria and assume she’s a case of “artist doesn’t draw any expression on attractive young women because it makes their face wrinkle and we can’t have that” but no. She just does not give a FUCK

[whypolar]

IC character politics

I was going to draw some doodles about this but I don’t actually want to waste time doing that, so here’s a text post instead

Nicole, Ravi and Jean are all NDP voters. Nicole is furthest left out of all of them and Jean is the furthest right. I like to think that Nicole was a big union person before she moved out to the middle of nowhere.

Maria, Cindy and Sam are anarchists. Cindy is probably the most genuinely devoted to implementing anarchist ideas in the real world. Sam is mostly just miserable and hates authority on principle, and Maria is like, idk, someone who really wants to talk in excruciating detail about the union of egoists or whatever the fuck

Felicity has been a communist since her conception but I’ve now decided she’s a trot pretty much solely so I can poke fun at the IMT Lila votes green party. Claire and Vikas are liberals (generally, but also as in they support the Liberal party). Marc probably votes Conservative but I’m not super set on that.

And Tommy is this:

[whypolar]

blargh

this is probably roughly what I’m going to go with

worried maybe their jawlines are 2 similar but I can fiddle with it later

[whypolar]

I edited those things even more but I’m not reblogging them again. I made my bed and I’ll lie in it

However, here is the singular best version of that Maria one