#mascheroni construction

[blackbirdsofrye]

Bathroom Powder Room San Francisco Example of a powder room design

[machine-saint]

I've had some success categorizing ~80% of the math and math-adjacents of my life into two groups by asking if transcendental numbers are either

Beautiful and elegant

Annoying little shits who won't cooperate

Got any opinions?

depends on the number in question. if it has a nice construction (pi, e, zeta(n), euler-mascheroni) then it's fine, but almost all transcendentals aren't going to be 'nice'

[architectnews]

Enel Power Plant Venice Building, Italy

Enel Power Plant Venice, Italy Energy Production Building, Italian Architecture Design

Enel power plant in Venice

8 July 2021

Design: Frigerio Design Group

Location: Venice, northern Italy

Resilience Lab Grid – Enel power plant Venice

Frigerio Design Group wins the competition for designing the ecological transition of Enel power plant in Venice.

It’s part of Enel’s project to convert their coal power plants in Italy, the contest “The new energy spaces” to design the power stations of the future. Frigerio Design Group’s project has been selected for the new plant in the lagoon of Venice: an architecture that integrates research, training, information and recycling, to stimulate environmentally sustainable development and regeneration.

Fusina (Venice, Italy) | Convert all coal-fired power plants located in Italy into environmentally sustainable facilities: this is the goal set by Enel – Italian multinational manufacturer and distributor of electricity and gas – by 2025. On conclusion of the competition “New Energy Spaces”, set up by the company last July, the winning project was announced for the transformation of the Andrea Palladio power plant in Fusina (Venice). The project by Frigerio Design Group, “Resilience Lab Grid”, was selected by a committee made up of representatives from Enel, the University of Venice IUAV, and the City and County of Venice, according to criteria based on environmental and social sustainability, technological innovation, design and visual impact.

Two major factors in the competition were the new buildings, with areas open to the public to foster social and cultural development in the territory, and the legacy constructions that needed development to enhance the aesthetic and symbolic value of the plant, thereby modernizing and redeveloping the industrial zone.

The concept presented by Frigerio Design Group will now move on to the development phase. The architectural study of the Resilience Lab Grid proposes a paradigm shift in the collective perception by transforming the plant into a positive example for ecosystem regeneration and protection. Inspired by the “fractal”, a natural geometric element, Frigerio Design Group created a shared space, open to the public and the community, where activities focusing on sustainability and environmental intervention are promoted to stimulate regeneration and environmentally sustainable, besides social and cultural development for the area. At the same time, the architectural elements are integrated into the territory: the complex is designed to appear visibly dynamic and light in relation to the surrounding landscape.

“New Energy Spaces was designed to regenerate the environment and enhance corporate image and identity, while at the same time becoming more involved in the local community. Putting together people and nature, environment and industry, technology and innovation, the expression of a new entrepreneurial culture. Sharing values to generate value!” states lead architect, Enrico Frigerio. “For too long we have used only: in this day and age it is clear that simply using things and scarce resources will have a major impact on our future. What better chance to rethink our outlook than in places considered the archetype of consumption, here studied to approach new options, to give essence to a collective plan to rethink our future?”

“This competition is a tangible example of our vision for the future of energy, which needs to be planned out and realized in an open and shared manner,” explains Carlo Tamburi, President and CEO of Enel Italia, adding “with this project, the Fusina energy hub, which will expand its technology to facilitate energy transition, will become an area open to the local community, a space able to be in harmony with the landscape and be perfectly integrated into the surrounding environment.”

“While Venice celebrates its 1,600 years since its foundation, it is still looking toward its future,” comments Luigi Brugnato, Mayor of Venice, and points out “converting the Fusina plant from coal to an energy hub confirms that we are a cutting-edge territory in the challenge of energy transition and that Venice can attract investment and new jobs by focusing on sustainable technologies.”

The Frigerio Design Group Project: Resilience Lab Grid

The intervention envisaged by Frigerio Design Group is inspired by the “fractal”, a natural geometric element, whose form does not vary when changing the scale of length. Based on a feasible and modular system, the new buildings will be of different sizes according to their function; however, they will share the same features. The core generator and control room of the entire system is the Enel Pavilion, a place for reception, information and promotion for corporate values: environmental sustainability, circular economy and innovation.

The architecture is located in an environment where the lagoon borders the countryside, between water and land, and the project is inspired by the natural matrix of the area. “Patterns” of fields and cultivated lands are reinterpreted abstractly into geometrical elements enveloping buildings and plants. An additional element to blend with the lagoon is vegetation. It is inserted into the project as a junction between the industrial complex and the natural environment. Reviving the lagoon landscape with its evocative sandbars becomes an opportunity to illustrate the territory and include it in an educational context.

Enel Power Plant Venice, Italy – Building Information

Location: Fusina, Venice Client: ENEL Produzione SpA Surface Area: 450,000 m2 Project: Frigerio Design Group

Collaborators: E. Frigerio with M. Verdona, S. Rota, M. Roberto, W. Larteri, F. Valido, A. Chiappini Consultants for environmental and socio-economic strategy: T. Georgiadis and L. Cremonini Istituto per la BioEconomia IBE-CNR Landscape: Openfabric Technical Systems: Tekser ingegneria Dates: contest in July 2020, allocation May 2021 Frigerio Design Group – www.frigeriodesign.it

Enrico Frigerio, Italy

Born in Turin, Enrico Frigerio graduated from the University of Genova with a degree in Architecture and went on to become a part of Renzo Piano’s workshop, where he worked alongside Mr. Piano and learned the trade. In 1991, he founded Frigerio Design Group and made quality and the environment its primary objective.

Architect Enrico Frigerio of Frigerio Design Group:

Some of his most significant projects include: the ecological stands at the Imola racetrack (1991-1992), the Sambonet headquarters in Orfengo (2000-2004), power plants for the Swiss group AXPO (2002-2008), the Ferdeghini sports center for Spezia Calcio (2012- 2013), the new TERNA substation in Capri (2012-2017), the headquarters for Crèdit – Agricole Green Life (2008-2018) in Parma. In 2020 major projects were brought to completion such as the Arcaplanet headquarters in Carasco, a residential complex in Saronno and the Zamasport headquarters in Novara. Current projects under completion include the Ferrero Technical Center in Alba and refitting the Rosenthal offices in Selb, Germany.

Enel Power Plant Venice Building images / information received 080721

Location: Veneto, Italy, southern Europe

Venice Architecture

Venice Architecture Designs – chronological list

Venice Architecture News

Venice Architecture Tours by e-architect

Vimar logistics and production hub, Marostica, province of Vicenza, Veneto, northern Italy Design: Atelier(s) Alfonso Femia photo © Stefano Anzini Vimar logistics and production hub

Reusable Alis Pod Architect: Zaha Hadid Architects photography : Alessandra Chemollo Reusable Alis Pod

Jesolo Lido Pool Villa, Castelli di Monfumo, Treviso Design: JM Architecture photograph : Jacopo Mascheroni Jesolo Lido Pool Villa in Treviso

Venetian Architecture

Venetian Architectural Archive

Venice Biennale

Venice Architecture Biennale – Review + Images

Comments / photos for the Enel Power Plant Venice Building design by Frigerio Design Group page welcome

The post Enel Power Plant Venice Building, Italy appeared first on e-architect.

[vivatouchet]

Mascheroni Construction – modern – Family Room – San Francisco – Mascheron … https://ift.tt/2K98FyB

[lottiemayorga]

Klassisch Küche by Mascheroni Construction http://bit.ly/2MhEhVC

[bellwesely]

Klassisch Küche by Mascheroni Construction http://bit.ly/2WGMS53

[teddythames]

Mascheroni Construction – contemporary – family room – san francisco – Mascheron… http://bit.ly/2YmbOPy

[ahomedesignideas]

Home Decorating Ideas Kitchen Classic kitchen by Mascheroni Construction

[gachlatnen]

Dự án biệt thự Montebar của Jacopo Mascheroni

 Biệt thự Montebar là một dự án của kiến trúc sư Jacopo Mascheroni nằm trên một quả đồi có sử dụng gạch ốp tường Italy của nhà máy Casalgrande Padana với nhiều điểm nổi bật độc đáo khiến bất kỳ ai một lần nhìn qua dự án cũng phải trầm trồ khen ngợi.

Dự án biệt thự Montebar của Jacopo Mascheroni

1. Giới thiệu về Jacopo Mascheroni

 Jacopo Mascheroni học tại Đại học Bách khoa Milan và Ecole d'Architecture ở Paris Belleville. Ông đã hoàn thành các nghiên cứu của mình tại Đại học California, Berkeley. Ông bắt đầu sự nghiệp chuyên môn của mình tại Stanley Saitowitz / Natoma Architects ở San Francisco, Hoa Kỳ, nơi ông tham gia vào một số dự án có tính chất đối phó. Sau đó, ông chuyển đến New York để làm việc cho Richard Meier & Partners trong vai trò một người quản lý dự án và là nhà thiết kế chính cho dự án Village Jesolo Lido, nơi nhận đ��ợc những giải thưởng quốc tế quan trọng và công nhận. Năm 2005, ông thành lập Công ty Kiến trúc JM ở Milan. Công ty cung cấp một loạt các dịch vụ kiến trúc và hiện đang tham gia vào các dự án nhà ở và khách sạn trên toàn thế giới. Tích hợp kiến trúc vào môi trường xung quanh và việc sử dụng các giải pháp tiết kiệm năng lượng là những ưu tiên trong mỗi dự án.

3 phong cách thiết kế nội thất phổ biến nhất

Kiến trúc sư Jacopo Mascheroni

2. Dự án Montebar Villa

 Montebar Villa là một ngôi nhà gỗ được làm sẵn ẩn náu trong một quả đồi trên cao Swiss Alps tại Medeglia, Canton của Ticino. Đây là một vị trí hùng vĩ với ánh nắng mặt tr��i chiếu sáng khắp nơi quanh năm.

Dự án biệt thự Montebar với ánh mặt trời quanh năm

 Dự án của Jacopo Mascheroni được tạo ra phù hợp với tiêu chuẩn xây dựng của địa phương buộc mỗi ngôi nhà phải có một mái dốc xuống màu xám đậm để hài hòa, phù hợp với toàn bộ phong cảnh xung quanh.

Mái dốc xuống đậm màu phù hợp với quang cảnh xung quanh

 Nghiên cứu thiết kế tập trung vào giải pháp đồng nhất, đồng đều bằng việc sử dụng chỉ duy nhất một loại vật liệu bao phủ cho cả mái nhà và mặt tiền của tòa nhà, đá nguyên khối, vật liệu nguyên chất, đơn sắc được xuất hiện giống như một tảng đá tự nhiên. Chỉ có một ngoại lệ phía Nam của ngôi nhà, nơi tạo ra tầm nhìn hùng vĩ, kì diệu thông qua việc lắp kính cho khu vực sống. Phía trước có một hành lang ngoài được tạo ra để sử dụng trong suốt những tháng của mùa hè.

Lớp kính thu hút năng lượng mặt trời

 Ngôi nhà được xây dựng với kết cấu gỗ, một khung cách nhiệt và một số yếu tố được làm sẵn được lắp ráp trong một vài ngày. Một lớp tương tự như vậy được sử dụng cả cho mái nhà và tường hàng rào rộng 22cm để tách biệt với bên ngoài và một hệ thống thông gió bên ngoài hai lớp để đạt được hiệu suất năng lượng cao.

Khung cách nhiệt chắc chắn cho ngôi nhà

 Lớp phủ bằng gạch Porcelain được thiết kế trong một hệ thống mặt tiền thông gió bằng nhôm đem lại sự đồng nhất cho cả tòa nhà. Hiệu suất năng lượng của tòa nhà được hoàn thành bởi lớp kính xung quanh khu vực sống bao gồm cả rèm tường với những bề mặt nhôm cách nhiệt và cột kính thẳng đứng. Kính Low-E được lựa chọn cẩn thận, kỹ lưỡng đảm bảo hiệu quả cao. Những cửa sổ trang trí của tất cả các phòng đều có mặt nhôm cách nhiệt với 3 mặt kính cách điện.

Gạch Porcelain được phủ bên ngoài

 Để theo đuổi sự đồng nhất trong tòa nhà, mỗi mặt của tòa nhà được thiết kế theo từng tấm với mô hình động và 3 khổ khác nhau có cạnh cắt giảm 45 độ. Gạch Porcelain tương tự như vật được sử dụng để bao phủ cửa chớp gập lại được, tạo ra vẻ đẹp như một bức vẽ. Theo cách này, khi cửa chớp được đóng lại, bố cục thiết kế còn lại sẽ được sắp xếp chắc chắn và liền thành một mảng.

Kiến trúc ngôi nhà hài hòa với cảnh quan

 6 bề mặt mái nhà không đối xứng được tạo dựng theo hướng ngọn đồi và được xác định kích cỡ để có mặt chính với dốc tương tự như bề mặt của núi, theo cách này sẽ tạo ra được sự hài hòa, nhịp nhàng với khung cảnh xung quanh một cách hoàn hảo nhất.

 Tiêu chuẩn tiết kiệm năng lượng cao được chứng thực để giữ mức chi phí bảo dưỡng, duy trì thấp nhất trong suốt 4 mùa. Hệ thống làm nóng dưới sàn nhà được điều khiển bằng máy bơm hơi nóng điện còn hệ thống ánh sáng bên trong nhà được chiếu sáng bằng hệ thống đèn led cố định. Trong suốt mùa hè, ngôi nhà giữ được sự mát mẻ bởi hệ thống thông gió đi qua. Hệ thống thông gió này cho phép không khí lạnh từ con sông phía Tây tăng lên và đi qua toàn bộ ngôi nhà.

 Ngôi nhà này bao gồm khu vực tiếp khách, 3 phòng ngủ, 1 phòng đọc sách, 2 phòng tắm, 1 phòng giặt đồ, một phòng kỹ thuật, 1 phòng để thức ăn, một kho chứa đồ, tất cả đều được đặt cùng một vị trí, chưa kể đến còn phòng ngủ đôi cho trẻ nhỏ nơi mà có gác lửng với giường ngủ và khu vực tivi cùng nằm ở đó.

3. Sản phẩm gạch sử dụng cho dự án

 Bên ngoài của biệt thự Montebar được bao phủ hoàn toàn bằng gạch Porcelain của dòng Pietre Native. Cụ thể là bộ sưu tập Amazzonia với màu đen Dragon và quy cách 45x90 và 30x90, 15x90. Các tấm được thiết lập với hệ thống tường thông gió theo một khuôn mẫu được đặt ra trên một hệ thống mặt tiền bằng nhôm. Ngoài các mặt tiền và mái vòm, cửa chớp gấp bảo vệ cửa và cửa sổ cũng được bao phủ cùng với chất liệu để đảm bảo tính đồng nhất hoàn hảo của bề mặt bên ngoài. Những tấm gạch ốp lát được liên kết với các cấu tạo kim loại theo đúng bản vẽ.

 Sàn và tường của phòng tắm, phòng giặt đồ và phòng kỹ thuật được sử dụng những tấm gạch Porcelain của dòng Pietre Native. Cụ thể, những tấm quy cách 30x60, 20x60 và 10x60cm của bộ sưu tập Pietre Etrusche với màu Saturnia.

Gạch ốp lát cho không gian phòng tắm

 Các tấm gạch được lựa chọn kỹ lưỡng trong sự xuất hiện của chúng để tương tự như đá địa phương. Những vật liệu gốm tiên tiến này đảm bảo tính năng kỹ thuật cao và khả năng chịu đựng, độ bền và độ an toàn, thậm chí trong điều kiện thời tiết khắc nghiệt nhất. Thêm vào đó, chúng cũng dễ dàng để sử dụng, lắp đặt trong những khu vực quan trọng.

4. Nhận định của tác giả về dự án và sản phẩm

 Với kinh nghiệm của mình cũng như sau khi hoàn thành dự án, ông đã đưa ra những nhận định của mình về dự án cũng như vậy liệu được sử dụng cho dự án này.

"Recently, we started to move towards the Ceramic used for envelopes and we had the chance to appreciate the results and contruction process. We were particularly happy with the flexibility that ceramics can ensure given its recent developments in term of thickness, textures, etc. Thanks to the wide range of products and from the project to reality in an extremely short period of time".

"We are extremely happy with the resistance and virtually no maintenance ensured by Ceramics. The use of Ceramics in building envelopes and exterors allows us to achieve excellent results that maintain their qualities and features over time. No other material, except for glass, would allow for such results. For us it's important that the appearance of a project remains unchanged even after many years." Jacpo Mascheroni.

"The idea to cover the villa completely stemmed from the local building standards, which impose dark grey pitched roofs. This is why we opted for a monolithic envelope which could appear as a rock in the landscape. We have assessed and shared our choices regarding the material to use for the entire covering with the local authorities. After many constructive discussions, we identified the product that could meet the expectations of the client and everyone else involved in the protect" Jacopo Mascheroni.

 Trên đây là những thông tin về dự án biệt thự Montebar với kiến trúc đặc biệt và ẩn nấp trên một quả đồi của kiến trúc sư Jacopo Mascheroni.

bài viết được Dự án biệt thự Montebar của Jacopo Mascheroni

[hisourart-blog]

Mathematics and fiber arts

New Post has been published on https://hisour.com/art/mathematics-fiber-arts/

Mathematics and fiber arts

Ideas from Mathematics have been used as inspiration for fiber arts including quilt making, knitting, cross-stitch, crochet, embroidery and weaving. A wide range of mathematical concepts have been used as inspiration including topology, graph theory, number theory and algebra. Some techniques such as counted-thread embroidery are naturally geometrical; other kinds of textile provide a ready means for the colorful physical expression of mathematical concepts. Counted-thread embroidery is any embroidery in which the fabric threads are counted by the embroiderer before inserting the needle into the fabric. Evenweave fabric is usually used; it produces a symmetrical image as both warp and weft fabric threads are evenly spaced. The opposite of counted-thread embroidery is free embroidery. Stranded mathematical objects include Platonic solids, Klein bottles and the child's face. Lorenz was created using manifold and hyperbolic plane claws. The work of hyperbolic plane crochet was embroidered by the decoration institute of the designs in the way that the people liked. Many wall patterns and frieze groups were used in cross-stitching. The IEEE Spectrum has organized a number of competitions on quilt block design, and several books have been published on the subject. Notable quiltmakers include Diana Venters and Elaine Ellison, who have written a book on the subject Mathematical Quilts: No Sewing Required. Examples of mathematical ideas used in the book as the basis of a quilt include the golden rectangle, conic sections, Leonardo da Vinci's Claw, the Koch curve, the Clifford torus, San Gaku, Mascheroni's cardioid, Pythagorean triples, spidrons, and the six trigonometric functions. Ada Dietz (1882 - 1950) was an American weaver, best known for his book Algebraic Expressions in Handwoven Textiles, which he described in 1949, which heavily based on the extensibility of polynomials. Knitted mathematical objects include the Platonic solids, Klein bottles and Boy's surface. The Lorenz manifold and the hyperbolic plane have been crafted using crochet. Knitted and crocheted tori have also been constructed depicting toroidal embeddings of the complete graph K7 and of the Heawood graph. The crocheting of hyperbolic planes has been popularized by the Institute For Figuring; a book by Daina Taimina on the subject, Crocheting Adventures with Hyperbolic Planes, won the 2009 Bookseller/Diagram Prize for Oddest Title of the Year. Embroidery techniques such as counted-thread embroidery including cross-stitch and some canvas work methods such as Bargello (needlework) make use of the natural pixels of the weave, lending themselves to geometric designs. Ada Dietz (1882 – 1950) was an American weaver best known for her 1949 monograph Algebraic Expressions in Handwoven Textiles, which defines weaving patterns based on the expansion of multivariate polynomials. Margaret Greig was a mathematician who articulated the mathematics of worsted spinning. The short draw technique can be done from carded rolags, as well, but this does not produce a strictly worsted yarn. Yarns spun from a rolag will not have all the fibers parallel to the yarn though, with the short draw technique, many will be. Drum carded fiber, however, does have the fibers all parallel to each other, and thus can be used to create a strictly worsted yarn. The original spinning machinery was based on the short draw technique. Instead of an active and passive hand, the drafting was done by two sets of rollers moving at different speeds. However, the short draw characteristics remain: the fibers in the resulting yarn are all parallel, and there is no twist in the drafting area. Even in the modern day, many spinning machines are based on this principle. The silk scarves from DMCK Designs' 2013 collection are all based on Douglas McKenna's space-filling curve patterns. The designs are either generalized Peano curves, or based on a new space-filling construction technique. The Issey Miyake Fall-Winter 2010–2011 ready-to-wear collection featured designs from a collaboration between fashion designer Dai Fujiwara and mathematician William Thurston. The designs were inspired by Thurston's geometrization conjecture, the statement that every 3-manifold can be decomposed into pieces with one of eight different uniform geometries, a proof of which had been sketched in 2003 by Grigori Perelman as part of his proof of the Poincaré conjecture. In 1890, Peano discovered a continuous curve, now called the Peano curve, that passes through every point of the unit square (Peano (1890)). His purpose was to construct a continuous mapping from the unit interval onto the unit square. Peano was motivated by Georg Cantor's earlier counterintuitive result that the infinite number of points in a unit interval is the same cardinality as the infinite number of points in any finite-dimensional manifold, such as the unit square. The problem Peano solved was whether such a mapping could be continuous; i.e., a curve that fills a space. Peano's solution does not set up a continuous one-to-one correspondence between the unit interval and the unit square, and indeed such a correspondence does not exist (see below). Peano's ground-breaking article contained no illustrations of his construction, which is defined in terms of ternary expansions and a mirroring operator. But the graphical construction was perfectly clear to him—he made an ornamental tiling showing a picture of the curve in his home in Turin. Peano's article also ends by observing that the technique can be obviously extended to other odd bases besides base 3. His choice to avoid any appeal to graphical visualization was, no doubt, motivated by a desire for a well-founded, completely rigorous proof owing nothing to pictures. At that time (the beginning of the foundation of general topology), graphical arguments were still included in proofs, yet were becoming a hindrance to understanding often counterintuitive results. A year later, David Hilbert published in the same journal a variation of Peano's construction (Hilbert 1891). Hilbert's article was the first to include a picture helping to visualize the construction technique, essentially the same as illustrated here. The analytic form of the Hilbert curve, however, is more complicated than Peano's.

[mediaxplosion]

Selfies as self-presentation of women

In this post I am going to explain the importance of selfies in self-presentation of women in general. I am going to firstly define what a selfie is and the way in which people can portray themselves in different ways. I will then outline the way in which social networks allows for the understanding of what beauty is to women and how they portray that through sharing photos with others. I am going to use Goffman’s theory of self-presentation to explain how individuals compare themselves with others and try to create a positive image. Beauty apps that have been introduced also allows women to show their edited beauty online. Finally, I will explain how post-feminists take control of their own bodies. Selfies influence the way in which women understand themselves and get to know their own bodies well

A selfie is thus understood as a picture an individual takes of him/herself (Tifentale and Manovich, 2015; Frosh, 2015). It can also be defined as a self-portrait taken with a webcam or smartphone and disseminated on Social Network Sites(SNS) (Iqani and Schroeder, 2016). Selfies are usually taken at an arm’s stretch or with a selfie-stick, documenting moments that the user want to remember (Hess, 2015). Frosh (2015, 1611) explains the selfie as “the culmination and also the incarnation of a gesture of mediation”. They often claim attention and requires immediate gaze, which may also serve as a visual diary to some (Iqani and Schroeder, 2016). ‘Publicised privacy’ explains how the private environment is now being shown to the world through a selfie, therefore representing oneself the way they want. Selfies are a form of self-expression where there are no boundaries between the private and public moments, because its creators share on social media (Hess, 2015).

Selfies are shared mostly by young people on SNS, this shows their commonality within this space. Any individual who has a smartphone and connected to social media is thus able to post their selfies online.  Twitter, Instagram, Tumblr and Facebook facilitate in the distribution of selfies (Murray, 2015; Tifentale and Manovich, 2015) with other people regardless of demography (Frosh, 2015). Before smartphones, other people were the ones taking pictures of people using cameras, but now the nature of the media have been changed and individuals have the power to control how their pictures comes about. The front-camera function on smartphones give its users more flexibility of sharing ‘selfies’ in a media which has commodified ‘selfies (Mascheroni et al, 2015). It can also be seen how social networks have largely facilitated in the understanding of young girls idealized view of beauty (Chua and Chang, 2016). This is a platform where people learn how to conform to the standards of beauty and thus self-presentation become the central point of influences from one’s mates. In a study done by Chua and Chang (2016) of 12-14 years secondary school girls in Singapore and their usage of posting their selfies on Instagram. It is evident that they judge themselves based on how their peers look and the kind of images they post on Instagram. They equated likes with being appreciated by their peers and to show its importance, one girl highlighted that she was using an app that generates likes (Chua and Chang, 2016). In this way self-presentation becomes important for an individual.

Goffman’s theory of self-presentation explains how an individual will construct their behaviour or themselves based on how they want others to see them by trying to make a good perception (Mascheroni et al, 2015). Selfies are being used as a symbol of free will and overseeing oneself. Thus, people in social interactions engage with one another to understand the other individual. Self-presentation allows people to present themselves the way they wold like to be seen by other people. People self-evaluate themselves by judging against their peers and what they see on the media as the perceived ideal beauty females should adapt to (Chua and Chang, 2016). Being accepted by one’s peers seems to play a very vital role in the way they present themselves as their offline lives also say something about who they are or aspire to be like (Mascheroni et al, 2015). This shows that the society we live in, especially the SNS facilitate in how we understand beauty and how one may turn into being dissatisfied with the way they look (Chua and Chang, 2016). At times girls they fear being marginalised as thus they conform to the beauty standards being set by the media, and posting their best pictures online. Hence in most cases when they are accepted their self-esteem improves (Seidman, 2013).

Creating a good image to the public seems like a priority to young teenage girls and needing validation from other people as to whether they are pretty or not (Chua and Chang, 2016). Through sharing selfies and finding a sense of belonging within the digital space allows for women to appreciate themselves even more (Tiidenberg and Gómez Cruz, 2015). Sharing selfies on SNS also paves way for one to experiment with their bodies, or rather to re-create their body-image and to show the world that there are different ways of being oneself. An individual is more likely to get more followers when they disclose more about them and they are mostly the ones who are in control of their own bodies and posts (Tiidenberg and Gómez Cruz, 2015).  The unattainable images of what beauty is, have led to more girls creating blogs where they display themselves as a way for the public to accept them as they are. Creating a positive body outlook and not the one imposed by the media on them, and used to increase the notion of femininity (Murray, 2015). This is a platform where people feel belongingness and create self-presentation based on how they are being received by their peers and most importantly allowing others to learn more about their lives (Seidman, 2013; Gabriel, 2014). Sharing selfies allows for the construction of identities and belonging to the SNS community (Tifentale and Manovich, 2015). Beauty apps have allowed young women to present themselves in an idealised manner, and that the media facilitates in the perception of beauty.

These photo-editing software’s allow one to look perfect and eliminate any blemishes on the skin, make an individuals skin to look clearer and use some effects on the picture thus getting the flawless view of themselves (Rettberg, 2014). Edited photos seem to enhance the confidence of people with low self-esteem on Instagram and Facebook (Chua and Chang, 2016). Selfies present the idea of ‘authenticity’, even though they are staged performances where one must look for the perfect angle, framing, clothing, background or lighting to take out the best selfie or present ourselves in certain way (Hess, 2015). One of the apps that distort our visual representation is an app called ‘SkinneePix’ which makes people look skinnier than they are and allowing people shape how they are seen online (Rettberg, 2014). Snapchat allows women to appear in a playful interaction, thus eliminating the ‘perfect’ connotation by the media culture (Iqani and Schroeder, 2016). While some women may strive always to conform to the standards many, reject those standards and try to create their own (Mascheroni et al, 2015).

Post-feminism can be understood as the notion of representation, in relation to how women have taken control over their bodies and changed the public perception of them (Murray, 2015). Another platform which has allowed for the power and control elicited by women through taking selfies is NSFW (Not Safe For Work) Tumblr blogs (Tiidenberg and Gómez Cruz, 2015). Women post sexy selfies as a way of owning their bodies and creating the body-image that best suits them unlike when they are being photographed by other people.  Popular culture has always shown us the images of ‘slim’ girls which supposedly all women should imitate. But by these Tumblr blogs, women reclaim their own bodies by showing an understanding of who they are, refusing to abide by the social standards of beauty (Tiidenberg and Gómez Cruz, 2015). This allows for women of all body shapes or sizes to share their selfies knowing very well that there are no boundaries, and thus building their esteem of appreciating themselves as they are.

When women own their bodies, it allows the public to accept them and change their views on what they think is photographable or appealing to them (Tiidenberg and Gómez Cruz, 2015). Selfies is a way of women to be in control of their bodies, even in a sexual way but not made for the male gaze. It highlights women controlling their own space and taking pictures the way they want without being subjected by the male-dominated media culture’s fascination over them (Murray, 2015). They are also a way for women to reclaim power in their own space and control how their identity gets shaped in this space (Tiidenberg and Gómez Cruz, 2015). The hijab selfie also trended as a way for Muslim women to make people accept them without oppressing them when they choose to wear their niqab or hijab (Iqani and Schroeder, 2016). They are reclaiming the space and their headscarf to alert the public that they are proud of it and not ashamed to be Muslim women. It is a form of self-expression that is at the present, and created to be shared to other people.

A selfie is a picture taken by a person, at an arm’s lengths and using a smartphone, they are usually disseminated by young people. This draw attention to how SNS have become a form of self-expression that young people use to communicate with their peers. Goffman’s theory of self-presentation also talks about how peer-comparison influences a person. Self-presentation is important to most women, hence the NSFW (Not Safe For Work) Tumblr blogs allows women to have control over their own bodies. Another example is of Muslim women reclaiming their identity in a space where they are oppressed because of their headscarf’s and people’s perception of how Muslim women are like. Post feminism is evident in this digital age where power and control lie in the hands of women and not in the media.

Bibliography

Chua, T.H.H. and Chang, L., 2016. Follow me and like my beautiful selfies: Singapore teenage girls’ engagement in self-presentation and peer comparison on social media. Computers in Human Behavior, 55, pp.190-197.

Frosh, P., 2015. Selfies| The gestural image: The selfie, photography theory, and kinesthetic sociability. International journal of communication, 9, p.22.

Gabriel, F., 2014. Sexting, selfies and self-harm: young people, social media and the performance of self-development. Media International Australia, 151(1), pp.104-112.

Hess, A., 2015. Selfies| The selfie assemblage. International journal of communication, 9, p.18.

Iqani, M. and Schroeder, J.E., 2016. # selfie: digital self-portraits as commodity form and consumption practice. Consumption Markets & Culture, 19(5), pp.405-415.

Mascheroni, G., Vincent, J. and Jimenez, E., 2015. “Girls are addicted to likes so they post semi-naked selfies”: Peer mediation, normativity and the construction of identity online. Cyberpsychology: Journal of Psychosocial Research on Cyberspace, 9(1).

Murray, D.C., 2015. Notes to self: the visual culture of selfies in the age of social media. Consumption Markets & Culture, 18(6), pp.490-516.

Rettberg, J.W., 2014. Seeing ourselves through technology: How we use selfies, blogs and wearable devices to see and shape ourselves.

Seidman, G., 2013. Self-presentation and belonging on Facebook: How personality influences social media use and motivations. Personality and Individual Differences, 54(3), pp.402-407.

Tiidenberg, K. and Gómez Cruz, E., 2015. Selfies, image and the re-making of the body. Body & society, 21(4), pp.77-102.

Tifentale, A. and Manovich, L., 2015. Selfiecity: Exploring photography and self-fashioning in social media. In Postdigital Aesthetics (pp. 109-122). Palgrave Macmillan UK.

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