There are multiple ways to convert color to black-and-white image in Blender, and some are more perceptually correct than other (yet theres no truth).AgX, Filmic & Creative LUTs for DaVinci Resolve (Free)The post Use This Trick to Convert to Black and White in Blender appeared first on Creative Shrimp.

To download, simply join our newsletter and you will get an e-mail back with download instructions. If youre already part of the newsletter you can find previous e-mails from me which will all have download instructions. You will receive this free 3D model but youll also get our 500+ other 3D freebies as well!

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US-based 3D printer manufacturer 3D Systems will be launching a range of 3D printing technologies and materials at this years Formnext tradeshow.Aligned with scaling industrial 3D printing, key highlights include the high-speed PSLA 270 SLA system, purpose-built post-processing solutions like Wash 400/Wash 400F and Cure 400, and advanced materials such as Figure 4 Rigid Composite White and Accura AMX Rigid Composite White, all tailored to meet demanding industrial workflows.Recent expansions in Selective Laser Sintering (SLS) and MultiJet Printing (MJP) materials, as well as a new powder management system for the DMP Flex 200 metal 3D printer, will also be showcased to emphasize efficiency and reduced production times for industrial applications. Attendees can explore these new offerings at 3D Systems booth in Hall 11.1, Booth D11.Our customers ingenuity fuels our innovation, explained Marty Johnson, vice president of product and technical fellow, 3D Systems. By collaborating closely with their engineering teams, were pushing the boundaries of additive manufacturing. To keep pace with their evolving needs, were constantly expanding our solution portfolio. Our latest additions, new accessories and materials, are prime examples of how customer-centric innovation can deliver a competitive edge.3D Systems PSLA 270 solution accelerates time to part for production applications. Image via 3D Systems.Post-processing solutions and rigid materials for enhanced productionAccording to 3D Systems, the PSLA 270 combines the speed and precision of projector-based SLA technology to deliver mid-sized, high-quality parts with consistent mechanical properties, suited for industrial workflows.Supporting the PSLA 270s capabilities, the Wash 400 and Wash 400F systems automate resin cleaning with Dirty and Clean washing workflows that allow users to choose between non-flammable and flammable detergents, such as IPA. Featuring a piston lift, these solutions simplify part handling while streamlining industrial operations.Additionally, the Cure 400 enhances UV curing with programmable settings, a 400 x 400 x 400 mm curing volume, and a rotating table for optimal shadow reduction, allowing compatibility with all 3D Systems SLA and Figure 4 platforms. Availability for these post-processing solutions is anticipated in early 2025.Expanding options for high-stiffness materials, Figure 4 Rigid Composite White and Accura AMX Rigid Composite White support applications such as wind tunnel testing, tools, and fixtures. With enhanced resistance to settling, these materials help minimize maintenance and boost printer uptime, offering smooth workflows and high-quality surface finishes. Distribution across Europe is expected by December 2024, followed by a global rollout in 2025.Advanced thermal control and broadened SLS and MJP material portfoliosFor high-yield, consistent production, the SLS 380 introduces advanced thermal control, incorporating eight calibrated heaters and a high-resolution infrared camera sampling at 100,000 times per second.This setup supports precise chamber conditions, ensuring a consistent build environment and reliable part quality. Paired with the SLS 380 are new materials such as DuraForm PA12 Black, DuraForm TPU 90A, DuraForm PA CF, DuraForm FR 106, and DuraForm PA 11 in both natural and black variations, all of which will be available starting December 2024.With the ProJet MJP 2500 Plus, new material options like VisiJet Armor Max and VisiJet M2P-CST Crystal bring ABS-like durability and intricate casting ability for complex prototyping and jewelry applications. Moreover,VisiJet M2P-CST Crystal offers fine detail and strength suitable for jewelry with detailed features, including rings, bracelets, and brooches.ProJet MJP 2500 Plus. Image via 3D Systems.Further optimizing the production process, the Delfin INVAC 3D powder management system, developed for the DMP Flex 200, enables safe, closed-loop metal powder recovery, especially valuable for applications in dental labs.Conference program and presentationsThroughout Formnext 2024, 3D Systems will host several sessions showcasing these advancements. Scheduled for November 20, QuickCast Air Enabling the Next Step Change in 3D Printed Investment Casting Pattern Efficiency will run from 10:15 to 10:30 a.m. on the Technology Stage in Hall 12.0.Later that morning, from 11:30 to 11:50 a.m., Realizing the Benefits of Decentralized Manufacturing of Highly Regulated Parts in the Energy Industry will be presented on the Application Stage in Hall 11.1. In the afternoon, PSLA 270: The Speed of Light-projection. The Quality and Reliability of SLA. will be presented from 2:30 to 2:45 p.m. on the Technology Stage in Hall 12.0.The following day, November 21, Model No. Redefines Sustainable High-End Furniture with Additive Manufacturing will take place from 10:30 to 10:50 a.m. on the Application Stage in Hall 11.1.These sessions provide insights into 3D Systems newest solutions and their applications across industries, from investment casting and regulated manufacturing to sustainable furniture production.Scaling industrial 3D printing with new solutionsIn the broader landscape of industrial 3D printing, other companies are also expanding capabilities. Chinese metal 3D printer manufacturer Eplus3D recently contributed to improving industrial 3D printing by introducing the EP-M4750, a high-efficiency metal 3D printer designed for large-scale batch production in sectors like aerospace, automotive, and tooling.Utilizing Metal Powder Bed Fusion (MPBF) technology, the EP-M4750 features a 450 x 750 x 530 mm build chamber and up to four 500 W lasers for fast throughput. The system supports various metals and includes an optimized gas flow, multi-stage filtration, and adaptive software, enabling flexible, high-strength part production suited for demanding industrial applications.Last month, Lynxter introduced the S300X FIL11 | FIL11, an industrial IDEX 3D printer for high-speed, dual-material printing, ahead of Formnext 2024. Built to handle thermoplastics, it reaches 10,000 mm/s acceleration, 24 mm/s extrusion with dual extruders, and supports complex, high-strength parts.Features include a 500C nozzle, a heated chamber, and an integrated dehydration unit for optimal print quality. Designed with a health-conscious filtration system, the S300X targets sectors needing robust, quality parts and can be pre-ordered in Europe.Catch up on all the news fromFormnext 2024.Voting is now open for the2024 3D Printing Industry Awards.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Featured image shows 3D Systems PSLA 270 solution, which accelerates time to part for production applications. Image via 3D Systems.Ada ShaikhnagWith a background in journalism, Ada has a keen interest in frontier technology and its application in the wider world. Ada reports on aspects of 3D printing ranging from aerospace and automotive to medical and dental.

Caracol, a developer of large-format additive manufacturing (LFAM) technologies, is set to introduce its latest innovation, Vipra AM, at Formnext 2024. Designed to address the rising demand for efficient, large-scale metal 3D printing, Vipra AM integrates robotic deposition technology with automation to facilitate the production of complex industrial components. Caracol aims for Vipra to set a new benchmark in large-format metal manufacturing, responding to the manufacturing sectors need for adaptable and sustainable solutions.Vipra AM employs Direct Energy Deposition with wire arc additive manufacturing, expanding the potential of LFAM. This proprietary platform, engineered for flexibility and control, comes in two distinct configurations. Vipra XQ (Extreme Quality) applies Plasma Arc Deposition to achieve high precision and strength, making it suitable for structural components in aerospace and energy sectors. Vipra XP (Extreme Productivity), built to maximize throughput, supports lightweight metals like aluminum and nickel, ideal for industries where rapid production and weight efficiency are essential, such as automotive and marine.Caracol Launches Vipra AM. Photo via Caracol.Francesco De Stefano, Caracols CEO, explains, Our focus has been to combine application-driven approaches with advanced technologies that support the production of large-scale, complex parts. Caracols years of experience with polymer-based LFAM have culminated in Vipra AM, an integrated system that combines monitoring, automation, and material versatility.Engineered to complement existing manufacturing workflows, Vipra AM enables hybrid production models that incorporate traditional methods alongside advanced metal deposition. This approach aims to reduce material waste, shorten lead times, and increase operational efficiency without requiring complete retooling of production lines. Gianrocco Marinelli, Caracols Director of Metal Additive Manufacturing, notes Vipras role in addressing manufacturers challenges related to resource efficiency and operational speed, pointing to the platforms capacity to produce components like high-temperature autoclave molds and complex structural parts.Caracol plans a full showcase of Vipra AM at Formnext, with a live demonstration and panel discussion on November 19, 2024, at booth C101 in Hall 12.1. Industry experts will discuss the emerging synergies between polymer and metal LFAM, along with the platforms impact on future manufacturing paradigms. Caracol envisions Vipra AM not only enhancing efficiency but also redefining the possibilities of large-scale metal additive manufacturing.Caracols booth location at Formnext 2024. Image via Caracol.Large-Scale Additive ManufacturingIn other large-scale 3D printing news,Rocket Lab, a space launch company based in California, has deployed a 90-ton automated fiber placement (AFP) machine to construct large carbon composite rocket structures. This AFP system, built by Electroimpact, automates the production of major composite components for Rocket Labs Neutron launch vehicle, reducing production time from weeks to hours.Additionally, Rapid Fusion, a UK-based company in the additive manufacturing sector, has introduced its Apollo system, a large-format pellet-based 3D printing solution. The Apollo system utilizes robotics to produce large components and molds, targeting industries such as automotive and aerospace. Capable of handling high extrusion rates and a wide range of engineering-grade polymers, Apollo offers significant improvements in printing speed and material cost efficiency.Rocket Labs 90-tonne automated fiber placement (AFP) machine. Photo via Rocket Lab.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Feature image showcases the new Vipra AM to be unveiled at Formnext 2024. Photo via Caracol.

Hi everyone,I recently worked through the new version of the Vertex Animation Textures tutorial from SideFX for Unreal (link to tutorial), and I came across an undocumented issue that was hard to pin down. After much troubleshooting, my colleague Michael Hall and I discovered a workaround, which I hope will save others time and frustration.The Issue: The problem we encountered was a double-triggered animation effect when running the Vertex Animation Textures in Unreal Engine Through Niagara. Heres how we solved it.Solution Steps:In Your Base Material:Place a RemapValueRange node.Add four Constant variables to the node.Convert one of the constants to a Parameter and name it something descriptive. I used NumberofFramesFromHoudini, representing the number of frames in your vertex animation set up in Houdini or another software.Add a Dynamic Parameter Node:Drop in a Dynamic Parameter node and give it a name to track.Set Up in Niagara:Within your Niagara System, place a Dynamic Material Parameters module.Switch from a Float Interface to Float From Curve.Make sure to flip the curve from (0.0, 0.0) to (1.0, 1.0)Finally, set your Niagara System and emitter to Once to avoid double-triggered animations.We wanted to share our findings here to help anyone encountering the same issue,I hope this helps. Let us know if youve found additional workarounds!

Plot 62 | Mohammad Taqi AshkananiPlot 62 by TAEP/AAP, located within the Shuwaikh Industrial area in Kuwait, is a thoughtful commercial space that bridges the local urban landscape with the demands of modern retail and office spaces. Positioned at a chamfered corner plot intersecting 21st and 26th streets, this project redefines the area by filling a notable urban volumetric gap in Shuwaikhs industrial and commercial hub. The designers aimed to craft a building harmonizing with its industrial surroundings while introducing a forward-thinking, contemporary identity.Plot 62 Technical InformationArchitects1-5: TAEP/AAPLocation: Shuwaikh Industrial, KuwaitArea: 11,923m2 | 128,338Sq. Ft.Year of Completion: 2024Photographs: Mohammad Taqi AshkananiThe building is organized around an open flexible central courtyard, suitable for several different types of use, where to is directed all the human flux. TAEP/AAP ArchitectsPlot 62 Photographs Mohammad Taqi Ashkanani Mohammad Taqi Ashkanani Mohammad Taqi Ashkanani Mohammad Taqi Ashkanani Mohammad Taqi Ashkanani Mohammad Taqi AshkananiStructural and Functional LayoutTAEP/AAP approached this project with an architectural philosophy that balances simplicity with functionality. The buildings rectangular volumes and neutral-toned facades create a calm, composed visual presence that complements the rugged industrial fabric of Shuwaikh. Despite its minimalist facade, the building establishes a striking identity in the area through refined design choices, such as expansive glazing and dynamic facades that interact with the streetscape. This fusion of form and context is emblematic of TAEP/AAPs sensitivity to urban integration, allowing Plot 62 to emerge as a new architectural landmark in the area.The internal structure and organization of Plot 62 are tailored to support a diverse array of commercial activities, achieving a flexible yet efficient spatial hierarchy. With three above-ground levels and one underground level, the building offers a variety of spaces, including retail outlets, offices, workshops, and warehouses. This careful layering of functions allows for a seamless coexistence of different commercial entities within a single structure, each occupying its designated space while benefiting from shared amenities and infrastructure.At the heart of the building lies a spacious, open-air courtyard designed to serve as the central social hub of Plot 62. This courtyard not only enhances the visual permeability of the structure but also facilitates human flow between the different areas. The central square is flexible and adaptable, serving as a dynamic focal point where users can gather, interact, or simply pass through, seamlessly connecting the various levels and functions. The projects three street-facing facades further engage with the urban environment, allowing visibility into the retail and commercial spaces while showcasing branding and advertisements that energize the street-facing elevation.Technical Aspects and InfrastructurePlot 62s infrastructure exemplifies technical rigor, accommodating complex mechanical, electrical, and plumbing (MEP) requirements and addressing the high demands of a mixed-use commercial building. The MEP design, directed by Ruben Gonalves and Joo Catrapona, integrates innovative solutions that support the buildings diverse activities, from high-capacity retail areas to flexible office spaces. Each floor has been engineered to meet energy requirements, optimize ventilation, and enhance climate control, ensuring comfort and efficiency for occupants and visitors alike.Accessibility is another crucial component of Plot 62s design, with carefully considered circulation paths and mobility solutions. Multiple access cores, exterior stairs, and partial connectionssuch as car elevatorsenable fluid movement across the buildings levels, accommodating the demands of high-traffic commercial use. The technical roof and specialized compartments throughout the building demonstrate a commitment to meeting infrastructural needs without compromising the aesthetic integrity of the structure. The design achieves a balance between functionality and visual impact, creating a streamlined yet highly functional commercial environment.Architectural Impact and Contribution to the Urban LandscapePlot 62s architectural identity lies in its simplicity and functionality, achieved through an understated palette of neutral tones and raw materials that align with the industrial character of Shuwaikh. This restrained aesthetic not only respects the surrounding urban fabric but also introduces a contemporary elegance that distinguishes it as a modern commercial hub. TAEP/AAPs approach to design reinforces the buildings presence as a refined addition to the urban landscape, inviting interaction and encouraging foot traffic through its open facades and engaging street-level design.Beyond its architectural form, Plot 62 contributes to the social and commercial vibrancy of Shuwaikh. Its central courtyard fosters a sense of community among users, creating a shared space where various commercial activities can converge. This design strategy positions Plot 62 as a catalyst for economic activity, inviting businesses, workers, and customers to engage in an interconnected urban environment.Plot 62 PlansFloor Plan | TAEP/AAPLevel 1 | TAEP/AAPSection | TAEP/AAPAxonometric | TAEP/AAPPlot 62 Image GalleryAbout TAEP/AAPTAEP / AAP is a multidisciplinary architecture and design firm with studios in Kuwait, Portugal, and France, known for its innovative and context-sensitive approach to urban and commercial projects. Led by a diverse team of architects and designers, TAEP / AAP blends local cultural influences with contemporary design principles, crafting spaces that enhance urban interaction and meet complex infrastructural demands. Their projects, like Plot 62 in Kuwaits Shuwaikh Industrial area, reflect a commitment to flexible, functional spaces that integrate seamlessly into the urban fabric, fostering community engagement and responding to the evolving needs of modern cities.Notes & Additional CreditsLead Architects and Designers: Abdulatif Almishari, Rui Vargas, Carla Barroso, Telmo Rodrigues, Joo Costa, Antnio Brigas, Elvino Domingos, Gonalo Silva, Nuno Roque, Mariana Gouveia, Abdul Aziz, Lionel Estriga, Pedro Miranda, Bruno Alves, Tiago Brito, Tiago Lopes, Duarte Correia, Hassan Javed.MEP Engineers: Ruben Gonalves, Joo Catrapona, Mohamed Hassan, Ahmed Shawqi Sadeeq, Ron Favor, Bruno Simes.Graphic Design: Fbio Dimas, Aquilino Sotero.Site Supervision: Mohammed Shata, Marwa Marzouq, Ahmed M.Quotab, Roderick Mangampo, Shoaib Mujahid, Ahmed Abdulaziz, Hassan Javed.Structural Consultant: R5 Engineers.

Driving up the steep gravel driveway at Forge Projecta nonprofit Indigenous arts initiative in Ancram, New Yorkfirst you see, then you hear, the landscape. In the late-summer sun, black-eyed Susans, shoulder-high goldenrods, and wispy native grasses appear to shimmer as they catch the light when the breeze ripples through. Open your car door and you hear the chirping of birds and buzzing of crickets, katydids, and bees. Just a few years ago, the scenery at Forge was different: It was a neatly shorn lawn like youd find in the suburbs. The ongoing transformation of that lawn into a biodiverse meadow is the result of Forge Project restoring the principles of Indigenous land stewardship to its 60-acre site. As beautiful as the meadow is today, aesthetics are secondary to the mission of the organization: Forge is committed to developing a mutually beneficial relationship between the land and the people who use it.Forge Project is notably home to Chinese artist Ai Weiweis sole work of architecture in the U.S. (Courtesy Forge Project)This work is really meant to interrupt the ways that Western understandings of conservation often still reproduce an extractive relationship with the land rather than Indigenous worldviews that understand our interdependence with it, said Sarah Biscarra Dilley, director of Indigenous programs and relationality at Forge and a member of the Northern Chumash tribe.Forge is located on the ancestral lands of the Stockbridge-Munsee Band of Mohican Indians, a tribe that lived there until the United States government forced them to relocate multiple times in the 17th and 18th centuries. Today, most people know the area as the Hudson Valley, one of the most influential regions in the United States with respect to instilling Eurocentric ideologies about land and landscape in the West. Here, artists like Thomas Cole, Frederic Church, and other Hudson River School painters portrayed sublime landscapes that romanticized myths about untouched wilderness and national expansion. Meanwhile, European settlers clear-cut the regions forests to supply timber and fuel and to make space for farming. This history is expressly visible at Forge Project from the position of its headquartersa residence that Ai Weiwei designed for an art collector in 2006. Most of the landscape around the house was either European lawn grass or hay (evidence of agriculture) with a few ornamental trees. Just beyond the homes roughly 30-acre clearing is forest.Earlier this year, Forge Project, which was founded in 2021, transitioned its leadership model to be Native-led, which included forming an Indigenous steering council and developing a memorandum of understanding with the Stockbridge-Munsee Tribal Council. The organization took a similar approach to its landscape. It developed a vision and goals document for the land remediation work in consultation with the Stockbridge-Munsee Tribal Council; Misty Cook, a member of the Stockbridge-Munsee tribe and herbalist; landscape architect Jamie Purinton; botanist Claudia Knab-Vispo; and meadow specialist Beth Romaker.Dramatic sunrises and sunsets make for spectacular performances over the hills. (Courtesy Forge Project)Biscarra Dilley explained that developing a process for managing the site was a structural response to the structural problem of colonization. While land acknowledgments reference the violence of colonialism, the reparative work Forge is doing is an example of what might come after.Were building on a relational way of doing things, which is central to how we work, Dilley said. Its understanding the land not as it has been conceptualized through settlement something inanimate or somehow objectified but understanding place as an interlocking and interdependent set of relations. Were not just talking about the plants; were talking about all of the life that the land supports.Its a metaphorical way of exploring what land back might look like. While the Stockbridge-Munsee have sought the return of their land, like at Monument Mountain, they have not requested the same of Forge Projects site. But if they do, we will have been stewarding the land in alignment as best we can with their protocols, said Paloma Wake, strategy and operations manager at Forge. So if it does come back to them, itll be in a better place. Forge and the landscape designers mapped the landscape and took account of the plant communities in various zones. Then they thought about how native plants could be invited into the landscapea term that comes up often when discussing Forges remediation work and speaks to the relational method of caring for the land. Cooks 2013 book Medicine Generations influenced the plant mix. We drew up this long list of plants that theoretically would be acceptable, Knab-Vispo explained. And then it was really a matter of looking at the site conditions and who would actually be happy there.Some areas, like the lawn, had no native plants, so the team decided to take a high-intervention approach to that area. This entailed the complete removal of all the grass (mostly Kentucky bluegrass, which is of European origin), tilling the soil, applying a horticultural vinegar, and reseeding it with a custom meadow mix. The plants of European origin were a profound reminder of the hard and painful history of colonialism, so their removal felt like a significant act of reclamation as much as remediation, Purinton said. For this reason, the landscape design team also decided to part with the ornamental weeping cherry trees and yellow magnolias that lined the driveway.A volunteer learns about a native plant species. (Courtesy Forge Project)Other wetter, rockier parts of the site had more biodiversity. Here, the team opted to remove plants they didnt want to seelike purple loosestrife and multiflora roses, species that grow aggressively and crowd out native onesand nurture or add the varieties they wanted to see. Theres an understanding that even though some of the plants might not be native to the area, they are playing a role in the landscape. Small yellow trefoils, for example, act as nitrogen fixers. Plants will grow where theyre needed, even if were not ready for them, Wake explained.Today, much of the removal process takes place slowly, by hand. It mostly happens during Meadow Work Days, which Forge Project, Knab-Vispo, and Purinton lead. During these afternoons, volunteers come to help selectively remove discouraged plants. In exchange, they learn about the landscape. This type of relationship building is at the heart of the remediation work. Were learning alongside the land and inviting people into that process, Wake said. Instead of putting culturally significant plants on display, like in a clearly labeled medicine garden, the Forge Project landscape encourages people to take the time to learn about them and add dimension to the richness they are experiencing.Volunteers work during the institutions Meadow Work Days. (Courtesy Forge Project)While parts of the meadow might appear to be uncultivated by Western standards, it is still tended. If left alone, the surrounding forest would grow back into the cleared meadow. Part of the ground maintenance includes cutting back saplings that might crop up. But what exists now are more plants that help pollinators and reflect the culture at Forge Project. I always like to point out that the term restoration gets used with different reference points, Knab- Vispo shared. At Forge Project, we dont try to restore an ecosystem that has never existed there before. Were inviting more native plants back into the current landscape, which reflects centuries of European-style land use andin some placesis dominated by European plants.Forge is still experimenting with its model. Its been a little over 18 months since it embarked on this remediation work, and as time goes on, the model will evolve as the organization learns and listens to what the land wants to do. As Biscarra Dilley reminds us, The land has agency.Diana Budds is a design journalist based in Brooklyn, New York.

The JFK Community Center in Buffalo, New York, designed by Robert T. Coles, the first Black Chancellor of the AIA, is just one of a handful of projects that has received funding from the National Trust for Historic Preservations Conserving Black Modernism campaign. The program now entering its third iteration is a part of the National Trusts larger African American Cultural Heritage Action Fund. Today, the foundation announced a third round of funding for the Conserving Black Modernism program. An additional $1.55 million will be allocated to support modern buildings designed by Black architects and designers. This brings the total investment for the program up to $4.65 million. Launched in 2017, the National Trust for Historic Preservation launched its African American Cultural Heritage Action Fund, in an effort to invest in and restore cultural assets to use preservation as a force for enacting positive social change. Conserving Black Modernism, the campaign within the Action Funds National Grant Program, supported by the Getty Foundation, is dedicated to persevering historic modernist buildings created by. To date, the Action Funds National Grant program has funded 304 Black historic sites across the country.Many of the current funded projects include churches and university buildings, such as the Ira Aldridge Theater at the College of Fine Arts at Howard University. Completed in 1961, the theater was designed by Black architects Paul R. Williams, and Hilyard Robinson. Robinson was the first Black graduate to earn an architecture degree in Columbia GSAPPs history. Important buildings continue to be threatened, and a third year of Conserving Black Modernism will deliver much needed project support and critical training in communities across the country to ensure a robust network of professionals are in place to care for this heritage into the future. said Joan Weinstein, director of the Getty Foundation in a statement.The Getty Foundation grant will fund renovation and preservation projects and facilitate educational opportunities and professional networking at the various sites. Additionally, it aims to strengthen partnerships among the Action Fund, Getty, Black heritage networks, grantees, and national stakeholders dedicated to preserving sites of Black-designed modern architecture. African American architects and designers have been left out of the modern architecture movement for over a century. Because of this, many pioneers of the Black modernism movement remain unknown, despite the incredible work they have done to fuel innovation, experimentation and push the limits of how people interact with the built environment, said Brent Leggs, executive director of the Action Fund and senior vice president of the National Trust. With the support of the Getty Foundation, the Action Fund will continue to leverage historic preservation as a force that ensures the contributions of Black people and culture are protected and included in the narrative of our nations heritage.This is the Getty Foundations 18th grant to the National Trust for Historic Preservation. Applications for this next round of Conserving Black Modernism grants will be accepted beginning January 10, 2025. Grantees will be announced in July 2025. For more information, you can click here.

The Poland Springs Resort in Poland, Maine, brought thousands of visitors to the once sleepy community to take in the clean air and healing spring waters on the grounds, and eventually built recreational facilities to keep guests entertained for summers. An 18-hole golf course on the grounds was originally designed by Arthur Fenn in 1896 and redesigned by Donald Ross in 1915; and the Ricker family who owned and operated the resort, sought to take advantage of the nearby Middle Range Pond for guests. In 1909, this 1909 eclectic Queen Anne beach house was built on the northwest edge of Middle Range Pond. For twenty-four years, it was set over the water, supported on piers, but in 1932, it was moved to the east and was set on land. In 1982, the building was remodeled to a private home, now available for rent.