Click to enlargeThe Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion. Image: Laurian Ghinitoiu (2023) 1 of 9The Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion. Image: Supplied 2 of 9The Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion. Image: Supplied 3 of 9Joar Nango and Girjegumpis collaborators at the inauguration of Girjegumpi_The Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion. Image: Supplied 4 of 9Joar Nango and Girjegumpis collaborators at the inauguration of Girjegumpi_The Sami Architecture Library by Joar Nango and co. at the Nordic Countries Pavilion. Image: Supplied 5 of 9Conversation on Architecture in Sapmi. Image: Supplied 6 of 9Joar Nango in Girjegumpi. Image: Supplied 7 of 9Joar Nango, Girjegumpi in Jokkmokk, 2018. Image: Astrid Fadnes 8 of 9Joar Nango, Girjegumpi in Jokkmokk, 2018. Image: Astrid Fadnes 9 of 9Smi architect and artist Joar Nango and collaborators will visit Aotearoa from 18 Nov3 December, leading up to an exhibition at Objectspace opening 6 pm, Friday 29 November, and running from 30 November 202416 March 2025.Titled Building an archive of Indigenous architecture,the show is an iteration of Nangos Girjegumpi project (a nomadic Smi architectural library), which was presented at the Nordic Countries Pavilion at the 18th International Architecture Exhibition of La Biennale diVenezia.Formally trained as an architect, Joar Nangos practice includes collaborative site-specific installations and self-made publications that explore the boundaries between architecture, design and visual art. As one of only a few Smi architects, amplifying ideas related to Indigenous contemporary architecture and traditional building customs are integral to hiswork.Location:Objectspace, 13 Rose Road, Tmaki Makaurau, Auckland Opening: 6 pm Friday 29 November Duration: 30 November through to 16 March2025Joar Nango in Girjegumpi.Image: SuppliedBeginning during his time studying architecture, Nango has collected books and materials relevant to Smi architecture and Indigenous worldviews. In 2018, these texts came to be housed in Girjegumpi, a nomadic Smi architectural library that has since travelled across Spmi, and into Europe and Canada. Within Girjegumpi, Nango offers a space for education and dialogue, addressing issues relevant to Indigenous architecture, resistance, and Indigenisation: the importance of collaborative work, consideration of resource use in urgently changing climates, locally grounded material flow and sensitive approaches tolandscapes.The Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion.Image: SuppliedAt Objectspace, Nango creates a continuation of Girjegumpi. This manifestation of the project centres on knowledge sharing and continues Girjegumpis foundations of interrogation and exchange. Prior to the exhibition opening, a group of Indigenous architects from Aotearoa, Spmi and Australia gathered to offer texts that now become part of Girjegumpi. In Aotearoa, facilitating a space to consider Mori architecture was integral to the project and marks the beginning of exchange, tautoko and awhi for the practitionerspresent.Within this exhibition, the publications, moving image from Nangos archive, textiles and ephemera create a collection emblematic of the collaborative grounding of Nangos practice. It is a gathering space, a reading room for study and a dreaming place for Indigenousimagination.The Sami Architecture Library by Joar Nango and collaborators at the Nordic Countries Pavilion.Image: Laurian Ghinitoiu (2023)Joar Nangos concept ofGirjegumpiThe title Girjegumpi is derived from two Northern Smi words: Gumpi is a mobile cabin on runners, most often pulled by a snowmobile. Girji means book. The construction of Girjegumpi draws on Smi building traditions, characterised by improvisation, pragmatism and adaptation toenvironment.Girjegumpi is a nomadic project that changes in different situations and contexts. It was exhibited for the first time as part of the Arctic Arts Festival in Harstad in 2018. It has been exhibited in Jokkmokk, Canada, Bergen, Oslo and most recently Bod. In 2023, Nango, alongside a team of collaborators presented Girjegumpi at the Nordic Countries Pavilion at the 18th International Architecture Exhibition of La Biennale diVenezia.About theartistJoar Nango in Venice, 2022.Image: Knut AserudJoar Nango is an architect and artist based in Romsa, Norway. His work is rooted in Spmi the traditional Smi territory covering the northern regions of Norway, Sweden, Finland and the Kola Peninsula in Russia. Through building, site-specific interventions, design collaborations, photography, publications and video, Nangos work explores the role of Smi and Indigenous architecture and craft in contemporary thought. Nangos work, including the long-term project Girjegumpi, is nurtured by parallel collaborations with other artists, architects, and craftspeople. Trained at the Norwegian University of Science and Technology (NTNU) in Trondheim, Nango graduated in Architecture in 2008. Since then, his work has been presented at documenta 14, Bergen Kunsthall, National Museum Oslo Architecture, Canadian Centre for Architecture,Smi Diddaguovdd (Smi Centre for Contemporary Art), andKiasma.This exhibition includes contributions from Eveliina Sarap, Magnus Antaris Tuolja,Katarina Spik Skum and Ken Are Bongo.Joar Nango: Building an archive of Indigenous architecture has been developed by Objectspace and supported byNordisk Kulturfonds Globus initiative and The Warren Trust.Follow@objectspace for information and updates onupcoming events and exhibitions in both Tmaki Makaurau Auckland and tautahiChristchurch.

Submitted by WA ContentsMVRDV turns old shipping container into a clubhouse for refugees Netherlands Architecture News - Nov 15, 2024 - 15:38 html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd"MVRDV has turned an old shipping container into a modular, multi-functional clubhouse to use the power of sport to aid refugees.Named KLABU Clubhouse, the project was developed for KLABU, which means "club" in Swahili. KLABU is an Amsterdam-based social enterprise that uses the happiness, pride, and hope of sports to help refugees start over.KLABU constructs clubhouses in cities, settlements, and refugee camps that offer Wi-Fi, TV broadcasts, sports equipment, and activities, fostering a friendly and inclusive community.The new clubhouse is located inside a shipping container and contributes to KLABU's mission to support refugees through the power of sport.The clubhouse's creative and easily replicable design offers refugees a versatile, secure, and entertaining area to socialize and have fun.Currently in its third iteration, the KLABU clubhouse design will soon be installed at the Azraq refugee camp in Jordan, which houses about 41,000 Syrian refugees.Following this are clubhouses created by MVRDV that are used in the M'bera refugee camp in Mauritania, which offers safety to 100,000 Malian refugees, and the Waraotuma a Tuaranoko shelter in Boa Vista, Brazil, which aids indigenous Venezuelans who were forced to leave their homeland.Every version of the clubhouse is created in consultation with KLABU, TCHAI (the fabrication and fitout firm), and the camp clubhouse managers, taking into account their input."Sometimes the most powerful design comes from the simplest concept. Taking a shipping container, ordinarily the most mundane, everyday object, and transforming it into a bright, multi-functional clubhouse providing sports opportunities for refugees has been a deeply rewarding challenge," said Gideon Maasland, director at MVRDV."For all of us at MVRDV, to have played a part in enhancing the meaningful impact KLABU has on vulnerable communities is humbling. We will continue to work with KLABU on new iterations of the clubhouse to help support the needs of refugees," Maasland added.A modified ISO dry shipping container, selected for its robustness, security, and portability, serves as the foundation for the clubhouse. KLABU can create a "flat-packed" sports clubhouse by utilizing a shipping container as the foundation, which allows them to deliver the required sports equipment and the actual clubhouse structure all at once.The clubhouse, which can be reused in the same or different locations, offers a scalable model for sports opportunities that can be readily duplicated to support the more than 120 million people who have been forcibly displaced worldwide.The clubhouse turns into a vibrant and upbeat hub in the camps, giving refugees easy and secure access to a range of the most well-liked sports, fostering social, athletic, and interpersonal ties in these marginalized communities.The KLABU logo is laser-cut into the shipping container's striking orange exterior, giving it a recognizable and hospitable appearance. Compact, modular, and adaptable interior installations contrast with the exterior's orange hue in a sky-blue interior.Because they provide a lot of storage space, clubhouse managers can easily access all materials once they are mounted and ensure that they can be pre-loaded into the container before shipping. Durability and ease of customs transit have been taken into consideration when selecting interior fixtures.The clubhouse's third design iteration features an "open side" container that opens along its longer, 20-foot side in addition to having doors at the end.This delivers greater adaptability and visibility for the clubhouse, incorporating a substantial window open to the public, a canopy, and a large television screen, while ensuring that the overall structure maintains its necessarily robust and functional characteristics.Because of the canopy's ability to provide shade throughout the day, the clubhouse can be used for a variety of other purposes, such as socializing and playing sports like table tennis.The design makes it possible to install solar panels on the roof to provide renewable energy. Multiple electrical outlets, charging stations, and wireless internet capability are also included to support activities other than sports, such as education, in order to facilitate connections for mobile and portable devices.The sturdy structure of the shipping container helps protect against the various climates found in refugee camps worldwide, and the design also takes into account the need for durability and flexibility in a variety of situations."Sometimes the most powerful design comes from the simplest concept. Taking a shipping container, ordinarily the most mundane, everyday object, and transforming it into a bright, multi-functional clubhouse providing sports opportunities for refugees has been a deeply rewarding challenge," said Gideon Maasland, director at MVRDV."For all of us at MVRDV, to have played a part in enhancing the meaningful impact KLABU has on vulnerable communities is humbling. We will continue to work with KLABU on new iterations of the clubhouse to help support the needs of refugees," Maasland added.The involvement of MVRDV was centered on the project's requirement for adaptability and simplicity. The new clubhouse typology can be easily assembled, disassembled, and transported, which allows it to be used in a variety of settings.The clubhouse's reach and impact can be expanded by easily deploying it to various refugee communities thanks to its inherent flexibility.Within the next ten years, KLABU hopes to replicate this model in more than 50 locations, establishing a network of lively and safe areas where refugees can mingle, have fun, and prosper. More than 36,000 members have joined the clubhouses that have been set up in seven locations thus far.Thanks to the kind donations of many partners, including MVRDV, who have given freely of their time and resources to support KLABU's mission and are dedicated to promoting positive social change and enhancing the lives of marginalized communities, this ambitious project is now possible.As part of its goal to become the largest sports club in the world, KLABU encourages people and businesses all over the world to join by buying sports kits, making teamwear for their own teams, and participating in KLABU workouts and other social events.Image Richard HuClubhouse diagramClubhouse diagramClubhouse diagramClubhouse axonometric drawingClubhouse axonometric drawingMVRDV, recently, completed the renovation and transformation of Dutch architect Aldo van Eyck's Tripolis Office complex in Amsterdam. In addition, the firm revealed the design for a new office building in Munich, the building's facade is covered in recycled plastic shingles. Moreover, the firm transformed a former German military base from the Second World War into a residential and cultural community.Project factsProject name:KLABU ClubhouseArchitects:MVRDVLocation:multiple locations around the world: Ter Apel, Netherlands; Boa Vista, Brazil; Mbera, Mauritania; Azraq, JordanYear:2022 - ongoingClient:KLABUSize and Programme:14 m2, sports facilities and gathering spaces (storage, lockers, ping pong table, TV screen, shaded spaces)Partner: Stefan de KoningDirector:Gideon MaaslandDesign Team: Valentina Chiappa Nunez, Jose Manuel Garcia Garcia, Herman GaarmanStrategy and Development: Sruti ThakrarPartnersContractor:Loods121, TCHAISponsors: Nike, Philips, SignifyAll images Coco Olakunle unless otherwise stated.All drawings MVRDV.> via MVRDV

Top (left to right): Kate Revyakina, lead designer; Adiam Sertzu, associate design director; Federica Sammarco, project interior designer. Bottom (left to right): Portia Leung, lead interior designer; Nelli Denisova, project design architect; Wiktoria Kopycka, lead interior designerArchitectural practice OBMI, founded in Bermuda in 1936, has opened a new office in London.Known for its work in Bermuda and the Middle East, OBMI aims to use its new London office as a base to grow its European business.The firm is targeting work in luxury resorts, high-end residential, and commercial developments.Luxury hotel projects in OBMIs portfolio include the Royal Mansour Marrakech, Tazi Palace Hotel in Tangier, and St. Regis Bermuda.The team includes Adiam Sertzu, the newly appointed associate design director, previously worked as design director at AKTII Envelopes, where she was involved in projects including the Ghana National Cathedral and the Chancery Rosewood hotel conversion of the former US embassy on Grosvenor Square.Source: ShutterstockRoyal Mansour MarrakechLead designer Kate Revyakina has worked for Zaha Hadid Architects and Heatherwick Studio, contributing to projects such as the King Abdullah Financial District Metro Station inRiyadh and the Unicorn Island development inChengdu.Portia Leung, lead interior designer, has led designs for major hospitality brands, including Mandarin Oriental and Ritz Carlton, while computational designer Nelli Denisova, was previously at Zaha Hadid Architects.Brisbane-based practice Bureau Proberts also announced it was opening an office in London this week as it seeks to expand its work in the Middle East.The office will be led by the firms former project lead on its work at Neom, the megaproject underway in Saudi Arabia.

Redevelopment combines historic preservation with sustainable updates for family home1/4show captionChichester council has granted approval for Tom Turner Architects redevelopment plans for Harbour Farm, a farmstead in Bosham, Sussex. The scheme aims to transform the site into a contemporary family home while highlighting the farmsteads historic character.As part of the project, modern extensions will be removed to restore the original features of the farmhouse, with new additions designed to complement its traditional architecture. These include a single-storey west wing and a two-storey south wing, both intended to respect and enhance the existing structure. Additional changes will see the conversion of outbuildings into a pool house, art studio, and gym, with landscaping to retain the sites original courtyard layout.The project integrates several sustainable features, such as energy-efficient materials, solar panels, and a lighting plan designed to minimise light pollution. Native planting will also be introduced, providing natural screening and reducing visual impact on the Chichester Harbour Area of Outstanding Natural Beauty.Our proposals for Harbour Farm seek to restore and enhance the existing building, allowing it to function beautifully as a contemporary family home while honouring its heritage, says Tom Turner, director at Tom Turner Architects. Were grateful to Chichester District Council for supporting our plans and recognising the careful balance of tradition and innovation we are aiming to achieve.Construction is expected to begin in the spring of next year.

Source:&nbsp Shutterstock The number of mayor-funded affordable homes started in London last year collapsed by 91 per cent compared with the previous 12 months, according to a new report Published on Tuesday (12 November), the Greater London Authority (GLA)s Housing in London report said 2,358 affordable homes funded by City Hall got under way in 2023 until the end of Q2 2024.That is 91 per cent down on the 25,658 affordable homes which made headway in the capital with GLA money in 2022-23.In 2024, a grand total of 528 GLA-funded affordable homes began construction in the capital between March and September, data published on Tuesday also revealed. Of that number, 364 appeared to be for social rent.AdvertisementExplaining the dramatic fall in affordable housing delivery, the GLA said financial challenges faced by housing associations and councils were one of several reasons, alongside rising borrowing and material costs.The report also blamed competing pressures from remediation and refurbishment of existing stock, and changes to regulation in an apparent nod to the impact of updated fire safety regulations as factors behind the collapse. Source:GLA Housing and Land: Housing in London 2024 reportResponding to the GLA report, Bell Phillips founder Hari Phillips told the AJ: The council housing sector has almost entirely fallen away, with live projects indefinitely shelved and very few new projects emerging.Phillips continued: The figures coming out of the GLA reflect my own experience on the ground.Like all housing developers, local authorities have been wrestling with the uncertainty, additional complexity and impact on costs resulting from the new fire regulations, in addition to rising construction costs and rising interest rates negatively impacting their borrowing. Furthermore, councils are suffering severe budgetary constraints in the aftermath of the COVID pandemic.AdvertisementOf the 2,358 affordable homes begun with GLA support in the 12 months up until the end of Q2 2024, council homes accounted for 939. The GLA said that was down from a high of 10,267 in the previous 12-month period for 2022-23.Meanwhile, affordable homes funded from all sources, including both GLA and central government accounted for 15,768 homes in 2022-23, the same report said. That figure is 30 per cent higher than in 2021-22.Steve Beard, partner at affordable housing appraisals firm Beacon Partnership, said the collapse in affordable housing starts showed that you cant have affordable construction costs and still have met the current quality, design, and performance criteria.He argued: I would guess that the starts may be lower this year. It is not a popular view, but surely it is time to look at modifying design requirements with a view to reducing build costs [and] For the first time, I am seeing developments within zone 2 in London where the construction costs and fees alone [without land costs] are higher than the open market value of the completed home.Beard called for higher grant funding to keep up with the approximately 200k to 250k of grant being requested to build one social rent home in London.At the end of last month, chancellor Rachel Reeves said the government would prop up the Affordable Homes Programme with a 500 million cash injection. The scheme, which was understood to be running out of cash, is due to be updated in the spring budget.The GLA says it has received 4 billion from central government under the Affordable Homes Programme 2021-2026.Sadiq Khan, the mayor of London, told the Centre for Londons annual conference this week: If there was ever a time for more public investment in housing, then its now. And if there was ever a place to show how government still has the capacity to improve the condition of peoples lives, then its housing.Khan, whose GLA has been set a target of 80,000 new homes annually by the Labour government but delivered roughly 35,000 homes last year, has claimed to be delivering the highest number of council homes since the 1970s, with 23,000 council units started since 2018, he said in May last year. Source:ShutterstockCity Hall2024-11-15Gino Spocchiacomment and share

Known as The Shed: Gather and Grow, the multi-use design by architects Jennifer Speirs, Adrienne Campbell and William Brady was named as the winner of an Royal Society of Ulster Architects (RSUA)-organised competition to revamp Iris Alley, off Springfield Road. All three early career architects work at locally based Isherwood + Ellis.The Shed was chosen because of its creativity and thoughtful incorporation of Iris Street residents, and because the concept could easily be applied to other alleys in Belfast, the RSUA said.The winning scheme beat off 10 other competitors, all of whom had to demonstrate a maximum materials budget of 500, and was awarded a 1,500 prize at RSUAs annual Architecture Night, held recently in the Ewart Building in Belfast.AdvertisementThe shortlisted entries were Stick around laugh a while by Ian Pitt; Lunar Phase by Ben Weir; The Cillary Device by Joel Jamieson and Scott Kennedy; and Under the Shelter by Jordan Beattie.Amberlea Neely from 9ft in Common, a council-backed programme to rejuvenate Belfast alleyways which supported the competition, said: Alleyways are an important part of Belfasts cultural fabric, so its wonderful to see projects like this one reimagining these spaces as a focal point for local engagement.The Shed demonstrates the possibilities for what lies just beyond our back gates, and we look forward to seeing the transformation of this underutilised alleyway into a green and vibrant space where community can flourish.The design competition was run by RSUA in collaboration with 9ft in Common and builders merchant JP Corry, as part of a Belfast 2024 Commission.Ciarn Fox, RSUA director said the competition was a joy for judges to assess and praised the creativity and generosity of the entries.AdvertisementHe added: I want to thank all the individuals and teams that put forward a proposal and for their generosity in making their plans available for public use[and] Whilst we only currently have funding to build the winning design, were hopeful that people will borrow some of the other designs and build beautiful shelters in alleys across Northern Ireland.Judges included Amberlea Neely and Aisling Rusk from 9ft in Common, Debbie Carragher, an Iris Street Resident, Connor Couston from JP Corry, RSUA President John Lavery, RSUA Vice President James Grieve, RSUA Council Member Alan Jones and RSUA Director Ciarn Fox.Concept OutlineThe Shed will serve as a catalyst for the regeneration of Iris Alley. Crafted from a repetition of modular timber panels that can be easily customised to create diverse forms and arrangements.Conceptually this will be a community led process, seeking input on the selection of each element from the residents to create a space tailored to their needs.This flexibility allows The Shed to take on various forms with a variety of purposes. It may encourage neighbours to gather for barbeques, gardening and skill-sharing.Ultimately, it will become a destination that will foster connections, reminding us that community can thrive in the most unexpected places. Source:Jennifer Speirs, Adrienne Campbell and William BradyThe Shed_ Gather and Grow by Jennifer Speirs, Adrienne Campbell and William Brady

Heads still roll 25 years later in the Tim Burton classic Sleepy Hollow. Revisit all of the eerie magic behind Industrial Light & Magics work that brought Washington Irvings folktale to life and reintroduced audiences to one of cinemas greatest on-screen monsters, the headless horseman.By Adam BerryThe headless horseman pursuing Ichabod Crane in the Western Woods. (Credit: Paramount)On October 5th, 1949, the Walt Disney Studios released a feature film that reimagined two classic pieces of literature through the guise of The Adventures of Ichabod and Mr. Toad (1949). While the first half retells the whimsical story of Kenneth Grahames The Wind in the Willows (1908), it is the second half that left a long-lasting impression on young audiences as they were introduced to American writer Washington Irvings eerie folktale, The Legend of Sleepy Hollow (1820).Released just in time for Halloween that year, this feature would go on to be recognized as one of Disneys classics due to its memorable songs, beautiful animation, and the unforgettable visualization of Irvings ghostly antagonist, the headless horseman. The unsettling imagery of a headless man riding horseback with a sword in one hand and a flaming jack-olantern in the other allowed the legend to evolve as film versions were passed down to new generations. 50 years later, The Legend of Sleepy Hollow would once again evolve on screen, and explore the story in new ways, re-introducing audiences to Irvings horrific tale of the undead horseman.To take this classic into a tangible world, a highly imaginative and visual mind was necessary to capture the fantastical elements of this story while rooting it in a sense of reality. Tim Burton, director of such films as Beetlejuice (1988)Edward Scissorhands (1990),American Cinematographer, I was really familiar with the original story because Id seen the Disney cartoon. I actually didnt read the source novel until after I had read the script. Burtons own history with Disney, including attending the California Institute of the Arts on a Disney scholarship, and working at Walt Disney Studios as an animator on projects such as The Black Cauldron (1985),Sleepy Hollow.Concept art by Scott Leberecht depicts an eerie atmosphere shrouded in fog on the road to Sleepy Hollow.(Credit: Paramount & ILM)Burtons vision was to create a fantasy world that felt real in which the headless horseman could exist. The aesthetic needed to emulate, but not copy, the atmosphere of the classic Hammer Studios horror films such as Dracula (1931)Frankenstein (1931) with their moody and gothic tones that left the audience in a state of unease. With that being said, Italian director Mario Bavas Black Sunday (1960) was the core inspiration for the film, giving Sleepy Hollow (1999) a classic movie feel while adding elements that were pictorial and synthetic.To achieve his vision of what Sleepy Hollow needed to look like, Burton knew there had to be a balance between the use of traditional special effects and digital visual effects. Digital technology is very interesting and certainly has its place in filmmaking, but when youre watching a movie like Black Sunday you really feel as if youre there, said Burton. While he was resistant to using visual effects at first, he relied on the artists at Industrial Light & Magic (ILM) to help realize the full scope of his vision, particularly when it came to bringing the headless horseman into existence as a living, breathing creature.ILM visual effects supervisor Jim Mitchell was tasked with solving how the horseman could exist in the film as a real man without having to rely on older methods. Tricks like having the coat propped up on the actors shoulders didnt work as the proportions were wrong, eliminating the appearance that the horseman was indeed a man. Mitchell said, Tim and I knew that something just wasnt going to be right with that approach. We eventually decided that our Headless Horseman would be an actual person riding the horse and flailing his axe around, except that wed just digitally erase his head.The most complex shots for ILM involved removing the horsemans head. There were about 300 horseman shots altogether, with ILM creating 220 and Londons Computer Film Company contributing the rest. To convincingly convey that the horseman was real, the ILM team innovated a special blue hood for stunt actor Ray Park to wear during action sequences that the ILM artists could later isolate and erase from the shot. Blue was used as it is easily keyed from the plate so the effects team could restore the background in place of the head.The headless horseman claims his next victim. (Credit: Paramount)To fill the space where the actors head was taken out, a clean background plate of the sequence was shot, but the artists noticed that one element was still missing as the horseman has a large cape with a collar around his neck. It was not only necessary to replace the background where his head would have been, but to also make a digital collar in the computer that was then matched to his movements, shared computer graphics artist Sean Schur in Paramount Pictures Behind the Legend documentary. By using actors and replacing heads digitally, the horseman presents as a living and breathing creature.Achieving this effect was particularly challenging during fight sequences with actors Johnny Depp and Casper Van Dien as their faces would be blocked out by the horseman actors blue hood. Once ILM erased the horsemans head, they would also have to go back and eliminate the other actors heads as well. Mitchell shared, I would have Johnny or Casper go through the same actions without the Horseman in there, and wed just put their head into any frames where the horsemans head was blocking theirs. Its a tricky process, but it was actually pretty effective.Equally as challenging were the beheading scenes throughout the film. Creature effects artist Kevin Yagher created prosthetic heads of the actors for use in these pivotal moments while ILM was able to digitally recreate the scene using a series of three plates to blend together and form one cohesive shot. Using the scene in which the menacing Lady Van Tassel (Miranda Richardson) decapitates her bewitching sister as an example, Richardson would be filmed going through the motions of swinging her axe to dead air, then the prosthetic head flying off the body of her sister would be filmed separately, and finally the digital capture of that scene would be created. Once all three plates were finished, ILM would blend these together to make a seamless sequence for each beheading, making it feel all the more real for the audience. This was not an easy task for the artists as the film has ten decapitation sequences.Concept art by Scott Leberecht shows ILMs approach to depicting the headless horsemans return to hell. (Credit: Paramount & ILM)Burton wanted to convey suspense and a sense of impending doom throughout the film and tasked ILM with a series of subtle visual effects shots that added to the unsettling feeling when the horseman would appear. Most notable is the disturbing scene where the horseman pursues a family at their home. Killian (Steven Waddington) sits at his table with a crackling fire, which spontaneously erupts into larger flames seconds before the horseman crashes down the door. Sequence Supervisor Joel Aron shared, I took the skull, which is the headless horsemans skull, so I pulled up the eyebrows giving it this demonic look with a strong forehead, curling up the corners of the mouth and bringing the jaw around to continue to sculpt what would be the fire so that I knew when the fire would come off it would have an irregular shape. Its a blink-and-you-will-miss-it effect, but if you look closely you can see 13 demonic faces emerge within the flames in a quick flash which is meant to indicate that evil is present. Its so subtle that it was intended for audiences to question whether they really saw the faces or not.Natural elements were also added and utilized to punctuate the horsemans presence.The subtle introduction of thick fog and flashes of lightning appear every time the horseman gallops toward his next victim in pure cinematic fashion. Sleepy Hollow was shot mostly on location in a small town called Marlow, just outside of London, which meant the environment presented Burton with an ideal setting for the gloomy atmosphere. These elements could be viewed by some as cheap tricks in a major film but the use of heavy smoke for fog makes the atmosphere more haunting and interesting. In the Western Woods set and at some of the other locations, you can definitely see the smoke it looks like the fog they used in the old Frankenstein and Mummy movies, said director of photography Emmanuel Lubezki.While using smoke allowed the filmmakers to get a consistent movie look, it presented challenges for the ILM team as once they were finished adding actors heads back into the shots they would also have to build back in the foggy backgrounds and natural elements in each scene. The big problem for us was [that] every shot involving the horseman also had lightning and fog, explained Jim Mitchell, which was constantly moving and always changing, as opposed to trees and buildings, which are rigid. Whenever lightning hit the Horseman, we had to make sure that when we replaced his collar or any other parts of his suit that his head was blocking, we put the same lighting effect on it.To simplify this, Mitchell asked Burton and Lubezki to shoot the scenes as though the actors heads were already removed despite the level of complexity it would add for the ILM team to ensure the elements moved organically with the actors as they rushed through the fog, or horse hooves galloped through the settled leaves on the ground. There are all kinds of things wed prefer to stay away from when were doing this type of work, but if you lose those [atmospheric] touches, all of a sudden its not the same sort of visual, and it doesnt have the same power, concluded Mitchell.The headless horseman emerges from the tree of the dead. (Credit: Paramount)This is especially apparent during a highly intense scene mid-film when the protagonists discover the tree of the dead, which is the horsemans resting place and gateway to hell. The combination of the natural elements like fog and tree leaves with digital effects cemented the believability of this scene as the horseman enters from the base of the tree in a bloody and terrifying fashion. There were multiple plates used to build this effect. Firstly, a blue screen plate of the horse and jumping rider was shot. Next, a background shot of the forest environment, with the tree of the dead and actors standing close to where the horse emerges. Finally, a shot of the fog and leaves being disturbed creates the effect of the horseman jumping out of the tree. ILM didnt have a bluescreen shot of an actual horse, so they had to create one in the computer, as well as the headless horseman, which are both digital elements. Similarly to the decapitation sequences, artists layered all of these separate plates on top of each other to form the singular shot making a scene that might have been unrealistic feel very believable instead.It has been 25 years since its initial theatrical release, and rewatching Sleepy Hollow you can witness firsthand how ILMs work remains timeless and able to reach new generations. The eerie and suspenseful atmosphere that Sleepy Hollow pulls audiences in and stands as a formidable achievement of classic Hollywood filmmaking, adding another iconic cinematic monster with the headless horseman, who is equally as feared standing next to other horror icons such as the unnerving Count Dracula, and misunderstood Frankenstein monster. Washington Irvings The Legend of Sleepy Hollow lives on through the visionary work of artists from each generation. For Burtons retelling, ILM wielded the eerie magic that gave life to the undying legend of the headless horseman.Adam Berry is the Studio Operations Manager for the ILM Vancouver studio. His passion for film led Adam to ILM in 2022, coming from an extensive career across different sectors of the hospitality industry including cruise ships, luxury hotels and resorts. If hes not at the movies or traveling to new destinations, you can find Adam staying active and exploring Vancouver.

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From charging a laptop from the RV or making sure the fridge stays cold when the power goes out, a portable power station can be a piece of handy, though costly, equipment. Luckily, with Black Friday fast approaching, the deals are cropping up left and right, and that includes this exclusive offer from Wellbots to save 40% off Ugreen portable power stations and solar panels. To get the deal, you'll need to enter the exclusive offer code BFCNET40 at checkout. That brings the price down in a hurry. See at Wellbots There are dozens of items to choose from, like the Ugreen PowerRoam 1,200-watt portable power station, regularly priced at $649. Enter the code BFCNET40 and the price drops down to just $389. At only 25 pounds, this portable power station can keep all your devices charged off grid, and then some. Hey, did you know? CNET Deals texts are free, easy and save you money.Add the Ugreen PowerRoam 100-watt solar panel to your cart along with the BFCNET40 offer code and instead of paying $129, you'll pay only $77. Or add a bundle of two of the same panels and pay $149, a $100 discount. Read more: Best Smart Home Gifts for 2024There are many other options, including the 2,400-watt Ugreen PowerRoam power station, which comes with a handle and wheels to make it easier to move. This mega station usually costs $1,249 but the offer code will knock $500 off the price, lowering it to $749. Not to mention you'll get free shipping on your purchases. Read more: 23 Great Tech Gifts Under $100Looking for more savings ahead of Black Friday? Check out these great early Black Friday deals under $100 and under $50. And if you're in the mood for some holiday shopping, we've rounded up the best unique gifts to give that person in your life who already has everything. Read more: Best Gifts Under $300 for 2024Why this deal mattersThough Wellbots does have some Black Friday offers and small discounts on the site for Ugreen power stations and panels, such as $10 off, nothing compares with the price drop you get when you enter that offer code of BFCNET40. If you're serious about having a backup power source or you want to gift one, now's the time. More shopping deals from CNET CNET is always covering a wide array of deals on tech products and much more. Start with the hottest sales and discounts on theCNET Deals page, and sign up for theCNET Deals Textto get daily deals sent straight to your phone. Add the freeCNET Shopping extensionto your browser for real-time price comparisons and cash-back offers. And peruse ourgift guide, which includes a full range of ideas for birthdays, anniversaries and more. See at CNET

November 15, 20243 min readClimate and Conservation Ballot Measures Approved Even in Places Trump WonFour counties in Florida that voted for Trump also voted to conserve open space, reduce flood damage and protect habitatBy Avery Ellfeldt & E&E NewsA Cypress Lake Cove in Lake County, Central Florida. Stephen Vincent/Alamy Stock PhotoCLIMATEWIRE | President-elect Donald Trump won nearly 70 percent of the vote in Floridas Clay County last week.Another big winner in the Republican county near Jacksonville was a ballot measure that will increase taxes by $45 million to fund projects that will improve water quality, protect wildlife and reduce damage from floods.Nearly two dozen conservation- and climate-related ballot initiatives were approved on Election Day in states from Florida and Georgia to California and Colorado. The measures aim to expand parks, preserve natural areas and prepare communities for the impacts of climate change.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today."This is not a partisan issue," said Pegeen Hanrahan, associate director of conservation finance at the Trust for Public Land, a non-profit that advocates for conservation- and climate-focused ballot measures. We see wins in red states and in blue states."Many of the initiatives passed in Democratic areas such as Denver, which approved a measure to install and improve air conditioning in public schools. The city saw saw record-breaking temperatures this fall. Several measures won the support of voters in states and counties that backed Trump, who has called climate change a hoax and has promised to scrap pollution regulations and President Joe Biden's climate policies and programs.The success reflects a growing recognition among residents and officials that global warming poses a rising risk to people, property, budgets and tax bases and will get worse absent intervention.Everybody, regardless of their political leanings, understands that and is willing to make these kinds of investments, said Justin Marlowe, who directs the Center for Municipal Finance at the University of Chicago. Its an economic development strategy.Hanrahan said her organization tries to address the impacts of climate change" through ballot measures. "In some places we dont discuss the direct cause of those impacts," Hanrahan said.The Clay County measure was listed on the ballot as the Land Conservation Referendum to Protect Water Quality, Wildlife Habitat, Forests and Farms.Four measures were approved by Florida counties that backed Trump.In Lake County, near Orlando, voters passed a measure to preserve natural areas, improve water quality and protect wildlife habitat. The county will pay for the work by issuing $50 million in bonds that it will pay back through an increase in property taxes that will cost the average homeowner $21 a year for 20 years, according to a Trust for Public Land analysis.The Clay County measure has similar aims and authorizes the county to sell bonds that could cost the average homeowner up to $33 per year, according to the trust. A referendum in Osceola County south of Orlando authorizes $70 million in bonds to renew a land conservation program.Voters in Martin County north of Palm Beach approved a measure with similar objectives. But instead of selling bonds, the county will raise its sales tax by half a cent for the next decade to raise $183 million.None of the Florida measures mentions climate change. And thats intentional.We're not out there talking about climate change a lot, said David Weinstein, western conservation finance director at the land trust. We're talking about the worst effects of climate change, and that's what resonates with voters.Nonetheless, the ballot measures aim to fund projects capable of reducing greenhouse gas emissions, preparing communities for climate impacts or both.The main benefit of doing land protection for climate is that obviously natural lands absorb carbon, absorb flood waters [and] create a habitat that is healthier for movement of wildlife, said Hanrahan of the land trust.Other approved ballot measures aim to reduce wildfire risk in Colorado, preserve forests in Illinois, and fund parks, community centers and more in New Mexico.California voters approved four related ballot measures including one that mentions climate multiple times. Proposition 4 earned 58 percent of the vote and authorizes the state to issue $10 billion in bonds to finance projects aimed at preventing wildfires, providing safe drinking water and protecting California "in the face of significant threats from climate change.As climate impacts intensify, Marlowe of the University of Chicago expects ballot measures that address climate change to become more common and to remain popular with voters."There are estimates that say were going to have to borrow twice as much money as we currently borrow every year to keep up with" climate impacts, Marlowe said. If youre a mayor, or a city council or a city manager or a chief finance officer, you cant wait for action from Washington."Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2024. E&E News provides essential news for energy and environment professionals.