Hello everyoneOur second course Intro To Houdini Pyro Simulations is now live for pre-order!Heres what youll learn: Build Pyro sims from scratch Render in Karma Export to Unreal Engine Special Pre-Order Bonus:Pre-order and get a FREE 6-month Houdini Educational License. mad-vfx.com VFX in games: Intro To Houdini pyro simulations A MadVFX Course 1 post - 1 participant Read full topic

Hi everyone,Im looking for advice from a fluid simulation expert. Im working on a level using the Grid3D FLIP Hose template, and Im trying to animate the water height level in the sequencer, transitioning from 0 to 350 while simultaneously changing its color.Heres what Ive done so far:Within the Niagara actor, I created a new float user parameter and linked it to the WaterHeight in the Particle Spawn module of the Grid3D_FLIP_FluidControl_Emitter.I added this parameter through the Niagara component in the sequencer.I duplicated the master material and its instance from the template and modified the color attributes.However, controlling the water height level doesnt seem to work. Ive successfully added and animated other forces using the same process, but the water height isnt responding. Additionally, Im unsure how to add the material attributes from the Niagara emitter into the sequencer.Any guidance would be greatly appreciated!

SEVEN Front Facade | Lyndon Douglas SEVEN, located off Park Avenue in New York City, is a project by Adjaye Associates that redefines the interplay between historical preservation and modern intervention. Originally a 1897 carriage house, the structure has been transformed into a contemporary residence that accommodates a young family and their extensive art collection. The project presents an architectural response to the challenges of retaining the historical integrity of the landmark faade while reimagining the interior to meet contemporary needs.SEVEN Residence Technical InformationArchitects: Adjaye AssociatesLocation: Park Avenue,New York, USAArea: 900 m2 | 9,700 Sq. Ft.Original Structure: A 1897 carriage house off Park AvenueCompleton Year: 2010Photographs: Lyndon Douglas, Robert PolidoriThe faade remains true to its history and landmark status, while the interior has witnessed the removal of the old building and excavation of a deep cellar. Adjaye Associates ArchitectsSEVEN Residence PhotographsRear Facade | Lyndon DouglasPatio | Lyndon DouglasEntrance | Lyndon DouglasEntrance | Lyndon DouglasStairs | Lyndon DouglasCourtyard | Lyndon DouglasBathroom | Lyndon DouglasWindow | Lyndon DouglasStairs | Lyndon DouglasLibrary | Robert PolidoriLiving Room | Robert PolidoriSEVEN Residence: Preservation of the FaadeThe faade of the original carriage house, dating back to 1897, has been carefully preserved in adherence to the buildings landmark status. This decision retains the buildings historical identity within the urban streetscape while juxtaposing the radical changes made to the interior.Preservation regulations required precise restoration techniques and design strategies to integrate the faade with a new structural framework. The project navigates these challenges by employing modern materials like black concrete, which contrasts yet supports the restored faade, creating a deliberate dialogue between past and present.Interior TransformationThe interior of SEVEN diverges significantly from its historical exterior. A deep cellar was excavated to provide additional usable space, allowing for a six-story interior while maintaining the external appearance of a more modest structure. This design choice exemplifies how subterranean construction can expand urban living space without impacting the visible scale of the building.Black concrete, a primary material within the house, provides structural stability while introducing a contemporary aesthetic. Its rough texture contrasts sharply with the finely detailed historic faade, inverting traditional expectations of material use. This contrast also emphasizes the different eras represented in the project, visually marking the transition from preservation to modernity.At the center of the building, a courtyard with a fountain serves as an open-air atrium, linking various levels through natural light and spatial continuity. Adjacent to the courtyard, a floating staircase connects the interior spaces and leads to a planted roof garden, further enhancing the vertical flow of the design.Sustainability and the Roof GardenThe roof garden introduces an ecological dimension to the project. Planted with sedum and moss, the garden provides year-round greenery that requires minimal maintenance, contributing to the environmental efficiency of the building. Beyond its sustainability features, the garden serves as a private outdoor space for the residents, integrating nature into the urban setting.This element reflects Adjaye Associates broader interest in embedding sustainable practices into their designs. By incorporating natural elements like the roof garden and central courtyard, SEVEN offers strategies for enhancing environmental performance in dense urban contexts.Through its careful attention to materials, space, and context, SEVEN serves as a case study in navigating the complexities of adaptive reuse. For architects and designers, it offers insights into how history can coexist with innovation in a way that enriches both.SEVEN Residence PlansSection of the Residence | Adjaye AssociatesSEVEN Residence Image GalleryAbout Adjaye AssociatesAdjaye Associates is an internationally renowned architecture and design practice founded by Sir David Adjaye in 2000. With offices in Accra, London, and New York, the firm has become synonymous with innovative and culturally resonant design. Adjayes work spans a diverse range of projects, including private residences, cultural institutions, and public spaces, each marked by a deep understanding of context, history, and materiality. His notable works include the Smithsonian National Museum of African American History and Culture in Washington, D.C., and Ruby City in San Antonio. Notes & Additional CreditsArchitect: Adjaye AssociatesClient: Adam Lindemann and Amalia DayanMechanical Engineer: Altieri Sebor WieberStructural Engineer: Dewhurst Macfarlane & Partners

You know John Wongs work even if you dont. Youve seen it if youve ever visited the Stanford University campus, where over a span of 30 years Wong has evolved and modernized Frederick Law Olmsteds historic landscape. Or if youve stumbled upon Tulsas Guthrie Green, an urban park and outdoor amphitheater that supplies district heating and cooling to the surrounding buildings. Or if youve ever seen Mission Impossible: Ghost Protocol, in which Tom Cruise is framed by the elliptical landforms of Wongs groundscape as the actor scales the Burj Khalifa. Wong is a design principal in SWAs Sausalito office, where he has worked since 1978. His legacy in the field of landscape architecture is freshly evident thanks to a new book, Selected Works of Landscape Architect John L. Wong: From Private to Public Ground, from Small to Tall, a monograph that, at 588 pages, shares something with Wongs oeuvre. Spanning cultures, climates, and scales, the Hong Kongborn landscape architects work has been an influential part of a growing movement to bring the natural landscape back into urban centers and to dissolve the artificial barrier between cities and nature. Timothy A. Schuler spoke with Wong to learn more about the making of the book and its resonance.Cover design of Selected Works, published by Oscar Riera Ojeda Publishers (Courtesy Oscar Riera Ojeda Publishers)Timothy Schuler: Did the book project reveal any new insights about your own body of work?John Wong: Absolutely. Most of the projects are large-scale, mixed-use and have a major impact on urban living. Many were completed during a period when the world was growing. As you know, landscape architecture began in the United States back in Olmsteds day, and many of the skills have only been passed on internationally over the last 30 years. Oscar [Riera Ojeda, the books publisher] was trying to capture how I developed a body of work that spans not just the local or regional but the international scene. He hadnt seen someone like that, until recently. In the last ten years or so, a lot of landscape architects have gone overseas. But I started in the 1980s. I was very fortunate to be part of that opportunity, riding the waves and working with many different clients, engineers, and architects. It taught me a lot about how to design in a different culture, in a different setting. What have you learned over the years about designing in not just climatically responsive but culturally grounded ways?I approach projects with one general design methodology, and that doesnt change from one place to anotheralthough the application will be different. I try to teach our young people, as well as students, that you want to have a full understanding of the place. You need to go there. You need to walk it, learn it. What is the vegetation? What is the topography? Is there something that is part of the overall ecological system? When I was at graduate school, I had lunch with Dan Kiley many times, and he always said, John, whenever I go to a place, I just walk around the block and look at what trees do the best. And thats how I develop my plant palette. I do that too. But I go beyond just learning about a palette of trees and shrubs. I learn about materials, about weathering. You know, this handrail, how come its falling apart? For me, theres no boundary between culture and environment. Its about the importance of the place. You have to respect it. You have to learn from it.SWAs public realm design for Expo 2020. (David Lloyd)The books title is The Selected Works of Landscape Architect John L Wong. Many people might know that these are SWA projects but not associate any one name with them. Has the anonymity that came with working at SWA ever been a struggle?I decided to do the book to highlight that, yeah, I was part of SWA, but for all the projects that are showcased, I was the principal in charge, meaning these are projects I brought in myself, through my own work and through my own [relationships]. Its a little bit of ego on my part, right? But I also wanted to show that you might be working for a company, but that doesnt mean that all the work is designed in a certain way or under a single direction. You have a lot of say. You can be your own person, and you can provide your point of view.When I look back, the most important thing I hope the book does is inspire students and young professionals. We need more young practitioners. The field is overwhelmed with opportunities, and were just not able to meet the challenges with the talent that we have. Wong has worked on the Stanford University campus for over a span of 30 years. (Jonnu Singleton)How many of the comments from colleagues and friends have been about the weight of the book? Its very big.[Laughs] Everybody weighed it. It varies between 9.5 and 9 pounds, 7.5 ounces. The good news is I made it to all their coffee tables. I consider that a success.Timothy A. Schuler is an award-winning writer and design critic whose work focuses on the intersection of the built and natural environments. He lives in Manhattan, Kansas.

Its been decades since the mighty Don River fed into Lake Ontario through Torontos Inner Harbor. A levee, aptly called the north plug, stood in the way, that is until last week when the stop was removed, and the water sources were reunited at last. The north plug was taken out on November 8 at a ribbon cutting ceremony, eliminating the barrier between Keating Channel and the Don River, south of Lake Shore Bridge. The occasion marked a major milestone for federal, provincial, and city leaders looking to transform the Port Lands, an area on the eastern shoreline ravaged by settler-colonial industrialization.A crane removes the last remnants of the north plug (Waterfront Toronto/Vid Ingelevics/Ryan Walker)The project to rectify Torontos eastern shoreline, the Port Lands Flood Protection and Enabling Infrastructure Project, constitutes the largest public works project in Canadian history. Michael Van Valkenburgh Associates (MVVA) is leading the $1.4 billion program. MVVAs master plan also extends public transit and cycling options along Queens Quay East, opening up the eastern shoreline to development. Now that the north plug has been removed, and with new transit options underway, the city has its sight set on a new island, Ookwemin Minising, where it hopes to build homes for over 100,000 people and createnew parkland.The restoration project is sited near a new bridge. (Waterfront Toronto/Vid Ingelevics/Ryan Walker)Today, much of Torontos eastern shoreline is infill land. But for thousands of years, before industrialization, the area was First Nations territory, and home to countless wildlife species.That all changed in the 19th century, when the city of Toronto was established, and the eastern shoreline saw its coast dotted with petroleum factories, and other industrial uses. The Don River quickly became one of the most polluted water sources in the world. In 1954, Hurricane Hazel flooded much of Toronto, revealing the downsides of infilling marshland to make buildings. Three decades later, in 1989, federal, provincial, and city government leaders got serious about fixing the problem, put their heads together, and began ideating solutions.The restoration also includes new playgrounds for children (Waterfront Toronto/Vid Ingelevics/Ryan Walker)MVVA first joined the project in 2007, after beating out two other firms in a competition for the commission. Its master plan will deliver new public parks, restored habitats, and mixed-use development informed by leading-edge sustainability and smart growth principles, designers said.Ookwemin Minisings planning is part of Toronto Mayor Olivia Chows Reconciliation Action Plan, which centers First Nations peoples in development processes.

Opened in 1962 as the Newton Savings Bank, this unique Mid-20th century Modern banking structure showcases the forms and materials not conceived in previous decades. The building is located on the Newton Centre Green, adjacent to the former Newton Centre Methodist Episcopal Church, and provides a sharp contrast between the stone building in the Romanesque style and more contemporary forms. The bank was designed by Bastille and Halsey Associates, established in 1953 by partners, Robert Adams Bastille and William Ashbaugh Halsey. Now occupied by a Citizens Bank with professional offices also inside, the building exhibits precast concrete zipper banding between floors that are broken up by solid brick masses in the facade. What do you think of these corporate modern buildings?

This building, the former Newton Centre Methodist Episcopal Church, is Romanesque in style, and is one of the more notable adaptive reuse projects in Newton. The church was designed by the esteemed architectural firm of Andrews, Jacques & Rantoul and completed in 1899 for the local Methodist Episcopal congregation. The edifice is built of locally quarried rubblestone, often called Roxbury Puddingstone, and trimmed with rough cut Milford granite. The granite is used at the windows, forming the arches and heads, and most strikingly in the large arched entrance. The church eventually closed and was renovated with modern windows, additions, and more, and currently houses a restaurant, bank, book store, and professional offices.

Carr Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841 (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inchesMyriam Dion Weaves Milestones of Womens History from Vintage NewspapersNovember 19, 2024ArtCraftKate MothesFrom found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montral-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.The stories Dion chooses to highlight often revolve around women and their accomplishments. It is interesting to see how women are documented in the media, she says, especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects, the artist says.Detail of Carr Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. I also include folding techniques that allow me to create relief and a textile look to the paper, she says. Drawing allows meto develop patterns through repetition and is conducive to larger installations.The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like womens labor rights and suffrage throughout the 20th century, especially in the U.S.These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates, says a gallery statement. By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inchesDion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase ones knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the samplers maker was capable of mending a variety of fabrics. These are objects rich in know-how and historythey are magnificent and very inspiring for me, both formally and conceptually, Dion says. These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.Dion is particularly drawn to the samplers geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Qubec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montral next summer.Timelines continues through December 14. Find more on Dions website and Instagram.Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922 (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimetersDetail of Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inchesDetail of Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942Marie Curie, Radium discoverer to visit America, February 10, 1921 (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inchesNext article

Goldeen. Photo by Yuta Studio. All images courtesy of Sangmin Oh, shared with permissionSangmin Oh Illuminates Upcycled Industrial Fiber in Knitted Lighting SculpturesNovember 19, 2024DesignKate MothesSprouting like coral or fungi, Sangmin Ohs biologically-inspired lighting designs and furnishings merge form and function. Based between The Netherlands and South Korea, the designer (previously) is fascinated by the interplay of material, aesthetics, and sustainability.Ohs sculptural pieces revolve around the use of textiles to create knitted or woven shades for lamps and other objects. In a new project titled SOIL TO SOUL, he and a team of studio assistants have assembled an installation using Heracron brand aramid yarna type of lightweight and strong polymer fiber that is resistant to the effects of heat, abrasion, and chemicals.Installation view of SOIL TO SOULAramid yarn is often used in bulletproof vests, heat-protective clothing, and as coverings for optical cables. Oh utilizes scraps of the material discarded by the manufacturer, turning to 3D knitting technology to reimagine colorful, textural pieces of fabric.The functional narrative of Heracron aligns with that of mushroom, which protects and sustains the earth, Oh says of the works in SOIL TO SOUL. Its hair-like strands mirror the skein of mycelial threads. Inspired by this similarity, the shape and pattern of the knitted fabric were designed to reflect these qualities.Ohs work is currently on view in Seoul at RE;CODE, a brand focused on upcycling, where pieces like a sprawling, fungi-inspired floor lamp comprise the illuminated window installation. See more on his website and Instagram.Woven fabric for SOIL TO SOULPink Dendrogyra MutantInstallation view of SOIL TO SOULInstallation view of SOIL TO SOULDetail of fabric used in SOIL TO SOULAcroporaWoven fabrics for SOIL TO SOULPrevious articleNext article

By David Nath Fox News Published November 19, 2024 11:52am EST close New tech platforms focus on helping legal immigrants Legal immigrants are increasingly turning to high-tech solutions to help navigate Americas immigration landscape. Its no secret that Americas immigration policy is in desperate need of a high-tech overhaul. Most online immigration tools so far have been rudimentary, and thats often left legal immigrants complaining of long wait times, contradictory instructions, and a web presence that doesn't help with things like green card renewal or family petitions. Now President-Elect Trump is promising a big deportation push when he comes into office for his second term, and its more important than ever for immigrants to have their paperwork in order."Immigration, legal immigration should be efficient and accessible and affordable for everyone," says Yasaman Soroori, the co-founder and CEO of Consulta, a new A.I.-powered platform offering high-tech solutions for those immigration issues. Its thought to be the first online platform dedicated specifically to helping legal immigrants navigate Americas complicated immigration landscape. Their goal is simple; integrating tech with personalized support, hoping to bring order and affordability to a complex and costly process.And Soroori says their intake protocol is much more simple and cost-effective than going to see an immigration attorney. "Once the user finds us on our website and goes to the platform," she explains, "they are able to select the service that pertains to them, answer a simplified questionnaire, upload the necessary documents, well even take care of the passport pictures for them. And that's it."As the immigration debate heats up, Consulta is getting more visibility; it has a number of high-profile backers, including the founder of Venmo. Right now, services include renewing green cards, petitions for family visas, and help with citizenship. Its all part of using A.I. to deliver a more streamlined immigration experience."We always talk about the negativity about immigration, but we don't focus on the legal immigrants that are in this country," says Soroori. "And we wanted to offer them the most stress free, affordable option in order for more people to pursue it."