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WWW.IAMAG.COThe Art Of Christian AngelDiscover the Art of Christian Angel, a freelance US-based artist and illustrator for Marvel, MTG.The Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian AngelThe Art Of Christian Angel The Art Of Christian AngelThe Art Of Christian Angel0 Reacties 0 aandelen 14 Views
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WWW.VG247.COMIs Final Fantasy 7 Rebirth getting any DLC? Well, no, but its director has a good reason for itKeeping ContentIs Final Fantasy 7 Rebirth getting any DLC? Well, no, but its director has a good reason for itYou'll just have to keep waiting for Part 3. News by Oisin Kuhnke Contributor Published on Nov. 24, 2024 Unlike Final Fantasy 7 Remake, Rebirth won't be getting any DLC, but it's not like the director isn't doing it just because.Following the release of Final Fantasy 7 Rebirth, there were plenty of fans wondering if a DLC announcement would be coming considering Remake got some during the wait for the sequel. Well, wonder no more, as in a recent interview with the Daily Star, director Naoki Hamaguchi said that no, there won't be any DLC, but he did take the time to explain why not. "We definitely do hear the desire from fans, the voices out there that want that kind of thing," Hamaguchi said of those asking for DLC. "I understand it completely, but I think, from my perspective, what the fans really want to see the most is not necessarily DLC. They want to see the third part of the series as quickly as possible.To see this content please enable targeting cookies. "So that's why we've decided not to focus the development resources on creating additional extra episodes for DLC at the moment. We really are putting all our efforts into getting the third game out as quickly as we can. So for the moment, that's where we're focusing our time." That's as fair a reason as any! Remake's Yuffie DLC worked quite nicely as a bit of a segue between games, and in terms of characters that could have solo outings from Rebirth, there's Cid and Vincent Valentine, but to be honest I'm not sure what you could do with the form, and in the case of the latter there's always the chance that Square Enix is planning a Dirge of Cerberus remaster a la Crisis Core: Reunion. Fingers crossed for the Dirge-heads out there!Our own Dom had a little chat with Hamaguchi earlier this week too, specifically about the director's plans for mini-games in the third and final part, and don't worry, he is planning on changing some things.0 Reacties 0 aandelen 14 Views
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WWW.VG247.COMDon't get too upset, but the devs behind The Simpsons: Hit & Run apparently could have made three sequels if it weren't for some anonymous weirdo who decided against itD'oh!Don't get too upset, but the devs behind The Simpsons: Hit & Run apparently could have made three sequels if it weren't for some anonymous weirdo who decided against itAnd they wouldn't have had to pay the licence fee either.Image credit: Radical Entertainment News by Oisin Kuhnke Contributor Published on Nov. 24, 2024 To this day, players still love The Simpsons: Hit & Run, and apparently there could have been more, if it wasn't for someone who helped publish the game.I'm not sure if there's a PS2 game more universally loved than The Simpsons: Hit & Run. I've just never heard a bad word against it, and even now people are clamouring for a port or remaster, yet one has never materialised. The Grand Theft Auto-esque game sold well at the time, yet somehow a sequel never materialised, and now we might have some idea why. Earlier this month, YouTube Summoning Salt, who essentially makes entire documentaries on the history of various games' speedrunning scenes, released a video all about The Simpsons: Hit & Run, and as spotted by GamesRadar, a comment was actually left behind from the game's lead designer, Joe McGinn.Watch on YouTubeMcGinn's comment was initially one just saying how "incredibly fun and heartwarming" the video was to see as the game's lead designer, but he later shared in another comment that actually, the film could have had up to three sequels, all without paying the licence fee for The Simpsons itself. McGinn explained that The Simpsons' production company Gracie Films "offered our publisher a deal to make three sequels, with all Simpsons rights and voice actors, for the preferred price of zero dollars (we wouldn't have to pay anything for the Simpsons licence in other words)."To see this content please enable targeting cookies. With an offer like that, and the game being as successful as it was, there's obviously the question of, "why did no one greenlight this?" Well, as McGinn continued to explain, "some crazy person at the publisher - we never found out who - said no." That's obviously quite the wild decision, and certainly a frustrating one for the devs themselves, but alas, 20 years on there's not exactly much anyone can do about it these days. Maybe one day we'll get a port at the very least.0 Reacties 0 aandelen 14 Views
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WWW.NINTENDOLIFE.COMFeature: Stray Producer Talks Cats, Contrast, And Finding "The Sweet Spot Between Fun And Good-Looking"Feline fineNintendo Life: Firstly, congratulations on the release of Stray! The game had a huge first year, gaining the highest user rating on Steam, going viral with cat reaction videos, and picking up several awards. Is this the reception you pictured and how do you feel about it two years on?Swann Martin-Raget, BlueTwelve Studio: Thank you so much! It was an absolutely amazing experience to see such positive feedback from both cats and humans alike, and we are still not over it! Working for so long on the game before its release, it becomes really hard to know if people will like it or not and we were totally surprised and ecstatic when we saw so many people having fun in this world we made.Image: Annapurna InteractiveThe game appears to draw from a wide variety of sources, from iconic pop culture touchstones like Blade Runner to real-world environments such as Kowloon Walled City. Were there any games that you looked to for inspiration, too?The whole team is made of avid gamers who are really passionate about the medium, so we constantly take inspiration from a very wide variety of games but also movies, books, and all art forms in general. There are a lot of small easter eggs and homages that we hid everywhere in the game that more or less consciously reflect this.The idea of contrast is something that is fundamentally important in Koola and Vivs initial vision for the gameStray offers a very realistic depiction of cats, but its not an all-out cat simulator. Can you tell us how you found the balance between realism and engaging gameplay?It was a very iterative process. We had to test out a lot of potential ideas and features in order to find the ones that were really fun and fit well together, but also that kept the realism of the cat's abilities in real life. We were very clear from the start that our hero was just a normal cat without any superpowers, but we also knew that we didnt want to add more classic survival features like hunger, sleep, etc. The vision from Koola and Viv [the founders of BlueTwelve Studio and former artists at Ubisoft] was to make an adventure game first and not a simulator. But the great thing is that cats are amazing animals, so there are a lot of incredibly fun things to do with their natural abilities!Image: Annapurna InteractiveThe cat protagonist opens doors to unique level design and platforming challenges. What was it like trying to design things from a feline perspective?It was a huge challenge and a super interesting topic to work on as a creative team. The point of view that this character gives on a classic level design process is very fresh and gives a lot of opportunities for cool points of view, interesting paths and innovative choices of what is a blocker or not. But at the same time, it was really tricky to find the balance with the level art as every decoration, pipe or aircon added to the level by the artists was a potential new path for the players. So we had a lot of back and forth between designers and level artists to find the sweet spot between fun and good-looking....the great thing is that cats are amazing animals, so there are a lot of incredibly fun things to do with their natural abilities!Stray is a refreshingly non-violent game, particularly compared to others that adopt the cyberpunk aesthetic. Was this always the aim, or was there a time when tools like B-12s UV Light would play a larger role?The aim was always to make an action-adventure game and, in this genre, the rhythm and the variety of progression are key. The UV light, like many other features in the game, is another way for us to change the rhythm between a more chill moment where you have to explore and look around and a more fast-paced sequence. We had a lot of iterations on how long every sequence needs to be and what is a good order of progression to keep the pace interesting and engaging for the players while still being able to tell the story of this world and the characters you meet in the game.Image: Annapurna InteractiveWithout going into too many spoilers, Stray has a surprisingly bleak backdrop. Yet it also has a dedicated meow button and spots to take a nap. How important was it for you to provide moments of levity in the darkness?The idea of contrast is something that was fundamentally important in Koola and Vivs initial vision for the game, and it is something that we have been using in a lot of different ways as a team. There is indeed that contrast between the sombre setting and some more light-hearted characters, but also the contrast between supposedly dead artificial machines and a lively and organic cat, the contrast between very lit and colourful places and more shadowy environments, contrast in the gameplay with action paced chase and slow-paced exploration, etc. We feel that this is a very important part of Stray and our creative process and its always very inspiring to think like this.What was the biggest challenge of bringing the game to Switch?We worked to find the right balance between visual fidelity and fluid gameplay for the Switch, and we're excited that players are able to experience this world on the go to make it all worth it.Finally, can you share any details about the upcoming Stray movie, and do you have any plans for the award-winning kitty in the future?There is nothing that we can share at that point but definitely stay tuned as the team is still hard at work on a lot of exciting things!Image: Annapurna InteractivePlease note that some external links on this page are affiliate links, which means if you click them and make a purchase we may receive a small percentage of the sale. Please read our FTC Disclosure for more information.This interview has been lightly edited for clarity.In addition to the questions above, we asked about the team's experience working with Annapurna Games following news in September that all staff at the publisher resigned but we were told there were No responses to share" at this time.Thank you to Swann at BlueTwelve Studio and to Hannah at fortyseven for setting it up. Stray is now available on the Switch eShop, with a physical version from Annapurna and Skybound Games available from online retailers. Fysical PhelineRelated GamesSee AlsoShare:53 Jim came to Nintendo Life in 2022 and, despite his insistence that The Minish Cap is the best Zelda game and his unwavering love for the Star Wars prequels (yes, really), he has continued to write news and features on the site ever since. Hold on there, you need to login to post a comment...Related ArticlesMario & Luigi's Future In Doubt As A Potential Sony Acquisition EmergesUpdate: Kadokawa acknowledges Sony's offerNew Switch Emulator Devs Are Jumping Through Hoops To Avoid A Nintendo TakedownNinjas in 3... 2... 1...Super Mario Party Jamboree Version 1.1.1 Is Now Live, Here Are The Full Patch NotesAn update to online playVideo: New Switch Online Trailer Highlights Classic Pokmon GamesNow, how about those mainline classics?0 Reacties 0 aandelen 14 Views
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WWW.NINTENDOLIFE.COMFinal Fantasy VII Switch Update Removes "Restrictions For Sharing Features"Update today.Square Enix has rolled out an update for its 2019 Switch release Final Fantasy VII and it makes a surprising change. Version 1.03/1.04 removes the restrictions on the "sharing features" across Switch and multiple other platforms. Here are the full patch notes:FINAL FANTASY VII Update Nov. 6, 2024All previous restrictions for sharing features have been removed from FINAL FANTASY VII on the following platforms:- PlayStation 4: patch ver. 1.04- Nintendo Switch: patch ver. 1.03- Xbox One: patch ver. 1.04- Microsoft Store (Windows): patch ver. 1.04Read the full article on nintendolife.com0 Reacties 0 aandelen 14 Views
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TECHCRUNCH.COMEntrepreneur Marc Lore on founder mode, bad hires, and why avoiding risk is deadlyEntrepreneur Marc Lore has already sold two companies for billions of dollars, collectively. Now he plans to take his food delivery and take-out business Wonder public in a couple of years at an ambitious $40 billion valuation.We talked with Lore in person in New York recently about Wonder and its ultimate aim of making meal planning effortless, but we also touched on Lores management philosophies. Below is some of what he had to say on the latter front, edited lightly for length and clarity.Lore on so-called founder mode, wherein founders and CEOs actively work with not only their direct reports but with skip level employees, too, in order to ensure that small challenges do not become big ones (Brian Chesky operates this way, as does Jensen Huang of Nvidia, Elon Musk, and Sam Altman, among many others):Yeah, the founder mode thing didnt really resonate with me, because Ioperate differently. I really focus on this idea of vision, capital, and people. We have a meeting every week with the leadership team, and we spend two hours every week just on the foundational elements of the vision, strategy, org structure, the capital plan, our performance management systems, compensation systems, behaviors, values like, stuff that you think is already set.Youre like, Oh, yeah, we already did behaviors. We already did values. We did performance management. We have our strategy. But when youre growing and moving fast, its amazing how much that evolves over time, and you want to stay on top of it and just talk about it and talk about it.When everybody is fully aligned and you have really good people, you just let them run; I dont need to be involved at all. So I dont get involved in the specifics of what people do, as long as they know the nuances of the strategy and the vision. When you get that dialed in with your team, and they get that dialed in with their own team, everybody moves in the right direction.How Lore thinks about hiring the right people:Imreally, really big on hiring rock stars. Like, that is every person [I hire]. I used to think that you could interview somebody and in an hour decide whether the persons a rock star. I really thought that, and I think other people do as well.Its impossible. Ive hired thousands of people. You cannot tell if somebody is a rock star in a one-hour interview, and more times than not, youll get honey potted. Somebody talks a good game, they sound good, they say the right things, theyve got the right experience, then they dont work out, and you wonder why.I started going back to the resumes and trying to draw correlations, and what I found is theres a clear pattern that superstars have in resumes thats differentiated from a non superstar. That doesnt mean that somebody who doesnt have a superstar resume couldnt be a superstar. I miss out on those people, its fine. But when I see somebody who has a superstar resume, theyre almost always a superstar. When I interview them, I already know I want to hire them, and its more just to make sure that theres nothing Im missing from a behavioral standpoint or culture or values we want alignment there. But the resume has to show a demonstrable level of success in every job that they were in. That means multiple promotions. It means staying at a company long enough to get promoted, and it means when you leave and go from one company to another, its a big move. Superstars dont move laterally. They dont move down from a good company to a bad company, because bad companies need to pay more to attract people and so sometimes they shake loose people that arent as good, that just want to go for the money.But you find somebody thats [in the top] 5% and you look at their resume, its like: boom, boom, promotion, promotion, promotion, promotion, promotion, promotion, and then a big jump promotion, promotion, big jump. When I get that resume that shows that demonstrable level of success, I grab it and I pay them whatever they need. Its that important to me to get that superstar in there. And you build a company of superstars.You have to have the right performance management system so that they know exactly what they need to do to get to the next level. Because the superstars are highly motivated. They want to know what they need to do to get to the next level, especially Gen Z. They want to know and get promoted every six months. Finally, heres Lore talking about his belief that taking bigger risks is the way to secure a startups future, even while the approach may seem counterintuitive to many:People always underestimate the risk of the status quo, and they overestimate the risk of making a change. I see that over and over and over.If you have a life-threatening medical condition, and the doctors like, You have six months to live, at that point, a trial drug or anything, even if its super risky, [is going to look good]. Youre basically seeking opportunities to take risk, to not have that inevitable death.If youre super healthy and everythings going great, and somebody says, Take this experimental drug; it might make you live longer, [a lot of people will say], You know what? Its too risky. Im really healthy. I dont want to die from this drug.But startups are very different than big companies. When youre at a big company like Walmart [whose U.S. e-commerce business Lore ran after selling it one of his companies], its all about incremental improvement. Theres no incentive to take risk. As a startup founder, chances are youre going to die. Chances are you are going to die every day that youre living and doing this startup. The probability is 80%, with only a 20% chance of this actually working. So you have to take that into account when youre making decisions. You have to seek opportunities to take risk, to reduce your risk of dying. The status quo is the worst thing you can do. Doing nothing is the most risk you can possibly take.0 Reacties 0 aandelen 13 Views
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3DPRINTINGINDUSTRY.COMVoxeldance used Netfabb source code says former COO, nTop confirms legal actionVoxeldance, an all-in-one Additive Manufacturing software solution provider, is at the center of several accusations of intellectual property theft. Voxeldance products are Voxeldance Additive aimed at industrial users, such as aerospace and defense, plus Voxeldance Tango, a slicing tool for resin 3D printers used by hobbyists and others.The Chinese software company received a visit from the German Federal Customs Service, abbreviated to Zoll, during the formnext trade show. According to one Formnext attendee, soon after the show [started], engineers for nTop and Materialise were on the [Voxeldance] booth asking questions and getting the full uncensored intro to the product by the Voxeldance booth jockeys. Moments later phone calls were made.A few hours later, taxis from the airport arrive transporting lawyers from both companies and Zoll officers (German Federal Customs) who immediately took away a number of Voxeldance representatives, and Messago started to tear down the booth well before the event had finished. Other [Voxeldance] staff hightailed to the airport.Valerie Chianuri, General Counsel, nTop confirmed to 3D Printing Industry that nTop is pursuing legal action against VoxelDance as it relates to its activities at Formnext and beyond. As the case is still in progress Chianuri stated nTop cannot comment on any of the specifics around this, what I can say is that we remain focused on delivering the best computational design software with our innovative new technology as the key enabler. Thus, we take our Intellectual Property (IP) very seriously.The German Customs Service, known as the Bundeszollverwaltung, plays a pivotal role in enforcing intellectual property rights within Germany. A key component of this service is the Zollkriminalamt (ZKA), or Customs Investigation Bureau, which investigates and prevents serious customs-related crimes, including those involving intellectual property violations. Interestingly, Formnext show organizers also have a dedicated, permanent police station within the exhibition grounds, something that is relatively uncommon among trade show organizers.Bradley Rothenberg nTop CEO and an optomized impeller. Photo by Michael Petch.Voxeldance and Autodesk Netfabb source codeWhile investigations into the use of nTop and Materialise source code related to simulation, optimization, and model design proceed, speculation has grown around the heritage of Voxeldances 3D printing software.According to a former Voxeldance executive, Voxeldance was using source code from elsewhere as early as 2021.Robert Yusin served as Voxeldances Chief Operating Officer in 2021; previously and until 2017, he worked for Autodesk as a director of sales and business development with a particular focus on the Asian markets.In November 2017, Yusin became part of the co-founding team of Oqton, which included ex-Autodesk VP Samir Hanna, and the companys former CEO Carl Bass as a board member. Oqtons AI-powered software raised a series A of $40 million in 2021, and later that year Oqton was acquired by 3D Systems for $180 million.Yusin left Oqton in October 2020 after three years. His appointment as Voxeldance COO was announced in May 2021, it would not be a lengthy tenure, and by September of 2021 he had a new role. Moving to generative design software provider ParaMatters Yusin took the Chairman and CEO positions; just over a year later, in August 2022, we reported Carbons acquisition of ParaMatters. Since June 2023, Yusin has served as CEO of Optomec, developers of the metal additive Laser Engineered Net Shaping (LENS) and Aerosol Jet systems for 3D printed electronics.I asked Yusin about the recent accusations of intellectual property theft stemming from Voxeldances appearance at Formnext. During our exchange Yusin stated that the source code from Autodesks Netfabb was for sure used by Voxeldance. When asked about Voxeldances reaction to Yusins raising this issue, he told me the company avoided the topic and pretended not to address the issues. Regarding how he could discern the Netfabb code was used, I sold the netfabb product, and in [their] version at the time [there] were features only unique to what Autodesk had put in the product. Yusin says learning of these practices at Voxeldance is why he left the company. In a public statement, Yusin has since declared, I never in my role had access to any code, the only folks that have access to sources code would be development not myself.3D Printing Industry has reached out to Voxeldance CEO Chaoxin Zhang several times for comment on the allegations and will update readers accordingly once a response is received.As at the time of publication, 3DPI has been unable to confirm with Messago the actions taken by the Formnext show organizer.If you have information regarding this story or other news in the 3D printing industry, please get in touch.What does thefuture of 3D printinghold?What near-term3D printing trendshave been highlighted by industry experts?Subscribe to the3D Printing Industry newsletterto keep up to date with the latest 3D printing news.You can also follow us onTwitter, like ourFacebookpage, and subscribe to the3D Printing Industry Youtubechannel to access more exclusive content.Featured image shows Voxeldance Additive. Image via Voxeldance.0 Reacties 0 aandelen 14 Views
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Bu sayede, casibom platformunda yaadnz herhangi bir sorunu hzl bir ekilde zebilirsiniz.Casibom, kullanc memnuniyetini n planda tutar ve casibom gncel giri adresi zerinden sunduu mteri destei hizmetiyle bu amacna ulamay hedefler. Casibom giris yaparak, casibon ve cadibom hizmetlerinden yararlanarak, sorunlarnz en ksa srede zmek iin casibom ekibine ulaabilirsiniz.Casibomda Gvenlik ve Gizlilik PolitikalarCasibom, kullanclarnn gvenliini ve gizliliini en st dzeyde tutmak iin eitli nlemler almaktadr. Casibom gncel giri adresi zerinden yaplan tm ilemler, en gelimi gvenlik protokolleriyle korunmaktadr. Bu blmde, Casibomun gvenlik ve gizlilik politikalar hakknda detayl bilgi bulabilirsiniz.Veri GvenliiCasibom, kullanclarn kiisel bilgilerini ifreli bir ekilde saklar ve iletir.SSL (Secure Sockets Layer) teknolojisi kullanlarak, tm veri aktarmlar gvenli bir ekilde gerekletirilir.Casibom gncel giri sayfas, srekli olarak gvenlik testlerine tabi tutulur ve gvenlik aklar hemen tespit edilir.Gizlilik PolitikasCasibom, kullanclarn kiisel bilgilerini yalnzca onaylanan amalar dorultusunda kullanr.Casibom giri bilgileri, nc taraflarla paylalmaz veya satlmaz.Casibom 158 giri adresi zerinden yaplan tm ilemler, kullanclarn gizliliini koruyacak ekilde tasarlanmtr.Casibom, kullanclarnn gvenini kazanmak iin srekli olarak gvenlik ve gizlilik politikalarn gncellemektedir. Casibom gncel giri adresi zerinden yaplan tm ilemler, en yksek gvenlik standartlarna uygun olarak gerekletirilir.Casibomda Mobil Uyumluluk ve UygulamaCasibom, kullanclarna en iyi mobil deneyimi sunmak iin srekli olarak gncellenmektedir. Casibom gncel giri adresi zerinden mobil cihazlarnzda sorunsuz bir ekilde eriim salayabilirsiniz. Casibom mobil uygulamas, casibom giris ilemlerini hzlandrarak, oyunlarn keyfini dilediiniz yerde karmanz salar.Mobil cihazlarnzda Casibom uygulamasn kullanarak, casibom 158 giri yaparak tm oyunlar ve bonuslar yakndan takip edebilirsiniz. Casibom mobil uyumluluu sayesinde, casibon zerinden yapacanz tm ilemler hem hzl hem de gvenlidir. Casibo mobil platformu, kullanc dostu arayz ve hzl eriim imkanyla, oyun tutkunlarnn beenisini kazanmaktadr.Casibom mobil uygulamas, casbom zerinden yaplan gncellemelerle birlikte, daha da kullanl hale gelmektedir. Cadibom mobil deneyimi, sizi her an her yerde oyun dnyasna davet ediyor. Casibom gncel giri adresi zerinden mobil uygulamay indirerek, oyun keyfini tam anlamyla yaayabilirsiniz.0 Reacties 0 aandelen 15 Views
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ARCHEYES.COMThe REACH at The Kennedy Center for the Performing Arts by Steven HollThe REACH at The Kennedy Center for the Performing Arts | Iwan BaanThe Kennedy Center for the Performing Arts has long stood as a dual symbol of cultural enrichment and a living memorial to President John F. Kennedy. Designed by Edward Durell Stone in 1971, its monumental architecture represents a significant moment in American design history, embodying the ideals of grandeur and permanence. However, as society evolved, so did the need for this iconic institution.The REACH Technical InformationArchitects1-24: Steven Holl ArchitectsOriginal Design Architect: Edward Durell StoneLocation: Washington, DC, United StatesClient: The John F. Kennedy Center for the Performing ArtsArea: 6,690m2 | 72,000Sq. Ft.Project Year: 2012 2019Photographs: Iwan Baan, Richard BarnesThe design for The REACH merges architecture with the landscape to expand the dimensions of a living memorial. Steven Holl ArchitectsThe REACH at The Kennedy Center for the Performing Arts Photographs Iwan Baan Iwan Baan Iwan Baan Richard Barnes Iwan Baan Iwan Baan Iwan Baan Iwan Baan Richard Barnes Iwan Baan Richard Barnes Richard BarnesArchitectural Vision: Integrating Landscape and FormIn 2019, Steven Holl Architects unveiled The REACH, a transformative expansion of the Kennedy Center. This addition addresses the Centers growing need for rehearsal and educational spaces and redefines how architecture can interact with its environment and community. Through its harmonious integration of landscape and form, The REACH bridges the past and future, enabling the Kennedy Center to continue its legacy as a dynamic and accessible space for the arts.Steven Holls design for The REACH is a masterclass in merging architecture with the natural environment. Unlike Edward Durell Stones original building, which stands as a monumental object, The REACH flows organically into its surroundings. The three pavilionscharacterized by ruled-surface geometrycurve gently, creating a dialogue between built form and landscape. These titanium-white, board-formed concrete structures appear monolithic from afar yet reveal a human-scale tactility up close, thanks to the use of Douglas fir boards in their concrete forms.The design incorporates elements that deeply resonate with President Kennedys legacy. A grove of 35 gingko trees pays homage to his position as the 35th President of the United States. At the same time, the reflecting pool and mahogany deck echo the dimensions and materials of his WWII boat, PT-109. These thoughtful details reinforce The REACHs role as a living memorial that celebrates Kennedys life and values.The pavilions frame views of Washington, D.C.s historic landmarks, including the Washington Monument and Lincoln Memorial, establishing a symbolic and visual connection to the citys monumental core. Embedded within the landscape, green roofs cover the pavilions, providing expansive public spaces that merge seamlessly with the natural environment. This integration ensures that The REACH is an architectural achievement and a communal sanctuary.Innovative Interior Design and Technical AchievementsThe interiors of The REACH reflect a commitment to functional innovation and artistic expression. A standout feature is the crinkled concrete texture that lines the walls of rehearsal and performance spaces. This texture, integrated directly into the structural cast-in-place concrete, enhances acoustics while creating a unique tactile and visual experience.Thanks to strategically placed etched and translucent glass, natural light floods every space. By layering translucent films within the glass, Holl ensures that light is diffused evenly, creating luminous interiors that inspire creativity. This interplay of light and materiality makes The REACH feel open and welcoming while establishing an intimate connection with the surrounding landscape.The underground layout of the expansion adds another layer of ingenuity. With 72,000 square feet of rehearsal studios, performance spaces, and arts learning areas, The REACH creates a seamless flow between interior and exterior. The spatial organization prioritizes functionality and accessibility, inviting visitors to explore and engage with the Kennedy Centers diverse offerings.The REACH as a Model for 21st-Century Arts InstitutionsThe REACH sets a new standard for how cultural institutions can serve their communities. Its flexible indoor and outdoor spaces encourage public engagement, whether through casual gatherings, simulcast projections, or impromptu performances. By democratizing access to the arts, The REACH reinforces the Kennedy Centers role as a cultural exchange and education hub.Sustainability is also a key component of this expansion. The extensive green roofs, spanning approximately 69,000 square feet, contribute to the citys ecological health by reducing urban heat and managing stormwater runoff. The project demonstrates how architecture can be both environmentally responsible and socially impactful, offering green spaces that serve as a resource for the entire community.Finally, adding a pedestrian bridge reconnects the Kennedy Center to the Potomac River, restoring a link that had been lost for over 50 years. This new connection symbolizes REACHs forward-looking ethos, which bridges history and modernity while embracing inclusivity and accessibility.The REACH at The Kennedy Center for the Performing Arts PlansUpper Level | Steven Holl ArchitectsTerrace Level | Steven Holl ArchitectsLower Level | Steven Holl ArchitectsSections | Steven Holl ArchitectsThe REACH at The Kennedy Center for the Performing Arts Image GalleryAbout Steven HollSteven Holl is a renowned American architect who is celebrated for his innovative approach to integrating architecture with the natural environment. Born in Bremerton, Washington, in 1947, Holl established Steven Holl Architects in 1976, a practice known for its humanistic and experimental design philosophy. His work frequently explores the interplay of light, materiality, and spatial geometry, as seen in landmark projects such as the Nelson-Atkins Museum of Art expansion and the Linked Hybrid in Beijing. Holls designs often reflect a deep sensitivity to context, seamlessly merging structure and landscape, as The REACH at the Kennedy Center exemplifies. Among his numerous accolades, Holl has received the prestigious AIA Gold Medal and the Praemium Imperiale, cementing his legacy as one of the most influential architects of his generation.Notes & Additional CreditsArchitect: Steven Holl ArchitectsDesign Architects: Steven Holl, Chris McVoy, Garrick AmbrosePartner in Charge: Chris McVoyProject Architect: Garrick AmbroseAssistant Project Architect: Magdalena NaydekovaProject Team: Bell Ying Yi Cai, Kimberley Chew, J. Leehong Kim, Martin Kropac, Elise Riley, Yun Shi, Dominik Sigg, Jongseo Lee, Alfonso SimelioCrinkle Concrete Development Team: Garrick Ambrose, Chris McVoy, Magdalena NaydekovaAssociate Architects: BNIMProject Manager: Paratus GroupStructural Engineers: SilmanMEP Engineers: ARUPCivil Engineers: LanganClimate Engineers: TranssolarLighting Consultant: LObservatoire InternationalFaade Consultant: Thornton TomasettiLandscape Architect: Edmund D. Hollander Landscape ArchitectsTraffic and Parking: Gorove Slade AssociatesFood Service Consultant: JGL Food Service ConsultantsCode Consultant: Protection Engineering GroupRegulatory Consultant: StantecAcoustics/AV/IT/Security Consultant: Harvey Marshall Berling AssociatesPre-Construction Manager: James G. Davis Construction CorporationVertical Transportation Consultant: VertranConcrete Consultant: Reg Hough Associates0 Reacties 0 aandelen 14 Views