In this tutorial, well share a simple yet powerful trick to transform your Blender scenes with easy-to-follow lighting techniques.The post A Simple Trick for Eye-cathing Lighting | Blender Tutorial appeared first on Creative Shrimp.

AMAZEMET, a Warsaw-based company, unveiled its innovative Powder2Powder (P2P) atomization system at Formnext 2024. This new system offers a versatile solution for recycling metal powders and producing custom pre-alloy powders directly from existing powder feedstock, marking a significant advancement in sustainable metal powder production for the 3D printing industry.The Powder2Powder system integrates plasma processing with ultrasonic atomization, transforming irregular or oversized particles into highly spherical, satellite-free powders optimized for various 3D printing techniques such as Laser Powder Bed Fusion (LPBF), Directed Energy Deposition (DED), and Electron Beam Melting (EBM). Unlike conventional plasma spheroidization methods, the P2P technology allows powder size to remain independent of the initial feedstock. This capability makes it the only technology currently capable of directly atomizing pulverized titanium (Ti) feedstock, setting a new benchmark in powder processing, according to the company.Atomization of TiMo alloy using Powder2Powder technology: a) feedstock material, b) atomized TiMo alloy, c) particle size distribution, d) sphericity. Photo via AMAZEMET.Extensive trials with over 200 m oversized and irregular Ti alloy powders demonstrated the systems exceptional performance. Operating at a frequency of 40 kHz, the P2P system consistently achieved a powder morphology with an aspect ratio (D50) exceeding 0.95 and a precise particle size distribution (PSD), producing powders with D90 below 80 m and yielding particles under 63 m at or above 80%. Approximately 97% of the resulting powder meets the stringent requirements for additive manufacturing processes.Beyond recycling, the P2P system excels in processing blends of elemental powders to create pre-alloyed materials with precise chemical compositions. This feature is invaluable for both research and industrial applications, allowing for the rapid development of new alloys without the need for extensive preprocessing, electrode casting, or wire drawing. Tests with Ti and 10% wt. Mo elemental powders confirmed the formation of homogeneous alloy powders, demonstrating the systems versatility and efficiency.ukasz rodowski, inventor and CEO of AMAZEMET, stated, The Powder2Powder system goes beyond recycling. It gives manufacturers the ability to customize powder compositions, improve powder sphericity, and optimize particle size distribution, solving critical issues in the additive manufacturing industry. We showcased how it enhances the efficiency and sustainability of powder-based manufacturing at Formnext 2024.AMAZEMET branding showcasing its focus on metal additive manufacturing. Photo via AMAZEMET.Industry Advances in 3D Printing MaterialsAt the same event, PowderMonkeys, a brand of Launhardt GmbH specializing in polymer powders for powder bed fusion (PBF) processes, introduced two advanced materials: Monkey SiPA12 and Monkey RePA12 50-8 GB. Established in 2021, PowderMonkeys supplies materials compatible with selective laser sintering (SLS) and high-speed sintering (HSS) platforms. Monkey SiPA12 is engineered for Sintratec machines, offering high mechanical strength and reduced waste, while Monkey RePA12 50-8 GB incorporates glass beads to enhance tensile strength and thermal stability, providing a glossy finish ideal for applications requiring both mechanical resilience and aesthetic quality.Stratasys, a leading 3D printer manufacturer, also presented SAF ReLife, a solution that repurposes waste PA12 powder into 3D printed parts. Supported by a Life Cycle Assessment from Fraunhofer IPA, SAF ReLife reduces the carbon footprint of 3D printing by up to 89%. This platform leverages Stratasys H350 powder bed fusion 3D printer to produce functional parts from reclaimed powder, enhancing material efficiency and supporting the circular economy by converting waste into high-quality products.Stratasys at Formnext 2024. Photo via Stratasys.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows atomization of TiMo alloy using Powder2Powder technology. Image via AMAZEMET.

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Brihadisvara Temple | Aerial ViewThe Brihadisvara Temple, also known as Rajarajeswaram, is an 11th-century structure built under the patronage of Raja Raja Chola I. This UNESCO World Heritage Site in Thanjavur, Tamil Nadu, is part of the Great Living Chola Temples. It is a significant example of South Indian temple architecture, showcasing the Chola Empires achievements in design and engineering.Brihadisvara Temple Technical InformationClient/Patron2-6: Raja Raja Chola ILocation: Thanjavur, Tamil Nadu,IndiaArea: 2,140 m2 | 23,000Sq. Ft.Construction Years: 1003-1010Photographs: Flickr Users, See Caption DetailsThis temple is to stand for all time, as a testament to our devotion and the skill of our craftsmen. Raja Raja Chola I 1Brihadisvara Temple PhotographsBrihadisvara Temple Aerial ViewEntrance | QiNi, Flickr UserFacade | Davide, Flickr UserTemple | Davide, Flickr UserStairs | K, Flickr UserExterior View | Lodo, Flickr UserDetails | Davide, Flickr UserInterior | Davide, Flickr UserDetails | Sophie Hervaux, Flickr UserDesign and Spatial Organization: A Vision of MonumentalityAt the heart of the Brihadisvara Temple lies a masterfully planned design that reflects a deep understanding of scale, proportion, and spatial hierarchy. The temples axial layout is meticulously organized, leading devotees and visitors through a transformative journey toward the sanctum sanctorum, or garbhagriha. The spatial progressionfrom the massive entrance gopuram to the open courtyard and, finally, the inner sanctumembodies the spiritual ascent from the earthly to the divine.Standing at over 200 feet, the towering vimana dominates the landscape and asserts the temples monumental presence. Its proportions are harmonious, adhering to mathematical precision and the golden ratio, ensuring a visual balance between its towering height and expansive base. This symmetry underscores the Chola architects commitment to creating spaces that inspire awe and reverence.The temples circulation patterns are equally deliberate. The axial alignment guides movement, encouraging ritualistic practices and creating an immersive spatial experience. This meticulous planning is a reminder of how architecture can choreograph human interaction with space, enriching both the physical and spiritual journey.Brihadisvara Temple Materiality and Construction TechniquesThe Brihadisvara Temples construction showcases unparalleled ingenuity in materiality and engineering. Granite, a material not indigenous to the temples immediate surroundings, was transported and sculpted with remarkable precision. This choice of material not only underscores the Chola dynastys resourcefulness but also symbolizes the connection between the divine and earthly realms through its enduring solidity.One of the temples most striking engineering achievements lies in its vimana. Constructed without the use of central beams, the vimanas corbelled structure exemplifies advanced architectural techniques that ensured stability and longevity. The interlocking stones used in the construction enhance seismic resistance, demonstrating a forward-thinking approach to structural integrity.Ornamentation on the temples surfaces further enriches its architectural narrative. The intricate carvings depict deities, celestial beings, and inscriptions detailing the Chola dynastys achievements. These elements strike a delicate balance between ornamental detail and structural clarity, embodying the harmonious integration of art and architecture.Architectural Legacy and Modern InterpretationThe Brihadisvara Temples influence on Dravidian architecture is immeasurable. It set a precedent for subsequent South Indian temples, establishing key elements such as the towering gopuram, axial alignment, and tiered towers. These features have become hallmarks of the regions architectural identity, inspiring architects and historians alike.The temples sustainability and preservation offer valuable lessons for contemporary architecture. Its longevity is a testament to the durability of its materials and the intelligence of its design. Modern architects can draw parallels between the Chola approach to material selection, climatic adaptability, and todays focus on sustainable building practices.In modern architectural discourse, the Brihadisvara Temple is a profound example of integrating art, science, and spirituality. Its mathematical precision and structural ingenuity resonate with contemporary computational design methodologies, proving that ancient architectural practices remain relevant and instructive. The temples ability to inspire awe through its monumental scale and intricate detailing continues to influence how architects perceive and design spaces.Brihadisvara Temple PlansFloor PlanSection & ElevationElevation DetailBrihadisvara Temple Image GalleryAbout Raja Raja Chola IAlthough no single architect is explicitly credited for the design of the Brihadisvara Temple, it was constructed under the visionary patronage of Raja Raja Chola I. The temple was a collective effort of the Chola Empires skilled artisans, engineers, and spiritual advisors. Raja Raja Chola I provided the overarching vision for the temple, aiming to create a structure that would symbolize his devotion to Lord Shiva and immortalize the grandeur of his dynasty. This collaboration of expertise and vision exemplifies the Chola dynastys commitment to integrating art, science, and spirituality into their architectural projects.Notes & Additional CreditsThe statement reflects the enduring ambition of the Chola dynasty to create a masterpiece that would symbolize their spiritual devotion and architectural prowess.Client/Patron: Raja Raja Chola IArchitectural Style: Dravidian architectureDesign Team: Collective effort of Chola artisans, architects, and engineers under royal patronageEngineers: Expertise in stone corbeling techniques and interlocking systemsMaterials Used: Granite (transported from distant quarries)

Portable projectors have been a common instrument in protest art for some time now. In 2020, Artists for Workers and The Illuminator lit up Guggenheim New Yorks facade with messages of solidarity for museum personnel on strike. Trustees to Workers: Drop Dead, Open for Racism, and Open for Exploitation, were some of the phrases the artist-activist groups cast onto the rotundas exterior, to name but a few, not unlike Jenny Holzers provocation last May. This week in Manhattan, on December 10, protesters again leaned upon the medium to express collective outrage against a demolition and privatization plan for NYCHA Fulton and Elliott-Chelsea (FEC) Houses. The demonstration was organized by The Illuminator; Save Section 9 (SS9); residents of Fulton and Elliott-Chelsea Houses; and More Art, a local arts nonprofit. It was directed toward Related Companies, Essence Development, and NYCHA, and also the architects behind the project: PAU, COOKFOX, and ILA. Politicians like Eric Bottcher, Mark Levine, Brad Hoylman, Eric Adams, Kathy Hochul, and others were also thrown shade for supporting the FEC plan.The art piece was meant to spread awareness about threats to public housing in New York today. (Avery J. Savage)Phrases like STOP THE DEMOLITION OF OUR HOMES, RELATED PLANS TO DEMOLISH 2,056 HOMES, and PRIVATIZED PUBLIC HOUSING=DISPLACED FAMILIES got straight to the point for passersby shuttling through Chelsea that evening. Some of the most poignant slides cast quotes from NYCHA residents: I WILL CHAIN MYSELF TO THE BUILDING BEFORE I LET THEM DEMOLISH MY HOME. While the slides were played, SS9 founder Ramona Ferreyra and Renee Keitt of Elliott-Chelsea Houses fielded questions on the sidewalk from curious observers about the protest, the FEC plan, and why people are against it.This event allowed us to tell the city that theyre wrong about Section 9, Ferreyra told AN. The quotes and statistics surprised many. But its time that New Yorkers stop avoiding the projects and instead start applying for a home where their rent is capped at 30 percent of their income, and 10 percent make more than 100k a year, while only 12 percent, like me, are on public assistance. We represent the best of the city and they should be jealous.The slides had personal testimonies from public housing residents. (Avery J. Savage)Madison Markham is More Arts community engagement coordinator. For the past year, More Arts community partner has been SS9, and the two organizations have held other protests and conducted teach-ins to spread awareness about imminent threats to public housing in New York today. One of the most creative stunts to date was when More Art invited the Yes Men, a famous culture jamming activist group, and the Good Liars to infiltrate a gala dressed up as Related executives. Markham affirmed for AN that the installation was a very collaborative effort between SS9, More Art, and The Illuminator. Over the last six or so months, Markham continued, we worked with tenants from SS9 at every step to shape what the day would look like and what message they wanted to share. And The Illuminator helped us actualize that intention and guided us on how to best get our message across to the public.One slide compared the development team with the Grinch. (Avery J. Savage)More Art and SS9 have also held film screenings of Katja Essons documentary, Razing Liberty Square, which was about how Related Companies demolished public housing in Miami, and replaced it with condos, much like whats underway in Manhattan today. Together, More Art and SS9 do much to combat misinformation, Markham told AN. I have always followed The Illuminators work and really enjoyed what they do, Markham said. We thought it would be great to work with them and somehow have SS9s message, and testimonies from tenants, projected somewhere in Chelsea. This came to fruition when Markham, Ferreyra, Keitt, and others set up a projector from a sidewalk on Manhattans west side, and illuminated the night sky with anti-demolition messages.(Avery J. Savage)Earlier that day, public housing residents and allies symbolically chained themselves to Fulton Houses with paper chains. This was inspired, Markham said, by an elderly woman who told More Art that she would chain herself to her radiator before she lets [Related] demolish her building. So with that, Markham continued, we started gathering more testimonies from tenants describing what they love about public housing, and what public housing has made possible for them and their family. These testimonies made up about 60 percent of what we projected onto the building.Public housing residents and allies symbolically chained themselves to Fulton Houses with paper chains. (Avery J. Savage)For Markham, the provocation was an important story to tell in Chelsea, but it has national implications. It was a local piece, Markham said, but we hope its a starting point for a larger conversation about Section 9, and why public housing needs to be reinvested in and refunded.

On New Lots Avenue in Brooklyns East New York, the communitys library is located on land used as an African American burial ground during the Revolutionary War. Drawing from this history, MASS Design Group and Marble Fairbanks Architects have conceived a new library and community hub for the site centered on learning and reconciliation. The library sits on a historic burial ground for enslaved and free African Americans from the Revolutionary War era. In 2017, fragments of human bone, pieces of tombstones were found, suggesting the burials beneath the site. The redesign honors this legacy, integrating the African Burial Ground into the librarys identity while creating a meaningful community space that fosters dialogue centered on reconciliation.New childrens area with inspiration from traditional African palaver concepts. (Courtesy MASS Design Group and Marble Fairbanks Architects)Its our job as designers to incorporate history into the future of place and try to acknowledge and heal the past, creating a new and shared future that benefits the community, said Jonathan Evans, principal at MASS Design Group. Growing up in New York, I saw architectures potential, and its complicity, in controlling the narrative and priorities of those in power. Being able to deliver change through the reformation of New Lots Library is a clear demonstration of change to honestly reflect history and celebrate the people and community the library serves. The 25,000-square-foot design draws inspiration from traditional African gathering spaces, shaped through extensive community input. The concept of palaveror dialoguetranslates in the design through radial, branch-like beams that extend outward to define reading areas and the childrens and teen zones. Large windows flood light into the open-plan space where collaborative workstations, computers, and flexible seating options will be available. When it opens, new technology will support childrens digital learning and foster creativity. As one of seven projects in the inaugural NYC Mass Timber Studio cohort, the library also showcases timber as a sustainable building material model.The facade recalls themes of Sanford Biggerss Lifting the Veil. (Courtesy MASS Design Group and Marble Fairbanks Architects)The new librarys distinct facade does away with its current, tired and dated concrete predecessora single brick building, with no distinct facade or outdoor gathering spaces. MASS Design Group and Marble Fairbanks Architectss design was influenced by the themes in Sanford Biggerss 2023 Lifting the Veil. In this work, Abraham Lincoln is seated as the ignorant man being led to enlightenment by the standing Frederick Douglass. The sculpture seeks to recontextualize Frederick Douglass in history, giving him the wisdom, power, and foresight. The themes of Lifting the Veil resonate with the New Lots Library project and its complex history. The timber panels, arranged in a crisscross, woven pattern, add dynamism, while reinforcing the designs connection to the sites history. In this way, the design connects past struggles with a vision for the future, offering a space for reflection and growth. Beyond shelves and books and a collection of media resources East New Yorks New Lots Avenue Library will also house a heritage center and continue the communitys ongoing work for reconciliation. Past work in the area has included, in 2013 renaming the block to African Burial Ground, and creating of a Remembrance Plaza and Reflection Circle to connect the burial ground, library, and Sankofa Parka neighboring site renamed to honor African Americans who endured enslavement in East New Yorks history.The new third-floor terraces and surrounding landscaped plaza will offer expanded community space. Outdoor seating on the terraces will provide sweeping views of the plaza, as well as a connection to the broader city landscape.New third floor terrace with views of the Brooklyn and Manhattan Skyline (Courtesy MASS Design Group and Marble Fairbanks Architects)New Lots Library is expected to close in fall 2025 when construction on the new library begins.

Harvard University Graduate School of Design (GSD) is accepting entries for its annual international research and travel fellowship worth $100,000 (Deadline: 9 February)The Wheelwright Prize is open to all graduates around the world awarded a degree from a professionally accredited architecture program within the past 15 years. No links to Harvard or GSD are required.Submissions should include a portfolio of previous relevant work and a two-year research proposal that will involve travel outside of the applicants home country.Applications are encouraged to consider the various formats through which architectural research and practice can be expressed, including but not limited to built work, curatorial practice and written output.According to the brief: The annual Wheelwright Prize is dedicated to fostering expansive, intensive design research that shows potential to make a significant impact on architectural discourse. The prize is open to emerging architects practicing anywhere in the world.The winning architect is expected to dedicate roughly two years of concentrated research related to their proposal, and to present a lecture on their findings at the conclusion of that research.Throughout the research process, Wheelwright Prize jury members and other GSD faculty are committed to providing regular guidance and peer feedback, in support of the projects overall growth and development.Founded in 1874, GSD is a specialist graduate school teaching architecture, landscape architecture, urban planning, urban design, real estate, design engineering and design studies. Its 13,000 alumni include Charles Jencks, Jeanne Gang and Ayla Karacebey.GSD completed a makeover of Richard Rogers Grade II*-listed Wimbledon house in south London six years ago. Known as 22 Parkside, the building now serves as the residence and research base for international students under the Richard Rogers Fellowship as well as a venue for GSD.The Wheelwright Prize set up as a travelling fellowship in 1935 in honour of Arthur W Wheelwright was relaunched in its current form 11 years ago. The prize is now open to architecture graduates around the world but was originally only open to GSD alumni with previous recipients including IM Pei and Paul Rudolph.Last years winner was RCA senior lecturer Thandi Loewenson for her proposalBlack Papers: Beyond the Politics of Land, Towards African Policies of Earth and Air using aerial surveying techniques to explore dynamic social and spatial relations in contemporary Africa.The winner of the 2023 prize was awarded to AA graduate, architect and filmmaker to Jingju (Cyan) Cheng whose proposal Tracing Sand: Phantom Territories, Bodies Adrift focused on the economic, cultural, and ecological impacts of sand mining and land reclamation.Judges for the 2025 prize will be announced in January. Submissions will be judged on the originality of the proposal, quality of design work, previous scholarly achievements, ability to fulfill the proposal and potential for the proposed project to make important and direct contributions to architectural discourse.How to applyDeadline: 9 February 2025Competition funding source: Not suppliedProject funding source: Not suppliedOwner of site(s): Not suppliedContact details: info@wheelwrightprize.orgVisit the competition website for more information

The Rockland Public Library in Rockland, Maine, is an architecturally significant civic building that showcases the coastal towns prosperity at the turn of the 20th century. The library was built in 190304, and was funded in part by a $20,000 grant from Andrew Carnegie. It is the citys only major example of Beaux Arts architecture, a style that is also uncommon in the state. The library was designed by Maine native George Clough,who used granite quarried from nearby Vinalhaven in its construction. The building was later expanded by an addition at the rear, but from the street, the handsome Beaux Arts library looks near-identical as to when it was built over 120 years ago!

The Rockland Security Trust Building is a significant Colonial Revival style bank structure located on Main Street in Downtown Rockland, Maine. Built in 1912 from plans by Boston architect Richard Clipston Sturgis, the brick building is trimmed in marble, to provide a visual representation to the financial wealth and stability the bank could provide its clients. The bank closed and the building is presently occupied by an art gallery. Sadly, the rooftop deck railing takes away so much from the buildings presence.