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International Craft and Design Conference & Talks
17 / 18 September 2015
Parallels – Journeys into Contemporary Making is a rare opportunity to hear over 25 leading international and local makers, designers and curators share their view on the changing worlds of craft and design.
Looking both globally and locally this 2-day conference provides a range of informative, inspirational, and provocative talks revealing the shifting priorities and emerging opportunities for Australian craft and design.
Download program outline and times.
This international craft and design conference is presented by the National Craft Initiative and the National Gallery of Victoria.
Tickets on sale now.
Day 1 — MARKET
Thursday 17 September
9.00am – 5.30pm
Clemenger Auditorium
NGV International
180 St Kilda Road, Melbourne
New production, presentation and curatorial models and growing collector and commercial markets (both geographic and demographic) are redefining the traditional commercial landscapes for craft and design. Through the stories of our international and local guests, Parallels sets off on a broad scan of the new craft and design landscape—visiting niche brands and innovative workshops, digital platforms and international design events geared around limited editions and collectables.
Speakers will explore and communicate the accessibility, scale and dynamism of the international market for collectable craft and design through the lenses of making, exhibiting, collecting, and selling.
At the same time they will consider how accelerating global connectivity and shifting retail fortunes are powering consumer demand for hand made items and bespoke brands—artefacts that combine innovative design and materials with heritage and the handmade.
Day 1 speakers include:
Day 2 — MAKING
Friday 18 September
9.00am – 5.30pm
Clemenger Auditorium
NGV International
180 St Kilda Road, Melbourne
The convergent worlds of craft and design are diverse and ever changing. Parallels asks a group of internationally respected craft and design practitioners to reflect on their practice—revealing inspirational journeys of heritage, technology, purpose and place.
These conference presentations each examine the ways that people differently embrace and apply skills, materials and ideas. Stretching from ancient materials to emerging technologies—we ask each speaker to articulate the personal and professional landscape within which they operate.
Through their unique individual trajectories, we traverse broad terrain—from research, narrative, materials and technology, to tradition, ceremony and culture.
As technology and globalisation redefine the ways in which we all consume and value objects, how does each practitioner perceive and interpret change?
Day 2 speakers include:
A vibrant program of gatherings, exhibitions and independent but allied events extends the Parallels speaking events into a broader celebration of craft and design. Delegates can access a rich array of interlinking events in Melbourne in September. See you here!
Gallery Funaki presents a very special pop-up exhibition of select highlights from the chp…? jewellery range. chp..?, the brainchild of Gijs Bakker and Marijke Vallanzasca, has brought an eclectic, innovative range of contemporary jewellery to the world since 1996. Manufactured in Amsterdam and featuring international designers including Bakker, Marc Newson, Warwick Freeman and Mi-Ah Rödiger, chp…? straddles the divide between contemporary craft jewellery and design, making designer jewellery more accessible to more people.
Image: Gijs Bakker, Plastic Soup bracelet, plastic drinking straws, gold plated
The Rigg Design Prize is a major design exhibition and prize presented by the new Department of Contemporary Design and Architecture at the NGV. Formerly the Cicely & Colin Rigg Contemporary Design Award, the Rigg Design Prize 2015 will feature object-based work by seven leading Australian design practitioners displaying outstanding creative achievements in design production. One participant will be selected to receive a $30,000 cash prize by 2015 Judges Gijs Bakker (The Netherlands) and Wava Carpenter (USA).
Image: Brodie Neill, Reverb chair, 2009
Through a combination of artists, materials and ways of making Electric maps the collaboration of the handmade with digital technology. Crafted objects across metals, plastics, ceramics and textiles engage the body in participatory gallery experiences with installations referencing interaction, wearability and function. Featuring Alterfact, Bin Dixon-Ward, Mark Edgoose and Douglas McManus. Curated by Debbie Pryor.
Offered as part of Craft Cubed, Craft Victoria's Koorie Showcase will present a curated selection of work from a number of Aboriginal artists in Victoria. Exploring traditional and contemporary forms, the Showcase will include installations, ceramics, jewellery and weaving. Senior Aboriginal Weavers will also be holding weaving workshops in the Atrium throughout the day.
Image details: Lee Darroch, Possum Skin Armband
Radiant Pavilion is a celebration of the many aspects of contemporary jewellery and object practice in Mel-bourne and around the world. The curated program runs 1-6 September 2015 and includes urban interventions, performances and installations, as well as exhibitions, talks and open studios.
Presented by the World Craft Council, Australia
Craft – the Australian Story ask what the role of craft is in Australia today? This national symposium will explore the unique connections that craftspersons make between Australia and our region. Speakers will consider what distinguishes Australian craft on the world stage and how it contributes to our contemporary life.
Image: Vipoo Srivilasa Happy Land 2015
Design Tasmania will host the inaugural Parallels Design Camp with international guests leading a hands-on designing and making workshop on Bruny Island. Camp participants will be asked to think both as designers and makers so as to examine the ways in which they differently embrace and apply skills, materials and ideas.
The Craft Cubed Festival Online Program Guide will list and guide you to over 100 unique events happening throughout Melbourne and Victoria via a new mobile enabled site.
Image credit: Meg Nicolson
Craft Victoria's annual daylong seminar features nine prominent speakers talking about career journeys and providing advice, stories, philosophies and unique perspectives on different working methodologies in creative fields.
Cost: $45 / $90
The Craft Window Walk represents a collaborative project between Craft Victoria and some of Melbourne's favourite spaces and makers. Presenting a series of innovative window installations throughout the CBD, the immersive program will showcase the work of emerging and leading practitioners, working across a diversity of medium and scale in local shopfronts.
Image credit: The Golden Opportunity Shop, Ria Green and Aliça Bryson-Haynes
Jewellery talks for people: it has a unique capacity to attract, deflect, evoke, provoke, guard, reveal, seduce, in other words to perform for people. When gifted, jewellery acts between people, it builds connections and forges alliances. UNcommon moments, an exhibition by Susan Cohn explores those moments in life where jewellery is not given but could be, to say something that would not otherwise be said. It will attempt to understand the changing ways in which people communicate, and how the language of jewellery could bring a different attention to life changing experiences
Fringe Furniture 2015: Between the Lines invites you to look closely at design, to discover meanings beyond the practical and interpret the messages implied in the work of some of the most innovative and evocative emerging and established designers.
Fringe Furniture is a showcase exhibition of furniture, lighting, homewares, wearable objects, permanent and ephemeral works. Recognised as an experimental playground, Fringe Furniture has provided an exciting platform for artists and designers for almost 30 years.
Download program outline and times
Parallels offers a two-day program of international and local speakers, panels and associated networking opportunities. Delegates can purchase individual day tickets plus optional lunches. Venue capacities vary and some events are expected to sell out. All prices are inc. GST.
Read the descriptions below and then proceed to book your selected events. Some allied events are independently ticketed while others are free. See the allied events listings above.
Includes full day program, arrival refreshments and afternoon tea. 20% discount for students (must show student card at registration). 10% discount for NGV members (login and book as an NGV member to access).
Networking Lunch – Day One
Date: 17 September
Time: 12.30pm – 1.30pm
Venue: NGV International
Cost: $50 per person
A shared lunch designed to react to the themes of the day. Catering for dietary requirements and food allergies with prior notice. Seats limited.
Includes full day program, arrival refreshments and afternoon tea. 20% discount for students (must show student card at registration). 10% discount for NGV members (login and book as an NGV member to access).
Networking Lunch – Day Two
Date: 18 September
Time: 12.30pm – 1.30pm
Venue: Federation Square
Cost: $50 per head
A shared lunch designed to react to the themes of the day. Catering for dietary requirements and food allergies with prior notice. Seats limited.
Parallels is developed by the Department of Contemporary Design and Architecture at the NGV as part of the National Craft Initiative (NCI).
The National Craft Initiative (NCI) is a partnership between the National Association for the Visual Arts (NAVA) and the Australian Craft and Design Centres (ACDC) to support, build and advocate for the craft and design sector in Australia.
This project follows on from the publication of its major report, 'Mapping the Australian Craft Sector'.
The NGV and the NCI gratefully acknowledge the assistance provided by the Australian Government through the Australia Council, its arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
L'ArcoBaleno is a new and rapidly growing global resource for exploring, discovering, and collecting extraordinary design from around the world. The site mixes a strongly curated marketplace with intelligent, magazine-style content covering innovative and intriguing work across the spectrum of design–from furniture, lighting, crafts, and decorative arts to architecture, travel, fashion, and technology.
After studying Design History at Parsons, Wava Carpenter has worn many hats in support of design culture: teaching design studies, curating exhibitions, overseeing commissions, organising talks, writing articles, and all manner of work. She worked for many years as Curator of Design Miami.
Wava and the L'ArcoBaleno team travel the globe to discover material from the world's most interesting galleries and makers. They offer fresh insight through diverse content produced in collaboration with today's most forward-looking and influential curators, collectors, designers, artisans, and nerds. From design masters to emerging talent, they celebrate the people, places, and things that shape the design world, both past and present.
Helen Souness came into her role as Managing Director, Australia and Asia at Etsy in 2014 with the mission to develop the team and business within Australia and Asia. Her CV includes senior roles in market-leading companies including SEEK, Lonely Planet and Envato.
According to Souness, Etsy's mission to 'reimagining commerce in ways that make for a fulfilling and lasting world,' was what first attracted her to the role. "It seems to me that the ways Etsy maximises the benefits to makers and sellers of craft, vintage and supplies is real proof of the company's commitment to their local artists and suppliers, and this idea of reimagining commerce."
Approached by the co-founder of Art Dubai to start a fair entirely dedicated to collectible and limited edition craft & design – the first of its kind in the Middle East and South Asia, Cyril Zammit launched Design Days Dubai in 2011. He continues to coordinate with global design galleries, and to work with the renowned makers, designers and professionals from the design industry, to strengthen Design Days Dubai's role as the definitive modern and contemporary design show, appealing to a broad public including design collectors, designers and architects.
Design Days Dubai is the leading fair in the Middle East and South Asia dedicated to collectible and limited edition furniture and design objects. The fair presents craft & design from leading international designers and galleries alongside up and coming design from across the world. The fair also presents a strong non-commercial program consisting of education, workshops, installations and live performances.
Born in Paris, Cyril Zammit started his career at the Institut Français in Prague, relocating to London to work in the Cultural Department of the French Embassy. Following a move to Switzerland, Zammit managed the sponsorship for Montreux Jazz Festival, the International Sponsorship team of UBS, the Verbier Festival Youth Orchestra and later the sponsorship for Art Basel and Art Basel Miami Beach. In 2005, Zammit joined HSBC Private Bank (Suisse), as Marketing & Communications Senior Manager, where he signed and man-aged the sponsorship of Design Miami/ and Design Miami/Basel until June 2009 later joining the cultural department of Tourism Development & Investment Company (TDIC), Abu Dhabi, as Senior Sponsorship & Funding Manager.
Judith Glover is a designer and lecturer in the industrial design program at RMIT University. She has degrees in industrial design from Swinburne University and visual arts from Sydney College of the Arts. Working in the metal trades as a boiler-maker and blacksmith between degrees she now practices in the field of ceramic production heading her own design studio Goldfrau designing and manufacturing high quality sex toys. Judith currently teaches the subject Sex Sells within the design studies course at RMIT, which focuses on how notions of gender and sexuality become embedded in design and mass production.
Internationally acclaimed Designer Jon Goulder founded his studio in 1996 after graduating from Canberra School of Art. Jon grew up surrounded by furniture, both in his family factory and at home. In 1992 he completed and apprenticeship in upholstery and furniture making to become a fourth generation craftsperson. Since then Jon has designed a body of work, which grounds him as a leading Australian craftsperson and designer.
Jon's work has featured in a number of major exhibitions and publications around the world and is held in the permanent collections of the National Gallery of Australia, the Power House Museum Sydney and the Art Gallery of Western Australia. Working alongside Jon's design practice, is his work with individual designers and organisations. Jon recently moved to Adelaide to become the Creative Director of Furniture at the Jam Factory, his interest lays in developing financially sustainable working models for art/craft and design practitioners in Australia.
The Jam Factory Furniture Studio embraces a broad range of craft and design practice, incorporating com-mission design and production ranging from small-scale production of furniture and objects to site-specific artwork for public and private spaces and custom interior fit outs. With a focus on development of individual furniture ranges and exhibition pieces, the Studio is a place where exploration of materials, ideas and process leads to 3-Dimensional reality.
Associates working under Jon's leadership in the Studio experience all aspects of studio and commission projects, developing skills in design, costing, client liaison, tendering and manufacture while working with a variety of design techniques and materials, including timber, plastics, metal and textiles.
Melanie Katsalidis is a jeweller and the director and founder of Pieces of Eight. Growing up in a creative household, she developed a passion for art and design early in life. She pursued these interests by undertaking a major in art history via Bachelor of Arts degree at Melbourne University (2000) and a Bachelor of Fine Arts, Gold and Silversmithing at RMIT University (2003). In 2005 Melanie established Pieces of Eight. Originally located in North Fitzroy, Pieces of Eight developed as both a gallery to support her peers and workshop to six jewellers.
In 2010 Pieces of Eight moved to the centre of Melbourne's CBD. Located in Russell Place and housed in a custom built space she designed with her architect father, the Melbourne gallery showcases the collections of carefully selected local and international artists. Regular exhibitions and events bring new ideas and energy into the space and include large scale window installations. A focus on creativity extends to working with clients and artists on bespoke commissions to create a unique outcomes. Over time Pieces of Eight has built a solid reputation as one of the most exciting and original of its kind and celebrates its 10 year anniversary this December.
Trevyn and Julian McGowan have been exporting South African design to the international market for 10 years. In 2008 they saw the need for a platform to provoke new work at the very top end, and to show-case it collectively on the national and international design stage. Trevyn and Julian McGowan established Southern Guild as a forum for South African designers to challenge and support each other, unified by national origin, but with diverse views and voices, and the collection now has a reputation for innovation, excellence and a truly fresh perspective. On an annual basis, they invite a selection of the very best local makers, designers, artists, architects and upcoming talents to produce and premier original pieces for the Southern Guild collection that year.
As the sole gallery representing South African limited-edition design, Southern Guild finds that many international curators and critics hear the unique voice South Africa brings to the world. Southern Guild offers something grounded in social and political realities, narrative, a true bond with nature and a sense of human connectedness. Southern Guild has far less interest in trends or in the highly polished, technologically driven visions of design prevalent elsewhere.
Brodie Neill is an Australian-born designer based in London, UK. Neill graduated from the University of Tasmania receiving a Bachelor of Furniture Design in 2002 before completing postgraduate studies at the Rhode Island School of Design, USA in 2004. Brodie entered the international design scene at Milan's Sa-lone del Mobile in 2005; later that year he established a studio in London's East End.
His design studio produces designs in a variety of scale and scope, from production furniture and lighting for international brands such as Kundalini and Riva 1920, to one-off projects for global brands such as Swarovski and Alexander McQueen. Commissioned to produce collectible limited edition design for galleries and private collectors around the world, his @ Chair was included in Time Magazine's, list of most influential designs of 2008.
Exhibiting regularly at design events worldwide, Brodie's work has appeared at Salone del Mobile, Milan (2007-2009), Fuorisalone Milan (2011-2015), International Contemporary Furniture Fair, New York (2009), ARCO, Madrid (2011), Maison Objet, Paris (2011), London Design Festival (2011-2014), Art Amsterdam and Art Paris (2012), Kortrijk Biennale and Stockholm Furniture Fair (2014).
In 2013, Neill founded the furniture brand Made in Ratio with the aim of designing, producing and marketing his own furniture and objects. Utilising digital design processes in collaboration with Europe's best crafts-people, Brodie has launched three Made in Ratio collections, across four continents.
Antonia Syme is the Director of the Australian Tapestry Workshop (ATW ) and a Board Director of the Abbotsford Convent Foundation in Melbourne. She has worked for many years in the arts and cultural sector as a director, consultant, conservator and curator. She was Director of Artbank for over ten years. Her experience has spanned both the private and public sector, in Australian cultural institutions and as Co-Director of the Syme Dodson Gallery in Sydney. Antonia was the Chair of Craft Australia from 2009 to 2011 and was on the Board from 2007. Board and Committee membership includes the the Federal Government's Taxation Incentives for the Arts Committee, NSW National Trust's Museums and Collections Committee, the Heritage Council (NSW) Maritime Archaeological Advisory Panel, the Sydney College of the Arts Board and the Camden Park Preservation Committee.
The Australian Tapestry Workshop (ATW) is regarded as an international centre of excellence for innovative, contemporary, hand-woven tapestries, created in collaboration with leading artist. It is the only place of its kind in Australia. The ATW has created more than 500 handwoven tapestries, working with the skills and traditions of hand made tapestries in its 39 years. However the ATW continues to push the boundaries of contemporary tapestry beyond the visual arts sector, spanning art, architecture and design, to ensure that the artform and the skills are kept alive and vibrant through active collaboration with creative individuals and collectives. . Major works are displayed in Australia's Parliament House, national and state galleries, national and state libraries, the Sydney Opera House, the Victoria Arts Centre, Melbourne Recital Centre, Esplanade Theatres on the Bay (Singapore), Nanjing Library and more.
On an international level there are a growing number of artists and designers are increasingly interested in working with handmade tapestry such as Tracey Emin, William Kentridge, and David Noonan. Keith Tyson (Turner Prize winner 1992) is now working with the ATW on a major tapestry for a UK collector.
The ATW has toured exhibitions to the USSR, the USA, Turkey, Germany, France, Denmark, Japan, India, the UK, Italy, Singapore, Malaysia and New Zealand. Its tapestries are now represented in over 25 corporate collections throughout the world, as well as many public art and private collections in Canada, France, Germany, Japan, Kuala Lumpur, New Zealand, Singapore, South Africa, Switzerland the USA and UK.
John Wardle established his architectural practice in Melbourne and has led the growth of the practice from working on small domestic dwellings to university buildings, museums and large commercial offices.
John has an international reputation as a design architect and has developed a design process that builds upon ideas that evolve from a site's topography, landscape, history and context and a client's particular aspirations and values. The architecture of John Wardle Architects (JWA) is closely tailored to its place and highly experiential in nature. John is attuned to the importance of detail – it is through the detail that the nature of material, the fit to function and the experience of occupation is expressed.
John has formed strong links with both artists and public art galleries and as a practicing architect and board member of both the Anne & Gordon Samstag Museum of Art and The Ian Potter Museum of Art has ccontributed to important public art programs.
In 2006 and 2002, JWA was awarded the Royal Australian Institute of Architects Sir Zelman Cowen Award for the most outstanding work of public architecture in Australia. The practice has also been awarded the Harold Desbrowe-Annear Residential Award on three occasions, the Victorian Architecture Medal for a second time in 2008 and the Esmond Dorney Award for Residential Architecture in 2012. The Shearers Quarters received The Robin Boyd Award for Residential Architecture in 2012 at the AIA National Architecture Awards and the Villa of the Year at the World Architecture Festival in Singapore. The Robin Boyd Award for the Fairhaven Beach House was again awarded to JWA in 2013.
The work of JWA is published widely in Australian and international journals and has been celebrated in a book Volume – John Wardle Architects published by Thames and Hudson, London in 2008. A new book on the practice will be launched at the NGV Summer Architecture Commission Project designed by JWA early in 2016.
Lou Weis is the creative director of Broached Commissions. Founded in 2011 it is unique in the world as a curator and scholarship led design house that creates new work based on particular historical contexts. The company has released two internal collections, Broached Colonial and East, and numerous private commissions. Most notable of the private commissions have been the work for Hotel-Hotel, Canberra and the corporate headquarters for Molonglo Group. In 2014 Broached created the first ever design exhibition at the Ullens Centre for Contemporary Art, Beijing.
Currently Lou is also engaged as a creative strategist by misschu, Platform Strategy Asia, Ramus and Molonglo Group.
Lou has worked as a creative director his entire professional life, spanning back to when he founded the Melbourne office of Inside Film Magazine in 1997.
Laura McCusker is an international award winning furniture designer and maker based in Hobart, Tasmania.
Her work is described as 'exceptional' by Tyler Brule (Wallpaper magazine) and her pieces have featured regularly in Australian and international interior design publications including Monocle, Monument, The Financial Times (UK & Asia), Australian Financial Review, Vogue Living and Craft Arts International, to name a few. Over her 16-year career as a designer/maker, she has been the subject of a number of TV documentaries focusing on her studio practice.
Her work has been commissioned locally by both the Tasmanian Museum and Art Gallery and by MONA (Museum of Old and New Art) and has travelled as far as the US, UK and Europe. In 2013 she won the prestigious Clarence Prize for Excellence in Furniture Design.
Described by none other than David Walsh as his 'furniture designer of choice', Laura has become well established in Tasmania where, since moving here with her family in 2003, she now finds the majority of her clientele.
Laura is a pragmatist in her approach to her work and business. Trained at one of Australia's leading craft schools, The Sturt School for Wood in NSW, her approach to her work has also been shaped by her industrial experience, from her first apprenticeship with a Sydney cabinetmaker to her work on the fit out of an $80 milliion super yacht in Tasmania. These experiences, coupled with Laura's formal woodworking education, have resulted in work where traditional techniques sit comfortably alongside the use of more contemporary technologies.
Her designs are instantly recognisable from the clean aesthetic and mid-century influences, and her no nonsense approach to problem solving some of the most challenging commissions has meant that demand for her work continues to increase locally, interstate and internationally.
Laura is an educator and advocate for the Visual arts, Design and Contemporary Craft sector and its community of makers. She sits on the Tasmanian Arts Advisory Board and is Chair of its Assistance to Individuals Panel.
After graduating from the Politecnico di Milano and a postgraduate course at the Alta Scuola Politecnica, he completed his training abroad, studying Metal & Jewellery Design at the Duncan of Jordanstone College of Art in Scotland, Product Design at the Royal Melbourne Institute of Technology in Australia and Traditional Furniture Design in Spain. For him, design encompasses many different values including objects rationality and people emotions.
Between Milan where he opened a studio/showroom in 2011 and Reggio where he was born and raised, Antonio works on personal limited collections and collaborations with big Italians brands such as Barilla Group, Seletti and Alessi. From his first limited edition collection 'Back Home' in 2012, Antonio's work has a special focus on the relations between artcraft and design with a particular attention to Italian artisanal and strong artistic identities.
Passionate about his work and traditional techniques, Antonio presented his work around the world, DMY in Berlin, the Salone del Mobile in Milan, Maison & Objets in Paris and the Design Centrum Kielce in Poland, Wabi Sabi exhibition in Turin, Nomadismi exhibition curated by Lidewij Edelkoort in Milan and at the Design Museum Holon in Tel Aviv.
Very close to his family, roots and culture, Antonio works hand in hand with his grandfather Saverio. He is now looking to expand his ventures and create new partnerships and collaborations around the world. Simple and rigorous in his design approach, spontaneous and enthusiasm in his work relations, Antonio proposes instinctive solutions in creating everyday objects with a special attention to details and the quality of the materials.
Gijs Bakker was trained as a jewellery and industrial designer at the Gerrit Rietveld Academie in Amsterdam, the Netherlands and the Konstfackskolan in Stockholm, Sweden.
His designs cover jewellery, home accessories and household appliances, furniture, interiors, public spaces and exhibitions. He worked and works for numerous companies, including Polaroid, Artifort, Droog Design, Castelijn, HEMA, Royal VKB, ENO Studio and recently as creative director for Yii, Taiwan.
Bakker has taught at various schools, among which the ArtEZ Institute of the Arts in Arnhem, Delft University of Technology, and the Design Academy Eindhoven where he worked since 1987 until 2012 (since 2000 as Head of the Masters Programme).
In 1993, Bakker co-founded Droog Design, a Dutch collective of designers, products and information. Together with Renny Ramakers, he was the selector and art director of all products within Droog Design until 2009.
In 1996, Bakker co-founded Chi ha paura…? (Italian for Who's afraid of…?). With chp…?, the new brand name since 2013, they wanted to show the international design world that a piece of jewellery is more than a decorative fashion accessory. chp…? invites internationally acclaimed designers to create a special piece for the collection.
Gijs Bakker travels around the world to give workshops and lectures about his own work, Droog Design, chp…?, Yii /HAN gallery and is frequently a member of juries. Gijs Bakker's work is represented in international public and private collections worldwide.
In current design projects, Bakker investigates the relation between craft and design. Since 2009, he is exploring this theme in his role as creative director for HAN Gallery, formerly known as Yii in Taiwan.
Formafantasma's work is characterized by material investigations and experimentation into issues as the relationship between tradition and local culture, critical approaches to sustainability and the significance of objects as cultural conduits.
In perceiving their role as a bridge between craft, industry, object and user, they are interested in forging links between their research-based practice and a wider design industry.
As a result, works by Studio Formafantasma have been commissioned by a variety of partners including Fendi, Droog, Nodus rug, J&L Lobmeyr, Gallery Libby Sellers and Established and Sons.
Whether designing for a client or investigating alternative applications of materials, Studio Formafantasma apply the same rigorous attention to context, process and detail to every project they undertake. The added nuance for the duo is that they do so with an eye to the historical, political and social forces that have shaped their environments.
Their work has been presented and published internationally and museums such as New York's MoMA, London's Victoria and Albert, New York's Metropolitan Museum, the Chicago Art Institute, the Textiel Museum in Tilburg, the Stedelijk's Hertogenbosch, MUDAC Lausanne, the Mint Museum of Craft and De-sign in North Carolina and the Mak Museum in Vienna have all acquired Formafantasma's designs for their permanent collections.
In March 2011 Paola Antonelli of the Museum of Modern Art in New York and esteemed design critic Alice Rawsthorn listed their studio amongst a handful of practices that would shape the future of design.
Andrea and Simone are lecturing and heading workshops in various Education and Institutions. At the moment they are teaching at the 'Well Being' Department of the Design Academy Eindhoven.
Simon Hasan works in the territory between ancient Crafts processes and industrial design. His work is imbued with a richness and texture borne from the use of techniques and materials from these two contradictory worlds.
Simon's approach can best be described as a type of 'design archaeology'; a combination of historical re-search and hands-on material experimentation. The goal is to nurture compelling and relevant outcomes for any given context. Avoiding a particular aesthetic style, Simon's distinctive work often layers materials, processes and textures to create long-lasting objects with a story to tell.
Graduating from the Royal College of Art (M.A. Design Products) in 2008, Simon's collections of leather vases and furniture received widespread attention for the innovative use of the medieval armour-making technique, Cuir Bouilli. Simon's output encompasses leading international design galleries, commercial and private commissions, (most recently with Fendi and Kvadrat), and developing his own range of self-branded pieces for retail sale.
He was part of the Design Museum's Designers in Residence program (2011), and his mannequins for Fendi won a Wallpaper* Design Award in 2012. A fourth mannequin was specially commissioned by the UK Crafts Council for its Permanent Collection in 2013.
Simon runs the Design Through Making platform on the M.A. Design Products programme at the Royal College of Art.
Mavis Ganambarr is one of Australia's leading fibre artists. She began fibre work under the watchful eye of her grandmother and aunties on Elcho Island where she lives with her husband and children. Passing on her knowledge of plants, recipes and techniques to a new generation helps them understand this important part of their culture and how to keep their country strong.
Ganambarr has worked collaboratively over the past two decades with other artists, curators and designers including Louise Hamby, Alice Whish and Sasha Titchkosky. She has exhibited work in the 16th Tamworth Fibre Textile Biennial, most recently at the Powerhouse and in the 29th Telstra National Aboriginal and Torres Strait Islander Art Award in Darwin.
Melbourne based designer Dale Hardiman began his first collaborative studio (LAB DE STU) during the second year of his studies at RMIT in furniture design. In his honours year of Industrial Design, Dale founded a furniture and object brand, Dowel Jones.
Dale's practice simultaneously focuses on items of mass-production for Dowel Jones, and singular works under his own name that focus on more conceptual ideas. Hardiman's theoretical enquiry into design explores the localisation of the production of objects and is manifested in his chosen materials and overall practice.
In 2013, Dale, alongside curator Suzannah Henty, initiated their first curatorial endeavour. The exhibition, OBJECT FUTURE, is an ongoing annual survey that focuses specifically on contemporary Australian de-sign. The exhibition traverses a combination of mass-produced works and one-off pieces – the heart of the project being to support designed outcomes with intellectual foundations.
Operating from a studio in a rubber factory in the Northern suburbs of Melbourne Dale has won numerous artistic and design awards and regularly exhibits nationally and internationally.
Tokyo based architect Shun Horiki studied in both Tokyo and Lausanne Switzerland before joining acclaimed Japanese architecture firm, Kengo Kuma and Associates in 2012.
Since 2014, Shun has coordinated the East Japan Project, an initiative founded by Kengo Kuma. The East Japan Project was created in 2011 to reestablish traditional craft practices in East Japan following the devastation of the Tōhoku earthquake and subsequent tsunami. Through focused research and the sponsorship of emerging craftspeople, the project aims to nurture traditional craft practices and promote a minimalist and sustainable consumer culture through good design.
Khai Liew draws on his cultural heritage and his experience and knowledge as a specialist conservator to design and produce furniture informed by the old and the new, the regional and the international. Ultimately, his oeuvre stands as a highly personal and distinctive statement about beauty and utility. Liew's decades-long championing and promotion of Australian colonial furniture as a conservator, consultant and valuer has led him to curate many significant private and public furniture collections for both state and national art institutions, featuring numerous definitive examples of Australian pioneer vernacular sourced and conserved by Liew.
The production of small editions and one-off furniture commissions takes place in Liew's Adelaide studio and workshop. Since its formation in 1996, the eponymous practice has employed a small group of highly experienced craftsmen to make Liew's works.
Liew's designs have been exhibited at the Victoria and Albert Museum, London, Design Museum, London and the Triennale di Milano. His work is represented in the permanent collections of the National Gallery of Australia, Powerhouse Museum, Sydney, Art Gallery of Western Australia, and Art Gallery of South Australia.
Liew is Adjunct Professor, School of Art, Architecture and Design, University of South Australia and a Fellow of the Design Institute of Australia.
Dr Pippa Dickson has worked as a project manager and consultant in the private and public sectors for more than 15 years. She was recently named in the top 50 inaugural Design Honourees from the Australian Centre of Design for her contribution to design. Pippa has a PhD in Fine Arts, Furniture Design, and a BA in Political Science. She has furniture designs held in private and public collections including the Tasmanian Design Centre, Henry Jones Art Hotel and MONA. Pippa regularly contributes to art, craft and design journals and acts as a judge for design awards. She is currently Chair of Design Tasmania, Co-Chair of the National Craft Initiative and Director of the National Association for Visual Artists (NAVA).
She is the CEO of GASP (the Glenorchy Art & Sculpture Park) a transformed, now national award winning 9 hectare public art and architectural space along the Elwick Bay foreshore. Since 2008 she has been responsible for developing strategic priorities, raising significant investment for infrastructure from all tiers of government and private support for art projects. GASP was incorporated as a Public Art Gallery in 2010 and Pippa works closely with her Board, the community, civic, arts and business leaders on continuing to implement the shared vision.
Pippa believes firmly in and is an advocate for the importance of art, craft and design in our private and public lives.
Penelope's diversified career spans tertiary education, interior architecture, project management, exhibition curation, furniture design and public art commissions. Her multi-award winning work has been exhibited at art and craft exhibitions as well as trade fairs, in London, Milan and throughout Australia. In 2011, her 'Terrain' table was acquired by the Art Gallery of WA, which like much of her recent work, utilises fabrication and design methods that bridge the digital with hand craft. Currently undertaking a PhD, her practice focuses on developing personally endearing objects and public engagement with space through tactility, memory and narrative.
Yasmin Masri is an early career creative with an interdisciplinary practice spanning craft, design, curatorship, publishing and facilitation. She is interested how we design systems for creative participation and the intersection between objects and storytelling.
Graduating in 2013 from a Bachelor of Design Arts at the ANU School of Art, Yasmin majored in both textiles and furniture + digital fabrication. She has shown work at You Are Here festival, Art Not Apart, Fashfest, and Multifringe at the National Multicultural Festival, as well as exhibiting regularly.
Yasmin is a co-founder and creative director of rip publishing, a small press focused on cross-disciplinary community story sharing. She is also a founding director of Noted, Canberra's experimental festival of words. Yasmin works at Craft ACT: Craft and Design Centre where she is the Program Producer for the DESIGN Canberra festival.
Geoff Nees is a Melbourne based artist and curator. Geoff has collaborated with many of leading Australian and international architects and designers to deliver large scale facade designs for major property developments and international projects, including the façade for the Australia Pavilion at the Japan World Expo 2005. He exhibits regularly in Australia and overseas.
Elliat Rich is based in Alice Springs, Central Australia. She works across a broad-spectrum of design for a diverse client base, remotely, locally and nationally. Her practice covers cross-cultural resources, exhibition design, public art and furniture, product development, one-off exhibition and limited run objects.
All projects align with an ethical imperative to increase equality between people and across species. Rich completed her Bachelor of Design at the College of Fine Arts, UNSW with first class honours in 2006. In 2014 her and her partner launched Elbowrkshp, a studio, retail space and workshop that they share with other creative professionals.
Damien Wright is an award-winning furniture designer and craftsman. He works almost exclusively with recovered Australian timbers, in particular, indigenous hardwood species that are not traditionally used to make furniture. Damien sources his timber directly from farmers and millers in western Queensland, NSW, Victoria and Tasmania. He is acclaimed for his unique 'whole tree' approach to furniture design and construction. Damien employs rare joinery techniques such as blind-mitred dovetails and thick veneering.
Contracting on a commission-only basis, Damien works either directly with clients or through architects and interior designers. His public commissions include the Federal Court of Australia, the National Gallery of Victoria, the Melbourne Immigration Museum, Federation Square Management offices, the Koori County Court of Victoria and the Archdiocese of Broken Bay. Damien's private commissions are represented in family homes and private art collections. Wright Studios is located in Northcote, Victoria.
Sasha Titchkosky is the co-founder of Koskela, a Sydney based furniture and product design company and retail store established in 2000 with Russel Koskela. Designing and manufacturing in Australia for the commercial and retail sectors, Koskela have worked with leading Australian corporations, architects and design firms to furnish domestic, workplace and university interiors.
Titchkosky and Koskela believe that great design can be used to effect social change. Collaborating with Yolngu weavers from Elcho Island Arts on interior and lighting products since 2009. The on-going collaboration aims to provide Indigenous weavers with an additional stream of income from their work and develop new and compelling contemporary design products for the interiors market. In 2010 the collaboration result-ed in the lighting products Yuta Badayala (translation "In a new light") with the weavers contributing technical skills, material knowledge and artistic capabilities and Koskela contributing design and marketing skills along with their significant experience in the interiors market.
Margaret Wertheim is the founder of the Los Angeles based Institute For Figuring, an organisation devoted to the aesthetic dimensions of science and mathematics. Through the IFF, she has created exhibitions and programming for galleries around the world, including the Andy Warhol Museum, the Smithsonian, the Hayward Gallery (London), and Science Gallery (Dublin). At the core of the IFF's practice is the concept of material play. The IFF's Crochet Coral Reef is now the largest participatory craft and science project in the world, and has been done by communities around the globe from London, New York, and Melbourne, to Latvia and Abu Dhabi
Susan Cohn has a long-standing practice working across the art-craft-design divide. Living in Melbourne Australia, she has been making work for over 30 years, and she has exhibited extensively in Australia and internationally, including a major survey exhibition – Techno Craft: the work of Susan Cohn 1980-2000 – toured nationally by the National Gallery of Australia and a solo exhibition – Black Intentions – presented by the National Gallery of Victoria in 2003.
Cohn has a Doctor of Philosophy in Fine Art Theory and she is represented by Anna Schwartz Gallery. Cohn's broad understanding of design and making has also enabled her to work as a designer for Alessi, as the curator of the international exhibition Unexpected Pleasures – the Art and Design of Contemporary Jewellery, commissioned by the Design Museum, and as editor/writer for the accompanying book published by Rizzoli International Publications, New York. Cohn is the current artist trustee at the NGV.
Simone LeAmon is the Hugh Williamson Curator of Contemporary Design and Architecture at the National Gallery of Victoria.
Working internationally for two decades as an artist, industrial designer, design curator, writer and academic, LeAmon has established a career as one of Australia's foremost design practitioners, championing the importance of design and creativity, and the work of the creative communities we live in.
Dan Honey is General Manager of Field Experiments – a nomadic design collective that uses collaborative making to explore diverse cultures and craft communities in different regions around the world. Underpinned by cross-cultural exchange, Field Experiments produces projects, objects and ideas across multiple formats including furniture, clothing, video works, publications, exhibitions, interiors, installation and printed materials. The project has been presented at New York Design Week, Ventura Lambrate in Milan, Design Museum in London.
Dan has been working as an advisor to the creative industries for more than 10 years. She has a wealth of experience in conceiving, managing and implementing special projects for design, art and creative communities. Dan has a penchant for the experimental and is a supporter of initiatives and designers that challenge conventions and exist outside of traditional models.
Dan is also a partner at Office for Good Design—a collective that promotes the value of design and creativity in shaping a positive future. She has been engaged by MPavilion, NGV and the State Government of Victoria to create public programs, exhibitions and events that inform people, using unexpected and accessible formats, about the everyday impact of design. She is currently managing a series of special projects and covert operations for Hotel Hotel in Canberra.
Ewan McEoin is the inaugural Hugh D.T Williams Senior Curator of Contemporary Design & Architecture at the NGV. Ewan has had a diverse 20-year career within the Australian design and creative industries writing, editing and curating festivals and major exhibitions. He was the long-standing editor of the Australian Design Review, co-edited and published the Melbourne and Sydney Design Guides, and has edited several books on architecture and design – the most recent being Under the Edge – a monograph on the work of the 2015 AIA gold medalist Architect Peter Stutchbury.
From 2008 – 2011 he was the Creative Director of Australia's two largest design festivals – Victoria's State of Design and Queensland's Asia-Pacific Design Triennial Unlimited Ewan McEoin has recently been appointed to lead the newly created department of Contemporary Design & Architecture at the National Gallery of Victoria.
Dr Kevin Murray is an independent writer and curator, Adjunct Professor at RMIT University and Research Fellow at the University of Melbourne. In 2000-2007 he was Director of Craft Victoria where he developed the Scarf Festival and the South Project, a four-year program of exchange involving Melbourne, Wellington, Santiago and Johannesburg. He has curated many exhibitions, including 'Signs of Change: Jewellery Designed for a Better World'; 'The World of Small Things'; 'Symmetry: Crafts Meet Kindred Trades and Professions'; 'Water Medicine: Precious Works for an Arid Continent'; 'Guild Unlimited: Ten Jewellers Make Insignia for Potential Guilds'; 'Seven Sisters: Fibre Works from the West'; 'Common Goods: Cultures Meet through Craft' for the 2006 Commonwealth Games and Joyaviva: Live Jewellery Across the Pacific that toured Latin America. His books include Craft Unbound: Make the Common Precious (Thames & Hudson, 2005) and with Damian Skinner, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand (Bateman, 2014). He is currently a Vice-President of the World Craft Council Asia Pacific Region, coordinator of Southern Perspectives and Sangam: A Platform for Craft-Design Partnerships. He teaches at RMIT University, the University of Melbourne, Swinburne University and University of New South Wales.
Helen O'Neil is Director of the British Council Australia, the United Kingdom's international organisation for cultural relations and educational opportunities, and is a board member of Craft ACT.
She has worked as an arts manager and director across the creative sector, with a strong focus on building relationships and networks. She was Senior Adviser to the Australian Minister for the Arts, working on the national Creative Australia policy, and taught at the Australian Film Television and Radio School. She has been Executive Director of the Australian Major Performing Arts Group and the Council for the Humanities, Arts and Social Sciences; Chair of the Confederation of Australian International Arts Festivals; and a Director of the Film Finance Corporation. She originally trained as a journalist, working for the ABC, and later worked on digital and broadband TV, including the Foxtel start-up. She is also on the board of Currency House Inc.
Brian Parkes has been CEO and Artistic Director of the JamFactory in Adelaide since April 2010. During this time he has overseen significant growth in the organisation's audience and operational budget, the opening of a satellite facility with studios, gallery and shop in the Barossa Valley, the development of a successful in-house designed product range and the establishment of national touring exhibitions program.
He spent ten years prior to this as Associate Director and Senior Curator at Object: Australian Centre for Craft and Design in Sydney. He curated several important exhibitions for Object including the landmark survey of contemporary Australian design; Freestyle: new Australian design for living. Parkes has written extensively on design and contemporary crafts and in 2009 co-curated Menagerie a nationally touring survey exhibition of Aboriginal and Torres Strait Islander sculpture.
In 2007 Parkes was one of ten curators invited by Phaidon Press, London to contribute to &Fork, a book profiling 100 emerging product designers from around the world and in 2008 he was an Adjunct Curator for the Museum of Arts and Design in New York.
A graduate of the Tasmanian School of Art in Hobart, Parkes has a significant and unusual background in both the creative and commercial spheres within museums and galleries. In the 1990s he managed the merchandising and retail operations at the Museum of Contemporary Art, Sydney (1998-2000) and the National Gallery of Australia, Canberra (1995-98). At both institutions Parkes was regularly involved in major exhibition project teams, development of publications and strategic planning. Prior to this Parkes managed the exhibition program and retail activity at Entrepot Art Products, on campus at the Tasmanian School of Art, Hobart (1991-95).
Over the last thirty years, Steven Pozel's career has spanned across Canada and Australia where he has been a champion of visual culture including design, architecture, digital media, public art, craft and the visual arts.
Steven has been the Director of Object: Australian Design Centre since 2000. Object is known for presenting outstanding Australian design, including jewellery, glass, ceramics and Indigenous sculpture to architecture, furniture and fashion. Object recently opened its new William Street Darlinghurst venue as part of its 50th anniversary celebrations.
Prior to moving from Canada in 1997, Steven Pozel was the director of several contemporary art spaces including The Power Plant, Toronto – known globally for its significant exhibitions of contemporary art, design, new media and architecture.
Steven has been a presenter for the SBS Studio arts channel; he consults on creativity and innovation across a broad range of industry – from banking to telecommunications. He is a founding and current Board Member of the Australian Design Alliance, an Industry Fellow for the UTS Business School, as well as a faculty member at The School of Life, Australia.
Scientia Professor Veena Sahajwalla is an ARC Laureate Fellow and the Founding Director of the Centre for Sustainable Materials Research & Technology (SMaRT) at UNSW Australia.
Respected as an internationally award-winning scientist and engineer, Veena's research focuses on the sustainability of materials and processes with an emphasis on environmental and community benefits. One of her most celebrated achievements is the invention of a process of recycling rubber tyres in steelmaking, now known as green steel and commercialised in Australia and overseas by OneSteel.
Veena works collaboratively with companies and institutions and has established strong partnerships and a deep knowledge of industrial processes and problems. Heading up the SMaRT Centre, she provides leadership for research programs on sustainable materials, placing a strong emphasis on the skills and knowledge that are urgently needed to enhance sustainability.
Passionate about science and engineering and very active in communicating her ideas to industry, government, students and the wider community, Veena was a panelist on the popular ABC TV program, The New Inventors, a TEDx presenter in Sydney in 2011, she leads the Science 50:50 campaign to inspire young women into science, and is a regular guest speaker at conferences around the world.


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Flappy bird was incredibly successfull in the short time it was listed – but because of increased complaints against the software it has now been removed from the app store.
Since Flappy Bird, shown above, was removed from Google Play, fake versions of the game containing malware have sprung up around the Internet.
Security researchers are warning Android users not to install versions of Flappy Bird found in alternative app stores as they may contain malware that could lead to unwanted charges on their phone bills.
Flappy Bird is a mobile game that rose to popularity over the last few months but was suddenly removed from both the Apple App Store and Google Play last weekend. Since then, some Android users have turned to alternative app stores to install Flappy Bird clones that have the same name and icon and deliver the same game play.
Trend Micro and Sophos, two security firms, said they have found multiple fake Flappy Bird games that ask users for more permissions than the real version of Flappy Bird did.
When the real version of Flappy Bird was available, it asked users permission for "network access" so that it could display ads, according to Sophos. The fake Flappy Bird games ask for all sorts of permissions, including the ability to send text messages, "draw over other apps," create Web bookmarks on its own, and more.
Users who are eager to play Flappy Bird may give the fake apps these permissions without reviewing them, putting their device in harm's way.
One consequence is that the impostor games may covertly send text messages to so-called premium numbers that charge a user money beyond what a normal text message costs, increasing the user's next phone bill.
The best advice for users is to download apps and games only from the Google Play store, which means not downloading any games that claim to be Flappy Bird.
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subset: commoncrawl


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Wound care orders need to be placed by your treating physician. They can either fax the order into us at: 631-666-5444 or place an order over the phone at: 888-414-9737 or 631-666-5000.
As long as there are no questions on the order, and it is placed before 3pm you will receive the order the next business day after the order is placed.
Medicare requires that you be seen within a 30 day period of placing an order for supplies. Your physician can place the order with us using our order form or they can call in the order at: 888-414-9737 or 631-666-5000. You can also call our customer service team and we can get in touch with your physician to see if they want to order a resupply.
Medicare will cover the wound supplies through the nursing agency. Once you are discharged from the nursing agency, supplies can be ordered through OJ Medtech. Supplies cannot be ordered through OJ Medtech or any vendor if there is a home health agency actively visiting your home. Supplies cannot be ordered through any vendor if you are in a rehabilitation or in a skilled nursing facility for under 100 days.
Medicare and other insurers pay based on the coverage percentage (co insurance). If you have any questions regarding this, please contact our customer service team at: 888-414-9737 or 631-666-5000.
Simply call 888-414-9737 or e-mail your matter to firstname.lastname@example.com and our customer service team will get back to you with a solution ASAP.


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Press Releases
WASHINGTON – In response to President Trump's abuse of Section 232 to unilaterally impose tariffs on steel and aluminum imports from our closest allies, the Senate today voted 88-11 to re-assert Congress' constitutional role in U.S. trade policy. U.S. Sen. Mark R. Warner (D-VA), who is a leading sponsor of bipartisan legislation requiring the White House to seek Congressional approval before issuing tariffs designated in the interest of national security, applauded today's move.
"President Trump's ill-considered steel and aluminum tariffs will make it more expensive for Virginians to buy something as big as a new car or as small as a can of beer. They're also causing unnecessary pain and uncertainty for Virginia's ag producers as our allies impose retaliatory tariffs on U.S. exports of soybeans, pork, and more," said Sen. Warner. "I believe that we should hold China accountable for unfair trade practices, and I support strong trade enforcement rules that protect American workers. But the President should not be relying on a law intended to uphold national security in order to impose tariffs on our strongest allies."
Added Senator Warner, "A majority of Senators from both parties have sent a message to President Trump that using 'national security' as a pretext to impose tariffs on steel and aluminum from our closest allies is unacceptable. While today's vote was non-binding, it's a good first step in re-asserting Congress' constitutional responsibility on trade policy. We must act in order to make sure that Americans can keep buying affordable products and selling our goods abroad."
Today's vote was a procedural motion on what's known as a "motion to instruct," directing Senators working to reconcile differences between separate funding packages passed by the House and the Senate to push for the inclusion of language that would give Congress a say in the White House's national security tariffs. One way lawmakers could comply with the motion to instruct would be to adopt language closely mirroring legislation introduced by Sen. Warner along with Sens. Bob Corker (R-TN) and Pat Toomey (R-PA) that would require the president to submit to Congress any proposal to adjust imports in the interest of national security under Section 232 of the Trade Expansion Act of 1962. President Trump has used this provision to impose steel and aluminum tariffs that target imports from some of the United States' closest allies like Canada, Mexico, and the European Union. As a result, businesses that make products containing these materials, such as Virginia craft beer producers, expect to see increased production costs that will likely mean higher prices for Virginia consumers.
In addition, several countries have announced they plan to impose retaliatory tariffs on key Virginia agricultural exports in response to the Administration's trade policy. Just last week, as retaliation for the President's trade moves, Beijing slapped a 25 percent tariff increase on imports of several U.S. products, including soybeans and pork. Given that the Chinese are the world's leading consumers of pork, and the country purchases nearly one-third of all U.S. soybean production, the maneuver is expected to further hurt pork producers and soybean growers in Virginia who were already reeling as a result of President Trump's trade policies.
The bill, which has 16 bipartisan Senate co-sponsors, has been endorsed by more than 270 business and agricultural groups, including the Virginia Chamber of Commerce. A longer list of organizations supporting the bill is available here.


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Statewide Water Savings Exceed 19 Percent in October; Most of State Still Experiencing Drought Conditions
For Immediate Release
Dec. 6, 2016
SACRAMENTO — The State Water Resources Control Board today announced that urban Californians' monthly water conservation was 19.5 percent in October, up from 18.3 percent in September and a bit below the 22.3 percent savings in October 2015, when state-mandated conservation targets were in place. The State Water Board stressed the need for continued conservation despite early rains in Northern California.
The cumulative statewide savings from June 2015 through October 2016 was 22.8 percent, compared with the same months in 2013. Since June 2015, 2.26 million acre-feet of water has been saved — enough water to supply more than 11 million people, or more than one-quarter the state's 38 million population, for a year.
Although October and November rains in Northern California provided an encouraging start to the 2016-2017 water year (Oct. 1, 2016 – Sept. 30, 2017), 73 percent of the state remains in drought conditions. The State Water Board will continue to monitor conservation levels and water supply conditions, and will consider a staff proposal to extend emergency conservation regulations in January. The proposal may include a return to state-mandated conservation targets if dry conditions return or if conservation levels slip significantly.
"Californians' continued commitment to conservation shows they don't take water for granted anymore," said State Water Board Chair Felicia Marcus. "With climate change playing an increasingly disruptive role, we need to save where we can, when we can. Coupled with recycling, stormwater recapture and other measures, it will extend our local water resilience."
"It's good to see improvement in conservation in areas that had slipped, particularly in northern California, whether that was because of rain or other reasons, even though they have better supplies than in previous years," Marcus added.
- Statewide water savings for October was 19.5 percent (111,409 acre feet or 36.3 billion gallons), an increase from September's 18.3 percent savings. The gap in savings compared with the same month a year earlier -- October 2015's 22.2 percent savings (41.8 billion gallons) – was smaller than during the preceding few months. October 2016 water savings were 13 percent lower than October 2015.
- Cumulative statewide percent reduction for June 2015 – October 2016 (seventeen months) was 22.8 percent, which equates to 2,259,111 acre-feet (736.1 billion gallons).
- Statewide average water use was 89.5 residential gallons per capita per day (R-GPCD) for October, below the 106.4 R-GPCD in September 2016 and slightly above the 87.2 R-GPCD reported for October 2015.See the October fact sheet here. All October data can be found on the conservation reporting page.
Conservation levels have remained significant for many communities that had certified that they did not need state-imposed mandates to keep conserving.
Under the board's revised emergency water conservation regulations, urban water agencies have the ability to identify their own conservation standards based on a "stress test" of supply reliability. Water suppliers had to document that they have sufficient supplies to withstand three years of continuous drought or take additional measures that include state-imposed mandatory conservation standards. The regulation is in effect through January 2017. Those stress test results are here.
In October, about half of suppliers achieved water savings above 20 percent. These 196 suppliers serve more than fourteen million people, and include East Bay Municipal Utilities District, San Jose Water Company, Sacramento, Alameda County Water District, Modesto, California-American Water Company Sacramento District, Contra Costa Water District, Huntington Beach, Marin Municipal Water District, Sacramento County Water Agency, Stockton, Sacramento Suburban Water District, Santa Rosa, and California Water Service Company Stockton.
Additionally, many water suppliers showed October 2016 conservation levels that were even higher than October 2015 levels, including Sunnyvale, Victorville Water District, Daly City, Redding, Vacaville, Casitas Municipal Water District, Hillsborough, Estero Municipal Improvement District, Morgan Hill, Wasco, and Fruitridge Vista Water Company.
In looking at the data, percentage savings alone do not tell a complete story of conservation achievement. Suppliers with already low R-GPCD use are taking more significant efforts to save water with small percentage reductions than big users of water for whom it easier to save water, particularly on outdoor ornamental landscapes. Despite less than 10 percent water savings in October 2016, examples of communities with low R-GPCD and already significant conservation and efficiency achievements include San Diego, Golden State Water Company (Florence Graham), Seal Beach, and Hi-Desert Water District.
However, not all suppliers are sustaining significant conservation. State Water Board staff continues to look at why conservation levels have dropped in these communities, and is particularly concerned about suppliers with extremely high levels of per-capita water use. Suppliers with high R-GPCD levels and sharp reductions in conservation include: Vaughn Water Company, Valley Water Company, LA County Waterworks District 29 (Malibu), Coachella Valley Water District, and Myoma Dunes Mutual Water Company.
Some communities continue to maintain low overall per capita residential water use, which may not be reflected in percentage change, but illustrates a long-term commitment to efficient water use.
For instance, Mammoth Community Water District, Golden State Water Company Florence Graham, Humboldt Community Service District, Paramount, McKinleyville Community Service District, Arcata, Crescent City, Seal Beach, and Hi-Desert Water District are examples of communities saving less than 10 percent in October 2016, yet the daily per capita use is already well below what a city in the Sacramento Region may be using on a daily basis. For agency data on water savings and average daily use, visit here.Status of Permanent Water Use Efficiency Targets Effort
The current conservation regulation, adopted in May, is part of a wider effort to build on short-term, emergency water restrictions to establish permanent conservation measures that improve long-term drought preparedness and eliminate the worst water-wasting practices. These actions will help achieve a top priority of the state's Water Action Plan - to "Make Conservation a California Way of Life."
In May, Governor Edmund G. Brown Jr. issued an executive order calling for new permanent water use efficiency targets for each urban water supplier that reflect California's diverse climate, landscape, and demographic conditions. The local "stress test" data and three-year resiliency plans collected by the State Water Board will serve as a bridge to these actions and inform the development of new water use efficiency targets.
On Nov.30, the State Water Board along with four other state agencies released a draft framework for implementing the executive order. The new plan's fundamental premise is that efficient water use helps all of California better prepare for longer and more severe droughts caused by climate change. The framework develops long-term water conservation measures that will ensure all communities have sufficient water supplies. This will involve activities such as permanently banning wasteful practices like hosing off sidewalks and driveways and ensuring farmers plan and prepare for severe drought.Background
California has been dealing with the effects of an unprecedented drought. To learn about all the actions the state has taken to manage our water system and cope with the impacts of the drought, visit Drought.CA.Gov. Every Californian should take steps to conserve water. Find out how at SaveOurWater.com. While saving water, it is important to properly water trees. Find out how at www.saveourwater.com/trees. In addition to many effective local programs, state-funded turf removal and toilet replacement rebates are also available. Information and rebate applications can be found at: www.saveourwaterrebates.com/.


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What if you woke up and all you felt was acceptance in your heart for yourself and all you meet?
What if every breeze that hits your cheek felt like loving kisses?
What if you lived your life from the purpose of your being?
What if today was a day that you recognized you are enough and you always have been?
Listen to the answers that come into your heart. Listen to the words that come out of your mouth. Listen as if your life depended on it.
Wishing you lots of love to see the truth, lots of joy to live your dreams and lots of truth to guide your way.


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Digitized mixed, found media.
Born/raised in Lakewood CA, a burb of Los Angeles, son of an artist and inventor/electrician and mom who took great care of all of us. I've done art-stuff all of my life and now ,make a living doing Graphic Design (Web primarily although Print is still in my graphic vocabulary of skills) and Art.
Majored in Fine Arts Studio at Kent State University and graduated from Denison University with a BFA (minored in Philosophy at both) that to me is comparative to a Masters from some other schools – that's how intense and quality ridden the art department is at Denison. My major area of concentration was/still is Mixed Media although I have to say that the computer as paint brush is been my favored tool of choice for the past some 12 years. It's a lot more versatile than one might think it is. Couple it with an over-sized scanner, Wacom Cintiq, Nikon D32, Adobe Photoshop, Corel Painter, Smith Micro Poser, Adobe Illustrator, and some other stuff one can a lot artistically.
From my days driving and walking around seeking out found objects and strategically making my works I have allocated and used my working philosophy of incorporating these objects into a visual lexicon that symbolically and allegorically speak along in narratives that are sometimes and somewhat autobiographical but also entrenched in the human condition of the self overcoming fear and desire as looked at as a Buddhist strives towards the state of being one with the bigger picture and the world and all us folks in this world. In other words, I document my journey as a Buddhist/Taoist in this Western World through my artwork which for me is the easiest language to speak. I use a symbol-language to do so that is often esoteric and also exoteric.
Series from 2012-1013:


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Published at Friday, October 26th, 2018 - 09:42:15 AM. Home Design. By Alice Scott.
Although the quality of the types of cardboard furniture that is available to consumers today is much higher than it used to be, affordable furniture that is made of cheap materials has been around for decades. Ever since the middle of the 20th century, a growing number of people have begun moving around much more frequently than previous generations, and they quickly learned the benefits of traveling light. Whether it was to find a better life or simply to explore the world on their own, people rarely stay put for very long these days when they leave their parents nest, and cardboard furniture has made it possible for these individuals to afford decent furniture that can be transported from one place to another relatively easily.
Another benefit of using cardboard furniture is that these pieces are much easier to clean and maintain than most types of traditional furniture. In the case of many types of wooden furniture, owners need to perform a number of routine maintenance tasks in order to keep their furniture looking its best. While some people actually enjoy performing the tasks of keeping their favorite pieces of furniture well oiled and polished, many people find the amount of maintenance that most furniture requires to be a bit of a nuisance. With cardboard furniture on the other hand, very little maintenance is require in order to keep ones home looking sharp. So long as these pieces are dusted off from time to time, this type of furniture is virtually maintenance free.
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Marinella lives in Sardinia. She comes to Corzano e Paterno every spring to help with the holiday cottages on the farm and your stay is not complete without her octopus salad.
An octopus is a terrifying thing to behold in the raw flesh.
If your octopus is fresh it should be frozen first to tenderise the meat. Put it in the freezer the day before, then leave it in the fridge overnight to thaw. Some fishmongers sell frozen or thawed octopus which is cheaper and a little less work.
The recipe below will serve four as a main course with crusty bread to soak up the juices, or up to eight as a starter.
1kg octopus, frozen then thawed
plenty of salt
a fat clove of garlic, crushed
a handful of parlsey leaves, roughly chopped
juice of half a lemon
1 1/2 tbsp red wine vinegar
2 tbsp extra virgin olive oil
75g pitted black olives
3-4 tender stalks of celery, depending on their size
4 medium tomatoes
salt and papper
Fill a large pan with water and bring it to the boil. Salt it heavily so it tastes like seawater, then add the octopus, cover and simmer for 40 minutes.
Remove the octopus and allow it to cool enough to handle. Cut the whole thing into large chunks the size of a good mouthful. You can use every part except the tough beak. Dress the octupus while it's still warm with the garlic, parsley, lemon juice, vinegar and olive oil. Leave aside to marinate.
While the octopus cools, put the black olives into a new bowl. Cut the celery into pieces roughly the same size as the olives. Slice the tomatoes in half, use a teaspoon to scoop out the seeds, then chop them into pieces a similar size to the celery. Add everything to the bowl with olives and toss together with salt and pepper.
When the octopus is cool add the vegetables, not before as they will cook and become mushy. Mix everything together one last time and you're done.
The Corzano e Paterno villas are available all summer long, if you're interested take a look at www.corzanoepaterno.it.
While you're here you can visit the dairy, eat unimaginable amounts of the cheese they produce and taste their delicious wine. If you mention my name when booking I might get brownie points (hmmm... and maybe some cheese?) from the Gelpke family.
Our favourite picture of the trip is of Rupert, who was very fond of the octopus.
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13 hours ago


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Our Winemaking Style and Method
Like our tastes more generally, we are interested in elegant wines that present an authentic interpretation of each vintage. Wine is a record of nature: place and time lifted to their most beautiful expression. In the vineyard, we maintain light crop loads to allow our plants to focus on ripening only the best clusters. And in the cellar, we replace busy hands with careful eyes, allowing the wines to develop with the least possible intervention. Our process yields focused wines known for a complex, honest expression of varietal character.


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We do Everything
Welcome to Ellanar Events!
A wedding is an event. Marriage is a lifetime. Invest more in your marriage and leave your wedding planning to us.
No occasion is small or big, all you need is just a reason TO PARTY and we would take care of making it ENJOYABLE.
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The event was absolutely wonderful and it was really a lovely feeling to be a part of it and the organizers were quite supportive and understanding too. Loved It.
The event was wonderful with the most amazing crowd and the sweetest organizers. The décor was luxurious. I appreciate Sangam for providing me this wonderful opportunity and enabling me to meet a huge crowd of potential customers. The two days' event was positively experiential and I am deeply thankful.


text:
Magic realism, chiefly Latin-American narrative strategy that is characterized by the matter-of-fact inclusion of fantastic or mythical elements into seemingly realistic fiction. Although this strategy is known in the literature of many cultures in many ages, the term magic realism is a relatively recent designation, first applied in the 1940s by Cuban novelist Alejo Carpentier, who recognized this characteristic in much Latin-American literature. Some scholars have posited that magic realism is a natural outcome of postcolonial writing, which must make sense of at least two separate realities—the reality of the conquerors as well as that of the conquered. Prominent among the Latin-American magic realists are the Colombian Gabriel García Márquez, the Brazilian Jorge Amado, the Argentines Jorge Luis Borges and Julio Cortazar, and the Chilean Isabel Allende.
Learn More in these related Britannica articles:
Latin American art: Trends, c. 1970–present…can be related to the magic realism of Latin American literature. Although neither Morales nor Gamarra lived in Latin America during the height of their fame, their subject matter refers to archetypal images of the region: bandolier-draped revolutionaries, thick jungles, exotic animals, and an unlikely mix of people.…
Colombia: The arts
…Solitude), a novel steeped in magic realism, which chronicles a century of life in the fictional town of Macondo, which is seen as a microcosm of Colombian society. Many of his other works are also inspired by events in Colombian history and culture, yet their symbolism and significance extend to…
Latin American literature: The modern novel…to be known as "magic realism": Asturias's
El señor presidente(1946; The President) and Alejo Carpentier's El reino de este mundo(1949; The Kingdom of This World). Asturias's novel, about the dictatorship of Manuel Estrada Cabrera in Guatemala, employs Surrealist techniques to create an aura of fear and the…
Gabriel García Márquez: Works…to be known as "magic realism," wrongly thought to be the peculiar feature of all Latin American literature. Mixing historical facts and stories with instances of the fantastic is a practice that García Márquez derived from Cuban master Alejo Carpentier, considered to be one of the founders of magic…
Isabel AllendeAll are examples of magic realism, in which realistic fiction is overlaid with elements of fantasy and myth. Her concern in many of these works is the portrayal of South American politics, and her first four works reflect her own experiences and examine the role of women in Latin…
More About Magic realism8 references found in Britannica articles
Assorted References
- Allende
- Bioy Casares
- Bombal
- García Márquez
- Latin American art
- Latin American literature
- Okri
- In Ben Okri