Iranian Architecture – Afarin Rahmanifar Sat, 25 Sep 2021 12:06:57 +0000 en-US hourly 1 Iranian Architecture – Afarin Rahmanifar 32 32 This is how Lotus will build lightweight electric sports cars Thu, 23 Sep 2021 12:50:10 +0000

Of all the automakers that are in the process of switching from internal combustion to electric propulsion, few interest me as much as Lotus. This is partly because I became a car enthusiast after discovering the Lotus Seven. But that’s also because lightness has always been a core attribute of Lotus, and while EVs have a lot to recommend, they usually aren’t.

That would be irrelevant until relatively recently, as the small British sports car company did not have the resources to consider a switch to electric. But in 2017, Lotus was taken over by Geely, who also owns a freshly revitalized Volvo. As is the case with Geely, Lotus secured much-needed investments and got to work on electrification.

In April this year, Lotus revealed that its plans now included four new platforms, three of which were fully electric. This week, we got a glimpse of how the company is considering electric vehicles, as it released some details on its light electric vehicle architecture (or “Project LEVA” in Lotus parlance). Key is a newly developed rear subframe that’s much lighter than that of the V6-powered Emira (unveiled in July as the latest internal combustion-engine Lotus).

The rear subframe is die-cast aluminum and intelligently supports more than one type of powertrain setup. There’s the conventional skateboarding approach, where a large plate of batteries fills the floor of the car between the axles, as seen on virtually every battery-powered EV on sale today. Lotus says that in this configuration it can build 2 + 2 with wheelbases of at least 104.3 inches (2650 mm), with batteries of 66.4 kWh and be a single motor drive unit with a maximum power of 470 hp (350 kW) or a dual motor drive unit with a maximum of 872 hp (650 kW).

A skate is not always the answer

But for pure two-seater sports cars, the layout of the skateboard isn’t quite ideal. In these applications, a lower ride height and a lower overall vehicle height are important. So instead of placing the cockpit on top of a large slab of batteries, Lotus will use what it calls a “trunk” layout.

Here, the battery is mounted in the center, like the engine of one of Lotus’ current cars. (This is the same powertrain setup that Porsche used for the Mission R concept, and it’s also used by most of those unobtanium electric hypercars with phone number price tags.)

Lotus says that the central mounting of the battery leads to two possible configurations. For the smallest and lightest electric sports cars, that means a wheelbase of at least 97.2 inches (2470 mm); for context, a Lotus Elise has a wheelbase of 90.6 inches (2300 mm). These small electric vehicles would carry a 66.4 kWh pack and use a single electric drive unit of up to 470 hp.

For large two-seater sports cars (think Lotus Esprit rather than Lotus Elise), the wheelbase can be extended to at least 104.3 inches. These cars would be equipped with a two-motor drive unit and a 99.6 kWh battery.

Richard Rackham, Head of Vehicle Concepts at Lotus and Lead Engineer of the LEVA Project, said:

The LEVA project is today as revolutionary as the Elise architecture was in 1996. In the true Lotus spirit, significant weight savings have been achieved throughout, with an emphasis on performance, efficiency and ultimate safety in the structure from the start, for example using the vehicle structure as a battery box, having an integrated EDU, eliminating sub-frames and optimizing multi-link suspension components.

Unfortunately, we are still waiting a bit for the first lightweight Lotus EVs, which are not expected until 2026. But we might well see the architecture used much earlier by other OEMs – Lotus will offer it to third parties through the office of Lotus Engineering studies.

Listing image by Lotus Cars

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ASU-LACMA scholarship program expands to include Miami’s Pérez Art Museum Wed, 22 Sep 2021 22:53:00 +0000 September 22, 2021

The Los Angeles County Museum of Art (LACMA) and the Herberger Institute for Design and the Arts at Arizona State University are pleased to announce that the Pérez Art Museum Miami (PAMM) has joined as a new partner in the ASU-LACMA Masters Scholarship in Art History. . PAMM’s first Fellow, Emily Valdes, joins what is now the third cohort of individuals in the program, with five new LACMA Fellows.

The ASU-LACMA Masters Scholarship was founded in 2018 as a partnership between ASU and LACMA with the goal of culturally diversifying the leadership of art museums in the United States. The three-year degree program combines rigorous academic training with on-the-job experience to develop a new generation of curators, directors and other museum professionals, with the aim of investing in the existing talent pool and accelerating careers. of individuals already working on museum staff. Fellows earn their Masters in Art History from the ASU School of Art’s Distinguished Art History Program at the Herberger Institute, while also working at LACMA, ASU Art Museum or, starting this fall , at PAMM.

ASU-LACMA Fellows Ariana Enriquez and Matthew Villar Miranda work with Janice Schopfer, Senior Curator of Paper at the LACMA Conservation Laboratory.

“We are honored to join our esteemed colleagues at LACMA and ASU,” said Franklin Sirmans, Director of PAMM. “Having seen this program come to life while working at LACMA, and then watching the first cohort rise through the ranks of their institutions, we are thrilled to be a part of this important academic endeavor, and for Pérez Art Museum Miami to be represented. by our first comrade, Emily Valdes. This transformative program is another step in the process of preparing museums for the new American future, with the diverse and innovative leadership needed to make museums vibrant and alive, and an integral part of everyone’s lives. ”

Michael Govan, CEO of LACMA and Director of Wallis Annenberg, noted that earlier this summer ASU and LACMA celebrated the graduation of the first LACMA-ASU Masters Fellows.

“Our graduates already draw on their university education to organize exhibitions, further their research and inform their museum work,” said Govan. “Our collaboration with ASU has been deep and fruitful, and we are delighted to expand our shared commitment to advancing the careers of a new generation of museum leaders by partnering with other institutions across the country. “

The first cohort of fellows, who graduated in May 2021, included Dhyandra Lawson, assistant curator in the Wallis Annenberg Department of Photography at LACMA; Celia Yang, Head of Major Gifts and Head of Strategic Initiatives for the Asia Director at LACMA; Matthew Villar Miranda, curator of ASU Art Museum, now curator of visual arts at Walker Art Center in Minneapolis; and Ariana Enriquez, deputy registrar at the ASU Art Museum. Lawson and Yang were recently promoted, reflecting the scholarship and skills each have been able to bring to their jobs through their involvement in the scholarship program. Enriquez said in a recent interview with ARTnews that the scholarship program has helped her realize “ways in which I can make transformative change within my department”. (Read the full article from ARTnews on the ASU-LACMA Fellowship Program.)

“We are grateful for the many contributions the fellows have made to our courses and our academic lives,” said Angélica Afanador-Pujol, Director of the ASU-LACMA Masters Scholarship Program. “We are proud to continue to support them in their museum careers, and we welcome the addition of PAMM to the program.”

ASU-LACMA + PAMM 2021 fellows

Jayne Manuel

Jayne Manuel received her BA in History, Theory and Art Criticism with Honors from the University of California, San Diego in 2015. Manuel joined the LACMA Enrollment Department in September 2015 and is currently the Enrollment Administrator for the very active outbound loan program. Through an interdisciplinary art history / ethnic studies / transnational feminist approach, Manuel seeks to elevate Filipino artists and diaspora stories into the institutional canon. She intends to focus on 1980s Filipino art collectives and contemporary Filipino artists based in the United States, studying their representations of intergenerational trauma and their understanding of the transmission of collective memory.

Stephanie Rouinfar

Stéphanie Rouinfar obtained her BFA in Art History in 2015 at Savannah College of Art and Design. She joined LACMA in August 2015 as a social media intern within the communication department. In March 2016, she joined the Middle Eastern Art department as curatorial administrator. She has participated in six exhibitions, including the recent exhibition “In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art”. As a member of the ASU-LACMA program, Rouinfar plans to continue his studies in contemporary art from the Middle East, focusing on work relating to gender and feminism.

Mariama Salia

Mariama Salia is originally from Seattle and graduated with a BA in History and Film Studies from the University of Washington in 2014. After working in the Seattle art scene, she moved to Los Angeles in 2018 to find more creative spaces. diversified allowing its expansion. She started working for the Balch Art Research Library in 2019 as an Acquisitions Assistant, purchasing and borrowing books for upcoming exhibitions, including special research projects. Her Ghanaian-Romanian background fuels her interest in making art representative and accessible, and she plans to develop an interactive project to engage with and represent other queer artists of color. Salia intends to use the vast resources of the library and museum to trace and reassess the historical boundaries faced by marginalized artists who bridge the cultural divide.

jennifer snow

Jennifer Snow is responsible for corporate partnerships at LACMA. Since joining the museum’s development department in 2015, she has played a critical role in the Corporate Partnerships team supporting LACMA’s relationships with key corporate partners including Hyundai Motor Company, Gucci , Snap Inc., Audi, The Walt Disney Company, SpaceX and more. While at LACMA, she launched and successfully managed special institutional projects such as LACMA’s very first Kickstarter campaign in 2017, bringing the world’s smallest contemporary art museum, NuMu, across multiple borders to Los Angeles. , and most recently, LACMA × Snapchat: Monumental Perspectives, a multi-year initiative that uses augmented reality to explore monuments and murals, representation and history. Snow received her BA in Art History and Communication in 2012 from the University of California, San Diego, and in 2014, she received her MA in Humanities from the University of Chicago. She is excited to resume her studies at Arizona State University, researching the convergence of art and technology and the role of museums within this intersection.

Deliasofia Zacarias

Deliasofia Zacarias is the Snap Research Fellow based in the office of the director of LACMA × Snapchat: Monumental Perspectives, an initiative that explores monuments, history and representation in public space using augmented reality. In addition to the various special projects of the director’s office, Zacarias directly supports the collaboration between the curatorial team, artists and technologists to realize the augmented reality lenses as part of Monumental Perspectives. Zacarias joined the museum in August 2019 as a LACMA Emerging Arts Professionals (LEAP) Fellow – as part of the Diversifying Art Museum Leadership initiative supported by the Walton Family Foundation and the Ford Foundation. Zacarias also sits on the Board of Directors of the Arts Administrators of Color Network. At ASU, Zacarias intends to research the intersection of contemporary art, feminist theory and landscape architecture and use the rich collections of LACMA and ASU. She holds a BA in Studio Art and Business Administration from Trinity University in San Antonio, where she received the Mach Fellowship and received an Award for Excellence in Art.

Emilie Valdés

Emily Valdes graduated from the University of Miami with a BA in Art History in 2015. Since then she has held various positions at the Wolfsonian FIU, Margulies Collection at the Warehouse and Lowe Art Museum. Today, she works collaboratively with curators, artists, and preparers as deputy registrar at Miami’s flagship art museum, the Pérez Art Museum Miami. At PAMM, Valdes plays an active role in running a robust exhibition program, as well as in day-to-day collection management efforts. As a first generation Cuban American, Valdes is particularly interested in Latino artists who have not received the same recognition as their male contemporaries, or in Latino artists whose practices are deeply rooted in intersectional feminism. Although her conception is still nascent, she is eager to produce a fruitful body of research important for the advancement of Latina representation in museums and the recognition of their unique contributions to the canon of art history.

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Some have asked, “Does Chattanooga need a lynching memorial?” “ Fri, 17 Sep 2021 20:18:42 +0000

CHATTANOOGA, Tenn. – In 2018 Georgian artist Jerome Meadows was shortlisted for a formidable project: a public artwork commemorating black victims of the lynching for permanent display in a bustling neighborhood of Chattanooga, a predominantly white southern town with a dark history of racial violence.

The memorial, which will be unveiled this weekend, specifically honors Ed Johnson, a black man who was hanged from the city’s Walnut Street Bridge by a mob of lynchers in 1906.

Johnson had been wrongly convicted of raping a white woman and sentenced to death. After the United States Supreme Court ordered a stay of his execution, a mob broke into Johnson’s cell and hanged him from the nearby bridge.