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Ruye Nishizawa, Teshima Art Museum, Japan (2010) [1] “the act of construction develops its own momentum” Rosalind Williams Résumé [P1-P3] In [P1] the choice of a specific climatic phenomenon framed the exploration of potential relations between body-covering-environment and materiality-phenomena-effects. Applying the same optics in [P2] the structural and material properties of selected examples from the 20th century Western history of architecture were analysed. Maintaining a focus on the body-covering-environment relation, through the performance of series of experiments the objective of [P3] was the generation of a series of membrane probes which embodied specific, aesthetically programmed relations between the human body and the climatic phenomenon selected in [P1]. [P4] Materializing membranes > relations human body-environment Based on conclusions extracted from the development of probes and prototypes in [P3], moreover relating to the team-specific directions concerning the required particular subject-matter of their [P4] production, the objective of [P4] is to demonstrate coherence between suggested materialization(-s) and the announced aesthetic intention(-s). This means that in each team the materialization of a minimum of 3 critically selected foci within their prototype(-s) is required to be performed in dialogue with a precise definition of a series of particular aesthetic programmes. In this context a. critically selected foci should be understood as foci, the materialization of which will be of significance to the achievement of intended effects in the relation human body – covering – environment. b. aesthetic programmes should be understood as the description of a scenario of intended effects in the relation human body – covering – environment. c. Environment should – as a minimum requirement - be understood as: The chosen phenomena ([P1]); the chosen ‘time-scale’ or speed (see [P3]), and the chosen situation ([P3]). In other words: In the development of each critically selected foci the teams are expected to materialize specifically programmed relationships human body – covering – environment maintaining a focus on the actual design of the membrane as mediator between the human body – the environment. In expecting materialization(-s) particular attention should be applied to a. test and choice of material(-s) b. the design of particular structural elements, i.e. elements the design of which are of paramount importance to the achievement of specific programmed effect(-s) c. the design of specific spatial relations between the human body – covering – environment, i.e. spatial relations the design of which are of paramount importance to the achievement of particular programmed effect(-s) Jean Nouvel, facade construction detail & photo, l´Institut du Monde Arabe, Paris (1987) [3] Initially, each team is required to produce a plan directing their development / materialization of foci. The plan should > be based on a close scrutiny of [P4] production requirements > entail a focused progression in the production within each team, as well as a clear distribution of responsibilities. Please note that following pin up #2 Nov. 18th, all teams (unless otherwise agreed, see pin up #2) are required to focus on production related to the unit´s exhibition at Ramboll DK Nov. 29th-Dec. 6th At the pin up special production related to the exhibition at Ramboll DK Nov. 29th-Dec. 6th will be discussed. Please note that based on the development of a ʻstory-board’ each team will be required to produce a video of maximum duration 5 minutes, which > starts with a still of 10 seconds duration which announces project title; chosen conditions (phenomena; ’time-scale’ or speed; situation; structural system); first and last names of the authors (a matrix will be distributed). > with the human body as optic documents the specific architectural qualities – i.e. relationships body – membrane – environment. Concerning the latter the documentation of architectural qualities should focus on, but not only relate to effects related to situation > chosen phenomena. > with an emphasis on critically selected, significant effects are generated documents the structure. Monday Nov. 11th at 9am / the studio >>>[Pin up #1] Presentation of > a résumé of chosen phenomena; ‘time-scale’ or speed, and situation > a résumé of the conclusions drawn from the production of probes and prototypes in [P3] > extracted from – i.e. with a clear reference to - a. and b., the aesthetic programmes that guides the selection of a minimum of 3 foci > the team´s initial plan for the production in [P3] entailing production substance; time-schedule; distribution of responsibilities. Monday Nov. 18th at 9am / the studio >>>[Pin up #2] Presentation of > foci development related to aesthetic programme(-s) > ʻstory-board’ for the production of an exhibition video of maximum 5 minutes duration > the team´s plan for the potentially still remaining prototype / foci production entailing time-schedule and distribution of responsibilities. “Exhibition design, as I understand it, is much more than display. It is a means of visual communication, or, to put it less pompously, it is a treat for eye and mind – roughly, to help you notice things which otherwise would escape your attention or which you would never quite get from descriptions and pictures alone.” Bernard Rudofsky Tuesday Nov. 26th at 8am-12noon / the Gym >>>[Final hand-in] At the final hand-in of the fall semester assignment the investigations in [P1-P4] leading to the production of one or more prototypical membrane(-s) mediating the relation human body – covering – environment are to be presented. Furthermore, the zig-zag book is to be presented supplemented by > 3 pages per prototype: 2 pages documenting the prototype in drawings (plan(-s); section(-s); details(-s), potentially supplemented by model photographs. 1 page announcing the aesthetic programme of, and documenting a minimum of 3 critically selected effects materialized in the prototype(-s). > 2 pages presenting a résumé of the development process [P1-P4] > format: please follow the [P2] layout guidelines The book is to be delivered both on paper and as a PDF document uploaded to the shared folder >>>> Shared (R) >Bachelor >Unit 2+3d_AL >F2013 >Phase IV >>>Final review / the Gym 3rd-5th semester students: Tuesday Nov. 26th - Thursday Nov. 28th 6th semester student: Friday Nov. 29th Presentation On the basis of presentation of a. the chosen phenomena b. the chosen ‘time-scale’ or speed c. the chosen situation d. the chosen aesthetic programme(-s) an oral presentation, altogether lasting 20 minutes maximum incl. video screening, should emphasize the chosen prototypical materialization(-s), and – by the use of probes and foci - documentation of its (their) ability to produce the programmed effect(-s). Evaluation Construed as leading to the achievement of the qualifications required in the compulsory curriculum 3rd-6th semester project development and presentation will be evaluated regarding to their ability to respond to assignment requirements. Calendar: Thu. Nov. 7th 2:00pm approx.: [P4] Introduction/ the Gym, Paradisgade Mon. Nov. 11th 9:00am [Pin up #1] / the studio Mon. Nov. 18th 9:00am: [Pin up #2] / the studio Tue. Nov. 26th 8:00am-12:00noon [Final hand-in] / The Gym, Paradisgade 1:00pm-5:00pm [Final review] 3rd-5th semester students Wed. Nov. 27th 9:00am-5:00pm [Final review] 3rd-5th semester students Thu. Nov. 28th 9:00am-5:00pm [Final review] 3rd-5th semester students [Final review] 6th semester students (schedule to be confirmed) Fri. Nov. 29th 9:00am-2:00pm [exhibition transportation + mount] 2:00pm [exhibition opening]/Ramboll DK, Olof Palmes Allé 22, 8200 Aarhus Links: American artist John Grade´s Capacitor http://www.johngrade.com/projects/ > Capacitor [Accessed 06.11.2013] [1] NISHIZAWA, Ruye, Teshima Art Museum, Japan (2010) [1] in: HALL, William (ed.) (2012) Concrete. New York, London: Phaidon Press, p.105 [2] WILLIAMS, Rosalind (2008), Notes on the Underground - An Essay on Technology, Society, and the Imagination, Boston, Mass.: MIT Press, 1st ed. p. 20 [3] Jean Nouvel, facade construction detail & photo, l´Institut du Monde Arabe, Paris (1987) [Accessed 16.08.2013] [4] RUDOFSKY, Bernard, Lecture Tokyo, December 5th 1958. p.2, in: PLATZER, Monika (Ed): Lessons from Bernard Rudofsky. Life as a Voyage, Basel, Boston, Berlin: Birkhäuser, 2007, p. 171

Image 14 of 30 from gallery of Amant / SO-IL. Photograph by Naho Kubota

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Feature:1. Fitment: Fuel pump is replacement for Cart G16 G20 G22 4‑Cycle, which is made according to the prototype model. 2. OE Number: Fuel pump replace part number is JN6 F4410 00. Please check the part numbers whether it suits your vehicle before purchasing. 3. Durable Construction: The fule pump is made of ABS and metal alloy, which is hardness, not easy to deform, sturdy and durable and has a long service life. 4. Stable Performance: Professional manufacture, high precision and stable reliability, also can provide better performance for the engine. 5. Simple Installation: The installation is simple, direct replacement, no modification is required, convenient for using, save your efforts. Specification: Item Type:  Cart Fuel Pump Material: ABS and metal alloy OE Number: JN6 F4410 00 Application: Replacement for Club Car  Cart G16 G20 G22 4‑Cycle Package List:1 x Fuel Pump Note: 1.Please double check the part number of your item, matching information is for reference only. 2.If you are unsure of the item,

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