folly : Beau Jeu burst ball
images thanks to : carlmullan and mirror
No title available
🪼
will byers stan first human second
hello vonnie

Andulka
noise dept.
Today's Document
todays bird

Discoholic 🪩
Show & Tell

if i look back, i am lost
Claire Keane

JVL

⁂
trying on a metaphor
PUT YOUR BEARD IN MY MOUTH
h
Monterey Bay Aquarium
AnasAbdin

JBB: An Artblog!
seen from United States
seen from United States

seen from Germany

seen from United States
seen from United Kingdom

seen from United States
seen from Brazil
seen from Colombia

seen from Poland

seen from Colombia
seen from United States
seen from United States
seen from Malaysia
seen from United States
seen from United States

seen from Türkiye
seen from United States

seen from Malaysia
seen from United States
seen from United States
@a2d-architecture
folly : Beau Jeu burst ball
images thanks to : carlmullan and mirror
detail : 3D Model of Beau Jeu Football
images thanks to : cgtrader
to : Replica Beau Jeu Football
images thanks to : lovellsoccer
news : Fracas Football by adidas
For the first time in European football championship history a 2nd ball design will be used for the latter stages of the Euro 2016 competition. Its release embarrassingly coincides with a Beau Jeu ball bursting during a group stage match.
images thanks to : mirror
news : Faulty Football Shirts by Puma
images thanks to : straitstimes
attention : 1930 World Cup Final - ball dispute
First half - used ball from Argentina
2nd half - used ball from Uruguay
feature : Beau Jeu for Euro 2016 by Adidas
Every major football competition sees the release of a new ball. This year’s effort is Beau Jeu (Beautiful Game) by adidas. It was launched in November 2015 and in case we were not sure it has the letters E, U, R and O and numbers 2, 0, 1 and 6 overlapping and spread all over its surface. In the middle there’s a monochrome Euro 2016 logo and of course the Adidas logo. I am neither for nor against the graphics, but quite frankly it doesn’t matter what it looks like. It is a brilliant money spinner.
The ball design is essentially a repeat of the highly successful (financially and physically) adidas Brazuca Ball used in the 2104 World Cup in Brazil, a 6-panel polyurethane structure.
After 18 months of further development and testing adidas have basically taken the same ball and made the texture a bit rougher, changing the shape of the dimples on the surface. Apparently this makes the ball easier to control, more weather resistant, more uniform in flight and easier for keepers to catch.
So, is it really all it’s cracked up to be ?
Historically the lead sponsor of every tournament feels it is their duty to invent a new ball. This can be good, bad or indifferent. Adidas have sponsored the ball since 1998 and every time it is heralded as the best ever. Players will rarely praise a brilliant design. However, like any poor tradesman they are much quicker to criticise it for their own failings, eg. the Jabulani ball used in the 2010 World Cup was slated.
Releasing the new ball 6 months before the Euros begins gives everyone plenty of time to familiarise themselves. To miss this opportunity would be unthinkable and so everyone gets caught up in buying new balls, acclimatising and perfecting. Surely this is counter-productive to the game ? A player just gets used to one ball and then another one comes along. It’s like dropping the off-side rule for a season or 2 and then reinstating it despite the number of higher scoring games. What other sport changes the design of its main item with such regularity ?
Whilst it is true that it is the same for both teams and possibly equally true that a good player should be able to play with any ball, I suggest we clamp down on the tinkering. The supporter is always the loser here. New shirt design (home, away and the “why not” or “just in case” strip), new boots, new balls, not to mention ever increasing ticket prices. Every 4 years would be plenty, in fact every dozen would suffice. Come on guys, stop tapping up the fans. It’s the hand that feeds you !
By Darren Maddison
images thanks to : dailymail, soccerballworld, belfasttelegraph and r-gol
folly : gap between Parc des Princes and Jean Bouin stadiums
image thanks to : theatlantic
detail : Stade Pierre Mauroy, Lille
not only is there a fully-retractable roof, half of the football pitch can be lifted up and slid over the other half to reveal a multi-use playing surface (tennis, handball, basketball, etc) and an additional 7,000 seats.
images thanks to : thefootballstadiums and detail-online
to : VIP lounges, Parc des Pinces, Paris
image thanks to : stadiumdb
attention : Hexagon Park Bursa by Stadiumconcept
Euro 2016 bid by Turkish Football Federation.
image thanks to : archdaily
feature : Euro 2016 Stadiums
As Europe’s footballing elite focus on trying to win the European Championships, aka Euro 2016, architects and designers the world over will actually be focusing on the stadiums the matches are being played in. France, like all host nations before, fully understands the importance of investing in good quality venues throughout this media frenzy.
In total 51 games will be played at 10 locations across France. While 6 existing stadiums have been modernised, new stadiums have been built in Bordeaux, Lille, Lyon and Nice.
The most impressive of which is the Stade Matmut Atlantique, Bordeaux (formerly Nouveau Stade de Bordeaux, designed by Herzog & de Meuron and co-ordinated locally by Groupe 6 - coincidentally where I used to work many moons ago).
It is a masterpiece in demonstrating how such a traditionally large building volume can appear to float.
The building is split horizontally into 2 distinct parts : a podium including the pitch and a lower seating tier; and the upper seating tier with canti-levered roof.
Following the 35 degree pitch of the upper tier Herzog & de Meuron have stripped out the bulk of the structure, leaving stairs and walkways exposed to the elements. A stepped metal cladding is fixed directly underneath the upper seating. The resulting inverted ziggurat is supported by 900 slender columns and is said to have been inspired by nearby pine trees in Landes forest, Europe’s biggest planted forest.
The entire building is white and almost devoid of any advertising or signage. It took 2 years to build at a cost of € 183M (£130), opened in May 2015 and has a capacity of 42,000 people, including 3,000 business seats and 1,000 VIP seats. (Interestingly naming rights alone have reportedly contributed 8% of the construction cost).
So far so good. The only thing the designers could not entirely predict was the fact that when large crowds all jump in time, the steel building moves, too ! (Apparently this is normal and nothing to worry about ! I would be !)
Let’s hope the engineers have not got it wrong, as the amazing result is more akin to an art gallery or an expo building and tears up the rulebook on traditional stadium design.
By Darren Maddison
images thanks to : mariage, dezeen and designboom
folly : nike eyebrow tattoos
image thanks to : pinterest
detail : nike sunburst logo
image thanks to : printmag
to : nike swoosh store display
image thanks to : pinterest
attention : backwards Nike Swoosh tattoo (EKIN)
image thanks to : ukcomplex
feature : Nike Swoosh by Carolyn Davidson 1971
The Nike Swoosh is in my opinion the world’s most recognisable brand logo. It perfectly and unmistakably embodies the company’s ideology in a unique form without any need to mention the company name.
During the late 1950s Phil Knight was a successful middle-distance runner at the University of Oregon, coached by Bill Bowerman. After graduation, Knight secured the distribution rights to sell Onitsuka Tiger sports shoes from Japan. Soon after in January 1964 Knight and Bowerman set up Blue Ribbon Sports, famously selling the Japanese running shoes out of the back of Knight’s Plymouth Valiant car.
Whilst Knight looked after the business end, Bowerman took to designing his own running shoes, famously using his wife’s waffle iron to create a new type of rubber sole with more grip.
Seven years later In May 1971 BRS were ready to officially launch their own shoe, choosing to rename the company Nike.
Carolyn Davidson was a graphic design student at Portland State University, Oregon, where Knight was teaching accounting. One day in 1969 he overheard her saying she could not afford to pay for oil painting classes. Knight offered her a free-lance job at BRS preparing charts and graphics that would help generate some cash.
2 years later Knight as the launch was imminent gave Davidson the task to create a new shoe logo that conveyed motion and could rival the 3 stripes by adidas (first used in 1967).
Davidson provided several designs and Knight, forced by looming production deadlines, immediately settled on the Swoosh, said to symbolize the wing of the Greek Goddess of Victory, Nike.
At the time, he stated “I don’t love it, but it will grow on me.” (I wonder, if he loves it now ?)
Knight was billed a total of 17.5 hours work @ $ 2 / hour = $35.
Davidson continued working for Nike until 1976, when the company had grown so much that one person could not manage the design demands, so she resigned to spend more time homemaking and working freelance.
In 1983, some 12 years after the original design, Knight seemed to have a sudden pang of guilt. He invited Carolyn to a company lunch, where he presented her with a diamond ring engraved with the Swoosh and an envelope containing 500 Nike Shares, worth about $8,000 (ca. $18,000 today). 33 years on Carolyn has never sold any of the shares. They are said to be worth just short of $1 Million.
For years Davidson’s logo would always be used in conjunction with the word NIKE. In 1995 Nike took the bold step to use the Swoosh as a stand-alone corporate logo. Twenty one years later and it was clearly the right choice. The Swoosh has helped Nike become one of the most valued and most successful brands of all time. Maybe it’s also time to give Carolyn some more shares ?
By Darren Maddison
images thanks to : printmag, businessinsider, naturalrunningcenter, theinspiration, runningmagazine, stocklogos and makeitrain