Marine Chronometers: The Clocks That Changed the Course of Globalization

 

Marine Chronometers: The Clocks That Changed the Course of Globalization

A marine chronometer by John Harrison, crafted between 1761 and 1800. (Photo: Bjoertvedt via Wikimedia Commons [CC BY-SA 3.0])

Traveling across time zones can be disorienting—watches, clocks, and even your sleep schedule need adjusting to a new longitude. This problem faced by modern travelers had more serious implications in the 18th century—a time of fierce imperial competition on the high seas. As ships traveled east and west through different longitudes, their clocks were not able to maintain accurate time. As calculating time differences was a reliable way to determine the longitudinal coordinates of a ship, faulty time-keeping resulted in vessels getting lost and wrecked. The invention of accurate marine chronometers changed the course of seafaring and navigation forever.

In the early 18th century, sailors could measure latitude using the sun and stars. However, there were no accurate means to determine the longitudinal coordinate of a ship’s location. It was known that the coordinates could be calculated mathematically by comparing two accurate times—one at a known longitude and the other at an unknown point. Unfortunately, the pendulum clocks of the day could not be counted on to keep reliable measures when subjected to the rolling of a ship on ocean waves. After several naval disasters resulted from poor navigation, the British government offered a reward for technical solutions to the problem of longitude. The Longitude Act of 1714 offered £20,000 ($26,302) to anyone who could devise an accurate method of calculating the location of a ship within one half degree.

 

Frodsham Chronometer Clock

 

Marine chronometer by Charles Frodsham, London, circa 1844 – 1860. (Photo: User:Ktr101 via Wikimedia Commons [CC BY-SA 4.0])

Clockmakers set out to win the prize money by inventing a marine chronometer which could keep accurate time aboard a vessel. The English carpenter and clockmaker John Harrison eventually won the prize, and he is credited with the invention of the first accurate marine chronometer. In 1728, Harrison began to build his first prototype clock, known as H1. By 1736, the administrators of the prize—the Board of Longitude—were intrigued enough to order a sea trial of his first model. Pleased with the initial results, Harrison was awarded grants to continue refining his mechanism for improved accuracy. The clockmaker built models H2 and H3 over the next two decades. These models used springs and balances rather than the classic pendulum; however, the accuracy of each chronometer was still slightly lacking.

Harrison’s big break came with his fourth model, H4. In the mid-1750s the inventor decided to craft his next sea clock as a watch, rather than the earlier bulky models. In 1761, the Board tested H4 on a trans-Atlantic voyage. The results were shocking—the sea watch kept almost perfect time. Arriving in Jamaica, the watch showed a local time only five seconds behind the true time. The calculations of longitude made from the time kept on H4 were accurate to within one nautical mile. Unfortunately, the Board and the English Parliament were not immediately convinced of the watch’s accuracy. It took a fifth model, H5, and personal intervention by King George III before Harrison received the prize money for his life’s work.

The impact of the sea watch—or marine chronometer as it came to be known—was enormous. Navigation capabilities were greatly improved for explorers of the 18th and 19th centuries. The infamous explorer Captain James Cook used a replica of the H4 watch on his travels, finding it exceptionally accurate. While electronic GPS systems have mostly replaced the marine chronometer today, some sailors are still required to learn the method during naval service or certification processes. Chronometers today are encountered particularly in the tradition of Swiss watches, where the term denotes precision and accuracy.

If you would like to learn more about this clock which changed the world, scroll down to watch a video from the BBC.

The invention of the marine chronometer—or sea watch—changed the possibilities of navigation on the high seas during the late 18th century.

Inside h4 Clock

 

Inside Harrison’s H4 sea watch. (Photo: Mike Peel via Wikimedia Commons [CC BY-SA 4.0])

Invented by Englishman John Harrison, the marine chronometer allowed sailors to keep accurate time despite the rolling of the sea and while moving through time zones.

John Harrison

 

Portrait of John Harrison (1693-1776), English clockmaker, by Philippe Joseph Tassaert. (Photo: Wikimedia Commons [Public domain])

Harrison was inspired to invent the sea watch by prize money—the British Longitudinal Act of 1714 offered £20,000 to whoever could solve the problem of accurately determining longitude at sea.

John Harrison Designs For h4 Sea Watch Chronometer

 

An 1802 rendering of John Harrison’s H4 Sea Watch. (Photo: Wikimedia Commons [Public domain])

To determine longitudinal coordinates, sailors needed to know the accurate time at their location for a mathematical formula.

H3 John Harrison Sea Clock

 

John Harrison’s H3 Sea Clock timekeeper. (Photo: Bin im Garten via Wikimedia Commons [CC BY-SA 3.0])

Harrison’s fourth attempt—the sea watch known as H4—was accurate to within five seconds of the real time during a test voyage to Jamaica. This allowed very accurate calculations of the ship’s coordinates.

https://collections.rmg.co.uk/flash/450.swf

Although it took much persuasion and a fifth version of his sea watch for Harrison to receive his prize money, the marine chronometer quickly became an indispensable part of sea navigation.

Marine Chronometer

 

Harrison’s H5 marine chronometer. (Photo: Racklever via Wikimedia Commons [CC BY-SA 3.0])

Watch as the BBC unravels the fascinating history of the marine chronometer:

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From mymodernmet.com

Stunning Landscape Photo Captures the Incredible Ever-Changing Weather of Iceland

Landscape Photograph of Iceland by Mikhail Shcheglov

“Before a Storm,” Dyrhólaey Cape, Iceland

The small country of Iceland is renowned for its natural beauty and a diverse landscape that includes volcanoes, mountains, and geysers. Due to its location, this island also has a remarkably active climate. Moscow-based photographer Mikhail Shcheglov traveled to Dyrhólaey Cape in South Iceland and managed to capture a mesmerizing change in the weather. While sunshine falls on plants in the foreground, a large rainbow appears from dark, stormy clouds, framing the coast.

“The weather in Iceland is changing dramatically—all-time strong winds draw in the sky fantastic images which follow each other rapidly,” Shcheglov tells My Modern Met. “Sometimes they are vivid, picturesque, and rich in contrast, sometimes deep and dramatic. You need to stand by holding your camera ready to shoot the outstanding moment of nature transformation.” The 51-year-old photographer managed to do just that when he snapped a shot of this incredible moment during an evening walk, prior to a thunderstorm.

Shcheglov’s brilliant photograph, entitled Before a Storm, was even shortlisted for the Royal Meteorological Society (RMetS) Weather Photographer of the Year 2020 award. “As the name suggests, this image was taken just before a storm and the wispy virga are clearly visible,” RMetS explains on its website. “Virga frequently precede heavy downpours when the air below the cloud base is not yet humid enough to support full precipitation. The trails of precipitation evaporate or sublime in the drier air before they reach the ground.”

You can keep up to date with Shecheglov’s latest photography projects by following the photographer on Instagram.

Mikhail Shcheglov: Instagram | 35Photo

My Modern Met granted permission to feature photos by Mikhail Shcheglov.

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Are there 300 million Gods? NASA Says About 300 Million Habitable Planets Could Exist in the Milky Way

NASA Says About 300 Million Habitable Planets Could Exist in the Milky Way

Habitable Exoplanet

Illustration of Kepler-186f, the first validated Earth-size planet to orbit a distant star in the habitable zone. (Photo: NASA Ames/JPL-Caltech/T. Pyle)

Humans have long wondered if there were other planets like Earth where life could thrive. This age-old question began to resurface as more and more exoplanets were discovered in recent years. Thanks to a new study, we have an idea of just how many planets might support life, and the number might shock you.

Using data from the now-retired Kepler space telescope, a group of researchers has estimated that there are about 300 million habitable planets just in the Milky Way. And several might even be in our neighborhood. So what makes a planet habitable in the eyes of astronomers? First, the planet needs to be rocky and capable of supporting liquid water on the surface. And second, it needs to have a nearby star that is the correct temperature. To be precise, these stars need to be a similar temperature to the Sun, give or take 1,500 degrees Fahrenheit.

Interestingly, a few exoplanets relatively close by meet the criteria. In fact, at least four are within 30 light-years of our Sun, with the closest only 20 light-years away. Of course, nothing is for certain, but this research helps us understand what exoplanets have the potential to have the right ingredients to support life. The results come about after the researchers closely examined four years of research from the Kepler space telescope.

GIF of Exoplanet in Rotation

Illustration of the possible appearance of the planet Kepler-452b, the first near-Earth-size world to be found in the habitable zone of a star similar to our Sun. (Photo: NASA Ames/JPL-Caltech/T. Pyle)

“Kepler already told us there were billions of planets, but now we know a good chunk of those planets might be rocky and habitable,” says the lead author Steve Bryson, a researcher at NASA’s Ames Research Center in California’s Silicon Valley. “Though this result is far from a final value, and water on a planet’s surface is only one of many factors to support life, it’s extremely exciting that we calculated these worlds are this common with such high confidence and precision.”

Until it ran out of fuel and was retired in 2018, the Kepler space telescope was on a mission to find out how many habitable planets exist in our galaxy. For this study, the information it collected was combined with data from the European Space Agency’s Gaia mission. The Gaia mission provided important information about how much energy falls on a planet from its host star, opening up a world of possibilities. In fact, taking into account the atmosphere of these planets, they found that about half of Sun-like stars have rocky planets capable of hosting liquid water on their surfaces.

Before you start thinking that we’ll be jetting off to these exoplanets anytime soon, more work must be done to see if the researchers’ predictions are correct. Still, it’s a big breakthrough for all those involved in trying to unravel the mysteries of the universe. “To me, this result is an example of how much we’ve been able to discover just with that small glimpse beyond our solar system,” said Bryson. “What we see is that our galaxy is a fascinating one, with fascinating worlds, and some that may not be too different from our own.”

h/t: [Science Alert]

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17th-Century Sculpture Captures Unbelievable Lace Details in Hand-Carved Marble

The Baroque Period is known for its decadent theatricality, with European artists continuing the classical trends of the Renaissance and shaping them into dramatic paintings and sculptures. Italian sculptor Gian Lorenzo Bernini’s work is particularly revered by art historians. Yet, the work of his lesser known apprentice, Giuliano Finelli, are just as breathtaking. Finelli was born in 1601 in Torrano di Carrara, Italy and received formal training in sculpting in Naples. Moving to Rome in 1622, the budding artist’s prowess with carving live figures attracted the renowned Bernini, and he chose Finelli as his assistant.

Under Bernini’s tutelage, Finelli grew his artistic ability and his political connections. Since Bernini was often commissioned by Pope Urban VIII, the most powerful political figure in Italy during the period, Finelli was able to work on incredibly significant pieces. One of these sculptures was a bust of Pope Urban VIII’s niece, Maria Duglioli Barberini, who had died in 1621 from labor complications.

Finelli’s attention to detail translated well in bringing her visage back to life in the bust that was commissioned around 1626. The sculptor was so precise in carving the details of her dress that the insertion lace surrounding the bust’s ruff is deceptively realistic—one would think it’s actually made of textile, when in reality it’s all marble. Even the minute string which binds the beads of the figure’s necklace is visible.

Unfortunately, Bernini could not share the spotlight with Finelli and refused to allow his assistant the chance to present the commission to the Pope in Rome. Finelli’s other contributions to Bernini’s work were also overshadowed by the artist’s popularity, and so he broke from Bernini’s workshop in 1629. His skill in portraying the most minute of details in all his commissions makes his work distinguishable from Bernini’s and beautiful to behold.

Baroque sculptor Giuliano Finelli created this exquisite, life-like carving of Pope Urban VIII’s niece, Maria Duglioli Barberini.

Bust of Maria Duglioli Barberini by Giuliano Finelli

Bust of Maria Duglioli Barberini in the Louvre (Photo: Wikimedia Commons [CC BY 3.0])

His attention to detail was remarkable. You’d think he used real lace for the bust’s ruff. But it’s all marble.

Bust of Maria Duglioli Barberini by Giuliano Finelli

Detail of the bust of Maria Duglioli Barberini in the Louvre (Photo: Wikimedia Commons [CC BY 3.0])

Bust of Maria Duglioli Barberini by Giuliano Finelli

Detail of the bust of Maria Duglioli Barberini in the Louvre (Photo: Wikimedia Commons [CC BY 3.0])

Bust of Maria Duglioli Barberini by Giuliano Finelli

Beautiful lace details on the bust of Maria Duglioli Barberini (Photos: Kim Rempel)

Finelli’s craftsmanship is also found in many of the famed Bernini’s works, like his sculpture Apollo and Daphne.

Baroque Sculpture of Two Lovers

“Apollo & Daphne” by Bernini (Photo: Wikimedia Commons [CC BY-SA 4.0])

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Glamorous Photo Shoot for Girl Who Was Banned from School Picture Day

Marian Scott Photoshoot by Jermaine HortonSchool Picture Day gives kids a chance to preserve memories from one of the most important times in their lives. However, when 8-year-old Marian Scott turned up at her school—Paragon Charter Academy in Jackson, Mississippi—to be photographed, she was turned away for having red hair extensions. 

The school-based its harsh decision on a student handbook policy, which states that pupils’ hair color must be of “natural tones.” Understandably, the situation knocked Marian’s confidence and left her parents confused and frustrated. “If she’s not a disruption to the class,” says her father, “why is she a disruption to the picture?”

Luckily though, Marian’s luck turned around when photographer Jermaine Horton heard about what happened to her. “When I heard about this story I was furious as a parent because the first thing I thought about was the impact of what this would do to such a beautiful little girl,” he wrote on Facebook. “I reached out to Nicole Joy of WILX News 10 who covered the story, and she got me in contact with the parents.” Horton organized a personal photo shoot for Marian, complete with creative costumes, donated from Rich Girl Candy.

The resulting images are far beyond standard school photos, and Marian of course got to keep her red hair extensions. She’s captured posing proudly, with a big smile on her face, showing that individuality should be celebrated. Horton says, “I’m so blessed to have been apart of this [and] to give her an amazing day that showed her that she truly is beautiful and her hair color was the BOMB!” The experience even inspired Horton to continue helping empower other young kids through creative photo shoots, an initiative he calls the Art of Confidence project. He says, “Marian Scott was just the first, but there are so many!”

Scroll down to see Scott’s stunning photo shoot and see more from Horton’s portfolio on his website.

Photographer Jermaine Horton put on a professional photo shoot for 8-year-old Marian Scott after she was denied school pictures for having red hair extensions.

Marian Scott Photoshoot by Jermaine Horton

The situation understandably left Marian feeling singled out, but this creative photo shoot gave her the confidence she deserves.

Marian Scott Photoshoot by Jermaine Horton

And of course, she wore her amazing red hair with pride.

Marian Scott Photoshoot by Jermaine HortonMarian Scott Photoshoot by Jermaine Horton

 

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Man Hand-Knits Sweaters of Places and Then Wears Them in Front of Their Exact Locations

 

Gateway Arch in St. Louis, Missouri, U.S.

Artist Sam Barsky has a unique way of commemorating the places to which he’s traveled. Instead of opting for the usual tchotchke like a magnet or a coffee mug, he hand-knits his own sweater in advance, depicting imagery from the specific locale he intends to visit. He then goes to that place and poses in front of it while donning his knitted garment. The sweater doubles as a wearable postcard that is impressive in its intricacies, and this can be seen across Barsky’s textile portfolio. His subject matter ranges from fields to bridges to lighthouses to rock formations, and each is instantly recognizable when worn across his chest.

The Baltimore-based artist has been knitting for two decades and produced over 140 sweaters during that time. To him, traveling and knitting go hand in hand. When he travels, he gets inspiration for his garments, and by trekking to those places, he has a purpose for wearing what he has made. “I just finished one of the Mackinac Bridge in Michigan,” Barsky tells My Modern Met, “and I traveled to get a picture there.”

Baltimore is a place that continually pops up in Barsky’s work. Right now, it’s the focus of his knitting. “I am working on finishing up one of the Baltimore Inner Harbor now for some projects there, and after that, I plan to do more Michigan themed sweaters for when I return in January.”

Scroll down for some of Barsky’s travel knitting and then follow him on Instagram to see where he’s off to next.

Artist Sam Barsky creates hand-knitted sweaters featuring imagery from places around the world, and then he goes to those locales and poses in front of them while wearing his custom garment.

Sam Barsky Sweaters

Oriole Park at Camden Yards in Baltimore, Maryland, U.S.

Artistic Knitting of Sam Barsky

Yad La-Shiryon in Latrun, Israel

Hand Knit Sweater by Sam Barsky

Grand Canyon in Arizona, U.S.

Knitted Sweater by Sam Barsky

Ellis Island in New York City, New York, U.S.

Knitted Sweater by Sam Barsky

The Statue of Liberty in New York City, New York, U.S.

Artistic Knitting of Sam Barsky

Hudson River (tribute to 9/11) in New York City, New York, U.S.

Artistic Knitting of Sam Barsky

Tower Bridge in London, England

Hand Knit Sweater by Sam Barsky

Windsor Castle in Windsor, United Kingdom

Hand Knit Sweater by Sam Barsky

Creamery Covered Bridge in West Brattleboro, Vermont, U.S.

Sam Barsky Sweaters

Dinosaur Land in White Post, Virginia, U.S.

Sam Barsky Sweaters

Red Rock Canyon in Las Vegas, Nevada, U.S.

Hand Knit Sweater by Sam Barsky

Sedona, Arizona, U.S.

Hand Knit Sweater by Sam Barsky

Montgomery College Globe in Germantown, Maryland, U.S.

Knitted Sweater by Sam Barsky

Portland Lighthouse in Cape Elizabeth, Maine, U.S.

Sam Barsky Sweaters

Baltimore, Maryland, U.S.

Sam Barsky Sweaters

Boulder Creek, Colorado, U.S.

Sam Barsky: Instagram | Facebook

My Modern Met granted permission to feature photos by Sam Barsky. 

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Photographer Captures the Surprisingly Quiet Side of Tokyo at Night

Tokyo Sleeps Tonight Photo Series by Robert Götzfried

Tokyo is the most populated city in the world, with over 38 million people living there. While most of the mega-metropolis is constantly buzzing with activity, there’s still quiet pockets of the city that, when visited at night, seem just like ghost towns. German photographer Robert Götzfried set out to capture these sleepy districts in his aptly titled series, TOKYO SLEEPS TONIGHT.

Götzfried wanted to photograph Japan’s capital away from busy hotspots, so he explored the quiet residential neighborhoods of Minato City—a coastal area in eastern Tokyo. “It’s that part of the city where actual real life people live and hang out—or not,” says the photographer. “Unlike most stories that I have seen about Tokyo before these parts of the city are simply empty at night time. I guess it makes perfect sense—most of the folks have to go to work the next day, just like everywhere else in the world. I found a city that sleeps.”

The off-grid photo series reveals how incredibly quiet this particular part of Tokyo really is at night. With no sign of human life, quiet street corners, empty convenience stores, and neon street signs become the subjects of the photos. Visually, each scene looks silent, but you can almost imagine hearing the quiet hum of the street vending machines, power lines, and changing traffic lights.

How do you imagine Tokyo at night? Find out just how quiet the city can be by checking out Götzfried’s eerie photo series below.

Photographer Robert Götzfried reveals the quiet of Tokyo at night in his series, TOKYO SLEEPS TONIGHT.

Tokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert Götzfried

The photos were shot in the residential neighborhoods of Minato City.

Tokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert Götzfried

The eerie location looks just like a ghost town.

Tokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert GötzfriedTokyo Sleeps Tonight Photo Series by Robert Götzfried

Robert Götzfried: Website | Facebook | Instagram | Behance

My Modern Met granted permission to feature images by Robert Götzfried.

 

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Icelandic Artist Creates Colorful Immersive Art Installations Using Hair

 

Art Installation by Hrafnhildur Arnardóttir/Shoplifter

“Nervescape V,” 2016. QAGOMA, Brisbane. (Photo: Natasha Harth)

Icelandic artist Hrafnhildur Arnardóttir, also known as Shoplifter, uses something unusual to create her colorful art installations—hair. Using both synthetic and real hair, she creates giant fantasy landscapes and sculptures that are at once whimsical and mesmerizing. Braided, molded, brushed, and even melted, hair is layered together to create dynamic artwork that radiates energy.

Her fascination with hair began as a child when she saw her grandmother store one of her cut-off braids in a drawer. Later, it became a way for her to explore a medium that is beautiful and comforting, yet can also spark disgust. “I find it fascinating that we have this forever changing ‘vegetation’ all over our bodies, which we have to groom and tame,” Shoplifter shared with Infringe. “Hair is a remnant of the wildness that we possess, and one of the few things that survives our existence. It’s like a shield, or alternatively it can be a way of showing yourself to the world.”

Shoplifter, who has collaborated with Björk in the past, brings whimsy and humor to her work. Her large-scale Nervescape installations see vibrant tufts of hair used to create an environment that she hopes embraces visitors. Seeing the work as a world of imaginary nerve endings, for Shoplifter the pieces are both a reflection of our internal landscape and also a fantasy meant to provide a means of escape. This playfulness is a call to remember our youth and to push positive energy into the world.

Big opportunities continue to come Shoplifter’s way. In 2019, she will represent Iceland in the Venice Biennale. The world will be waiting anxiously to see what she creates given this huge international platform.

Hrafnhildur Arnardóttir, also known as Shoplifter, is an Icelandic installation artist who uses real and synthetic hair as her primary medium.

Art Installation by Hrafnhildur Arnardóttir/Shoplifter

“Nervescape V,” 2016. QAGOMA, Brisbane. (Photo: Natasha Harth)

Installation Made of Hair by Hrafnhildur Arnardóttir/Shoplifter

“Nevrescape VII,” 2017. National Gallery of Iceland. (Photo: Frosti Gnarr)

Art Installation by Hrafnhildur Arnardóttir/Shoplifter

“Nervescape VII,” 2017. National Gallery of Iceland. (Photo: Frosti Gnarr).

Installation Made of Hair by Hrafnhildur Arnardóttir/Shoplifter

“Nervelings,” 2018. Phillips Collection. (Photo: Albert Ting)

Art Installation by Hrafnhildur Arnardóttir/Shoplifter

“Nervescape IV,” 2015. Nordic Biennial.

Installation Made of Hair by Hrafnhildur Arnardóttir/Shoplifter

“Nervescape,” 2012. Collaboration with Kria Brekkan and Cibelle. Clocktower Gallery, New York. (Photo: Michal Jurewicz)

Art Installation by Hrafnhildur Arnardóttir/Shoplifter

“Lonely,” 2018. The Watermill Center, New York. (Photo: Untitled Magazine)

Learn more about Shoplifter’s creative philosophy in this 2016 video.

Hrafnhildur Arnardóttir/Shoplifter: Website | Facebook

My Modern Met granted permission to use photos by Hrafnhildur Arnardóttir/Shoplifter.

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Athletic Ballet Dancers Photographed on the Streets of Melbourne

Phoebe Collins

For over four years, Omar Z. Robles has been photographing ballet dancers from companies around the world. Placing them in an urban setting, he’s able to capture a different view of classical dance—one that is more egalitarian. On a recent trip to Melbourne, Robles was reminded of just how much his work can touch the public.

While in Australia, Robles was met with challenges. In fact, for the first time, he had a dancer cancel their shoot at the last minute, as the dancer’s company didn’t feel his work aligned with their branding. Determined to carry on with the project, but understandably feeling a bit defeated, Robles hit the streets of Melbourne with a different dancer. And it was there that a woman named Sylvie reminded him of why he does what he does.

“It was 4pm-ish one afternoon. I was photographing a dancer in the middle of the tram tracks right next to Flinders Station,” Robles writes. “Crowds of people walked in and out of the station at a time. Suddenly, I heard a loud gasp behind me. I stopped to look. A woman held her hand to her chest, eyes wide open as was her mouth. Standing in awe, a moment now recorded in my mind forever. She turned to me and said ‘I’m so amazed!! In 65 years that I have lived in Melbourne, I have never seen such a beautiful thing. A ballet dancer performing in the middle of the streets.’ Her name was Sylvie. With teary eyes, she walked over to the dancer, gave her a big hug, and left us. My heart dropped, I cried inside a little. She had made my day in a way she didn’t even realize.”

Robles’ story is a reminder that it can sometimes be difficult for artists to understand just how their creativity can affect the general public. Artwork gets published, hung in a gallery, and shared online, but most times the creators aren’t around to hear the impact. By bringing classical dance to the world in an innovative way, Robles is helping a whole new audience appreciate the athleticism of ballet dancers.

It took a stranger’s appreciation to snap Robles back into the power he possesses as an artist. Through his creative decisions and collaborations, he’s opened up the world of dance to the masses, stripping it of its elite trappings and pushing it out into the streets. The lesson learned in Melbourne is one that Robles will remember.

“I shall never again forget or question the weight of my work. Of how utterly strong and transformative art can be. It appeals to the very core of our existence and offers us [an] escape from everyday struggles. Art is power. I will always be gratified to be a vessel to that power. Not for the few but for all.

While photographing ballet dancers in Melbourne, Omar Z. Robles was reminded of just how powerful his art can be.

Dance Photography in Melbourne Omar Z. Robles

Nana Yamamoto

Omar Z. Robles - Melbourne Dance Photography

Tessa Puttnick

Dance Photography in Melbourne Omar Z. Robles

As he was photographing a ballet dancer, a woman named Sylvie approached the scene.

Omar Z. Robles - Melbourne Dance Photography

Tessa Puttnick

Omar Z. Robles - Melbourne Dance Photography

Mia Thorley

Dance Photography in Melbourne Omar Z. Robles

Tessa Puttnick

Dance Photography in Melbourne Omar Z. Robles

Olivia Paine

“I’m so amazed ! In 65 years that I have lived in Melbourne, I have never seen such a beautiful thing. A ballet dancer performing in the middle of the streets,” she exclaimed.

Omar Z. Robles - Melbourne Dance Photography

Ella Chambers

Omar Z. Robles - Melbourne Dance Photography

Clarabelle Ling

Dance Photography in Melbourne Omar Z. Robles

Clarabelle Ling

Omar Z. Robles - Melbourne Dance Photography

Maria Peker

With tears in her eyes, she hugged the dancer and went on her way, but her words stayed with Robles.

Omar Z. Robles - Melbourne Dance Photography

Tessa Puttnick

Omar Z. Robles - Melbourne Dance Photography

Left: Tessa Puttnick / Right: Nana Yamamoto

“No matter where my works end up being hanged or collected some day, I will never get the same satisfaction or forget moments like the one I experienced with Sylvie.”

Dance Photography in Melbourne Omar Z. Robles

Ezlimar Dortolina

Omar Z. Robles - Melbourne Dance Photography

Ella Chambers

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Chicago Architecture Center Will Open to the Public

 

Chicago Architecture Center Wacker Street

The Chicago Architecture Foundation, a non-profit cultural organization that has been promoting Chicago’s architecture since 1966, is about to get a revamp. On August 31, 2018, CAF will open the Chicago Architecture Center on East Wacker Drive, providing a new cultural destination for the Windy City. Located inside an architecturally significant building designed by Mies van der Rohe—a pioneer of Mid-Century Modernism—the center will sprawl across 20,000 square feet.

The CAC is strategically located above the dock for the Foundation’s acclaimed river cruises. Designed by Chicago-based architecture firm Adrian Smith + Gordon Gill Architecture (AS + GG), the space will include areas for public programs, an award-winning store, and innovative exhibitions to help the public understand Chicago’s rich architectural history.

The CAC will also be a space to learn about international architecture, with the second-floor Skyscraper Gallery including large-scale models of famous skyscrapers around the world. AS+GG specifically designed an almost 40-foot-tall model of the Jeddah Tower in Saudi Arabi for the installation.

“We can’t wait for people to visit the CAC and experience how Chicago architects have influenced the world through their innovation and vision,” said Lynn Osmond, the President and CEO of CAF. “We’ve engineered a stimulating and immersive space where visitors can have fun discovering Chicago’s groundbreaking architecture—and appreciate its profound impact on the world.”

A little over 50 years after its founding, CAF has grown into one of the largest cultural organizations in Chicago. Through tours, field trips, mentorships, and professional development events, the Foundation continues its mission to show why design matters.

The retail store and walking and bus tours will begin from 111 East Wacker Drive during the first week of August, building toward a week of celebrations leading up to the August 31, 2018 inauguration.

Opening on August 31, 2018, the Chicago Architecture Center is strategically inside a historically significant building along the Chicago River.

Chicago Architecture Center Wacker Street

Photo: Angie McMonigal

Rendering of Chicago Architecture CenterNew Chicago Architecture CenterRendering of Chicago Architecture Center

Interactive exhibitions across two floors will explain Chicago’s rich architectural history.

Rendering of Chicago Architecture CenterRendering of Chicago Architecture CenterRendering of Chicago Architecture Center

The center will also be a place of learning, with lecture halls and a design studio for professional development.

Rendering of Chicago Architecture CenterRendering of Chicago Architecture CenterNew Chicago Architecture Center

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My Modern Met granted permission to use images by CAF.

 

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