Latest news with #Envelope
Web Release
10-03-2025
- Business
- Web Release
ARMSTRONG FLUID TECHNOLOGY LAUNCHES ENVELOPE DIGITAL PLATFORM FOR SMARTER BUILDING SYSTEMS IN THE MIDDLE EAST
By Editor_wr On Mar 10, 2025 Armstrong Fluid Technology, a leading manufacturer of intelligent flow equipment, including pumps, valves, heat exchangers and control solutions, has introduced a new integrated digital platform, named Envelope, that connects components in a mechanical system. Envelope unites Armstrong and partner solutions, delivering optimization through performance mapping, cutting-edge analytics and lifecycle services. A core feature of Envelope is its ability to generate detailed performance profiles of system components, enabling precise sizing and output modulation for maximum efficiency—an essential factor in regions where energy optimization and sustainability are top priorities. Qusai Abuabed, Sales Director for Türkiye, Middle East & Africa at Armstrong, comments: 'The Envelope Platform's strength lies in its ability to optimize systems by seamlessly integrating with partner products and solutions. With this platform, Armstrong and digitally controlled solutions can seamlessly connect and coordinate operations for superior efficiency—critical for the Middle East's rapidly growing commercial, industrial, and residential sectors.' For additional information visit Comments are closed.
Zawya
10-03-2025
- Business
- Zawya
Armstrong Fluid Technology launches envelopetm digital platform for smarter building systems in the Middle East
Dubai, UAE: Armstrong Fluid Technology, a leading manufacturer of intelligent flow equipment, including pumps, valves, heat exchangers and control solutions, has introduced a new integrated digital platform, named Envelope, that connects components in a mechanical system. Envelope unites Armstrong and partner solutions, delivering optimization through performance mapping, cutting-edge analytics and lifecycle services. A core feature of Envelope is its ability to generate detailed performance profiles of system components, enabling precise sizing and output modulation for maximum efficiency—an essential factor in regions where energy optimization and sustainability are top priorities. Qusai Abuabed, Sales Director for Türkiye, Middle East & Africa at Armstrong, comments: 'The Envelope Platform's strength lies in its ability to optimize systems by seamlessly integrating with partner products and solutions. With this platform, Armstrong and digitally controlled solutions can seamlessly connect and coordinate operations for superior efficiency—critical for the Middle East's rapidly growing commercial, industrial, and residential sectors.' For additional information visit About Armstrong Fluid Technology With manufacturing facilities on four continents, and employees around the world, Armstrong Fluid Technology is known as an innovator in the design, engineering and manufacturing of intelligent fluid flow equipment, control solutions and optimization technologies. In the shift toward digitalization and integration of fluid-flow systems, Armstrong leads the industry. With advanced solutions that leverage edge computing, IoT, machine learning, digital twin technology and demand-based control, Armstrong provides and protects efficiency in building mechanical systems, approaching energy optimization as a whole-building challenge and advancing the practice of full lifecycle management. Focusing on HVAC, Plumbing, Gas Transmission and Fire Safety applications, we provide energy-efficient, cost-effective solutions and performance management services to building and facility professionals around the world. Armstrong Fluid Technology is committed to sustainability. In 2019, Armstrong signed the Net Zero Carbon Buildings Commitment, a program launched by the World Green Building Council. As a signatory to the program, Armstrong has pledged to ensure that all its offices and manufacturing facilities operate at net-zero carbon by the year 2030. In May 2021, in recognition of our leadership in energy efficiency, carbon footprint reduction and environmental stewardship, Armstrong Fluid Technology received a Queens Enterprise Award for Sustainability. Armstrong has also been named one of 2023's 50 Best Managed Companies. As a recipient of a 50 Best Managed award for 21 years, Armstrong continues to hold Platinum status in the program. Media Contact Eliane Chalhoub Eliane@
Los Angeles Times
07-02-2025
- Entertainment
- Los Angeles Times
Did László Tóth ever build that bowling alley?
'A good dip should whet the appetite, a great dip could be lunch and an excellent dip is really dinner.' Wise words from Times food writer Jenn Harris as we prepare to dip into and keep on dipping through Super Bowl weekend. Dick Vermeil, who coached the Chiefs and the Eagles, says it's going to be a game for the ages. Hopefully, it'll be closer than that Super Bowl Vermeil coached in New Orleans, the one where the Raiders started the party early in the French Quarter before demolishing Vermeil's Eagles. I'm Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope's Monday newsletter. Do you have big dip energy? Every time Brady Corbet makes a movie, he's thinking, 'This could be the last one.' He doesn't want it to be the last one, but when you're filming, say, a 3½-hour drama about the artistic struggles of a fictional architect, you never know. 'There's a high likelihood,' Corbet says, smiling. 'The Brutalist,' nominated for 10 Oscars including best picture, directing, the original screenplay Corbet wrote with his partner, Mona Fastvold, and for actors Adrien Brody, Felicity Jones and Guy Pearce, will not be Corbet's last movie. The film has become an event, a must-see for movie lovers. It's both epic and intimate, a portrait of an immigrant architect, László Tóth, that examines the relationship between patron (Pearce) and artist (Brody), and considers the purpose and lasting value of art. Much remains unspoken in 'The Brutalist,' allowing us to use our imaginations to fill in the gaps. 'That's what makes the film so grown-up,' Jones says. 'The audience becomes active participants.' But that doesn't mean we're not interested in exploring the movie's themes and mysteries. Corbet, Brody, Jones and Pearce, calling in from various corners of the world, were more than happy to provide some answers for an Envelope cover story that I wrote. And, yes, we talked about that scene and why all concerned thought it was necessary for the film. But also: Did László ever get around to that bowling alley he said he was building? And why don't we have a 'Brutalist' popcorn bucket yet? Brody has design ideas! We have gone, what, three days without any new controversies surrounding best picture nominee 'Emilia Pérez' and its lead actress nominee, Karla Sofía Gascón. Netflix has scrubbed Gascón from its FYC ads in the wake of the disclosure of her history of posting racist, anti-Muslim and other insensitive opinions on social media. She will not be in Los Angeles this weekend attending the Producers Guild Awards, as had been planned. Reportedly, Netflix is no longer willing to pay for Gascón's travel expenses. She might have to buy her own plane ticket to attend the Oscars next month. My old friend Mary McNamara wrote about Gascón in a recent column titled 'How Karla Sofía Gascón turned a historic Oscars first into a historic Oscars nightmare.' 'Liberals who celebrated her nomination and were prepared to mark her 'historic first' [as the first openly transgender person to be nominated for an acting Oscar,] have been caught flat-footed,' Mary writes. 'There is no denying either the wide-ranging hatefulness of her prior remarks or the remarkable nature of her nomination, though the chances of it becoming a win dwindle with each passing day.' 'More important, the knee-jerk expectations around and sanctification of such firsts have been dealt a blow,' Mary continues. 'There is nothing wrong with crafting a diversity-positive awards narrative around any film or potential nominee, but whoever is doing the crafting had better make darn sure that the narrative fits the subject.' There could be another dramatic development if 'Emilia Pérez' manages to pull off a win at the Producers Guild Awards on Saturday, an honor that, more often than not, predicts the eventual best picture Oscar winner. The PGA voting deadline was Jan. 30, so most members probably cast their ballots before news broke about Gascón's posts. There has been a wide gulf between the public's dismay and disinterest toward 'Emilia Pérez' and awards season voters' enthusiastic support of the film. Could that continue? At this point, nothing would shock me.
Los Angeles Times
05-02-2025
- Entertainment
- Los Angeles Times
The nominated looks that moved us to gasps, tears and cheers
Demi Moore and Margaret Qualley went through horrific transformations while playing two sides of the same woman in 'The Substance.' Karla Sofía Gascón alone plays two incarnations of the same person — cartel boss Manitas and the title character after gender-affirming surgery in 'Emilia Pérez.' Cynthia Erivo is the green-skinned Elphaba in 'Wicked'; Bill Skarsgård is the clawed vampire Count Orlok in Robert Eggers' 'Nosferatu'; and Sebastian Stan struggles to find his inner goodness as a man with neurofibromatosis in 'A Different Man.' Five distinct films with a key commonality: All the character looks were created by this year's hair and makeup Oscar nominees. The Envelope reached out to those teams to find out just what went into these creations. Mike Marino, makeup designerDavid Presto, prosthetic makeup artistCrystal Jurado, prosthetic makeup artist Proudest momentMarino: The proudest moment was right after the first makeup test. We got to see Sebastian look in the mirror and start acting in the makeup. I knew then that it was going to work. Jurado: To see it all work so well on the big screen was a real delight. It could have so easily looked like a big stiff mask, but instead, the makeup truly made Sebastian look like a man with neurofibromatosis. Being able to accurately represent people who have this condition is so very important. Hardest lookMarino: The main makeup for Edward (Stan), since he is wearing full-face prosthetics and little pieces around the neck. The difficulty each day with the look was the constant change of his skin conditions. Some days were clean, and then some days he was scabby and flaking. Presto: Edward's look was the most difficult makeup I've ever been a part of — it took three of us, every day, to complete. What made it more arduous was our working [space]. There was no makeup trailer. Every day we had to lug our gear to each location in New York City and set up. At the end of the day, we would clean up Sebastian, pack our kits and be ready to do it all over again the next day. Jurado: Definitely the day where Edward starts ripping his face off. The softness and weight of the appliances made application extremely difficult, but it was so rewarding to see how successful the look was that we achieved. Best solution to a problemPresto: During the scene when Edward starts peeling his face in the mirror, we had to create a system for quick resets for each take. After brainstorming and testing, we used a special mix that included Methocel. This helped keep the rest time down to a minimum while still preserving the makeup. Jurado: Sebastian has very thick hair, and because the appliance had to lay over part of his hair, which the wig sits on and combs into his natural hair, it was challenging to get his hair to lay super flat with hair product alone. We ended up using Opsite tape on top of his hair to press it down even further. This process also allowed us to use Pax paint over the Opsite to even further hide his natural hairline. What would you do differently if you had to do it all again?Marino: I wouldn't change anything. I believe when a makeup is created and filmed, it is meant to be. When a character's makeup is created, it's alive, with flaws and all. Emmanuel Janvier, co-head of hairstylingJulia Floch-Carbonel, co-head of makeupJean-Christophe Spadaccini, SFX makeup artist Proudest momentJanvier: When we created the character of Manitas. The first time the final look was achieved, and we saw Karla's satisfaction and how quickly she embraced the character ... it was a great moment of joy. Floch-Carbonel: Emilia's transformation was a team process, guided by artistic director Virginie Montel and director Jacques Audiard. The main challenge was to transform Karla Sofía Gascón's features to help her portray pretransition Emilia as Manitas, the intimidating head of a drug cartel, and post-transition Emilia, the loving and generous woman. Besides the technical challenges, my fear was that the Manitas research and makeup testing process would hurt Karla psychologically and throw her [back] to the past, but she was really helpful, centered and happy with the result. Manitas was so far from Karla that she could be composed and embrace Manitas in her body language, voice and even her way of walking. It was amazing to see and a relief for me and probably my proudest moment. Spadaccini: I read that some people thought that two different actors were playing Manitas and Emilia. That was a compliment I was really proud of. Hardest lookJanvier: Bringing the characters back to something simpler, more understated and more tough. We tried many short-hair wigs but quickly fell into clichés — like a 1970s Mexican cartel leader in the style of Pablo Escobar. Yet we needed something that was simply present. For Emilia, it was about achieving a natural femininity, something maternal, without overplaying the transformation. Floch-Carbonel: Manitas was the hardest look to create. Jacques said he wanted a scary Manitas, a 'chimera' — a ghostlike existence — but the makeup had to remain realistic and believable. The reality is that Karla Sofía Gascón is a very sexy, beautiful woman with magnificent full lips and feline eyes, and we had to play around that. We still needed Manitas' 'scary' side while some of Karla's feminine features remained, so we found inspiration in places like Mickey Rourke's character in 'The Wrestler' — the type who fought with bare hands but also kept a certain coquetry and ornamental (tattoo, long hair, thin eyebrows, metal teeth, tanning), so her beautiful full lips could fit in this character. I added a beard, teeth, shadows, texture and tattoos in order to distort Karla's natural features and emphasize masculine features via prosthetics. Spadaccini: On the base of the prosthetic nose and cheeks for Manitas, I added imperfections like damaged skin or a scar, which made his face look more realistic. Traci Loader, makeup designerSuzanne Stokes-Munton, hair designer Proudest moment Loader: Seeing everything come together on set for the first time — the makeup, hair, costumes, lighting, sets and the performances all aligning perfectly. Hardest look Loader: One of the toughest challenges was designing the makeup, particularly for Ellen (Lily-Rose Depp). Her looks had to subtly reflect the toll of her experiences throughout the film, both physically and emotionally, without being overdone. The goal was to keep the makeup grounded in realism while still contributing to the film's tone. Stokes-Munton: Robert initially requested the 'V' parting for the Ellen character. I felt it would be distracting — 'gilding the lily' (if you'll pardon the pun), and probably better suited to the Anna character. A wig was made for Emma Corrin (as Anna) by my crew's on-site wig department, closely overseen by Robert's precise eye for detail. The application had its challenges as Emma has very thick, dark, short hair; but Ivana Nemcova nailed it! Lily got the 'V' at the back, so all requests were accommodated. Best solution to a problemLoader: One challenge we faced was seeing the shine from the glue when we hand-laid facial hair or used lace pieces. We mixed Pros-Aide (a water-based medical-grade adhesive) and TS100 (a clear matting agent), which solved the issue. What would you do differently?Loader: If I could do it all again, I think I would have pushed more during preproduction to test out different designs for some characters. While I'm proud of how everything turned out, you never know what else you can come up with. Pierre Olivier Persin, special makeup effects designerStéphanie Guillon, key makeup artist Proudest momentPersin: The first day we had Gollum [what they called the last stage of aging for Moore's Elisabeth Sparkle] on set in her full-body prosthetic makeup. That's the only makeup we didn't have the time to test before the shoot. We tested the head, of course, but not the full body. Hardest look:Persin: Monstro [the final merging of the two bodies], without a The evolution of the look on Demi when she went from her room to the bathroom to change [before a date] and violently remove the makeup, because it has to start proportioned in the beginning, and each time she sees herself in a mirror, it is degrading slowly and slowly until she is completely out of proportion and she removes it. And for Demi to not hurt herself, my teammate Lucky Nguyen and I were preparing the removing pad with product in it to make it easy and not too hard on the skin. What would you do differently?Persin: I wish we had a bit more time to build Monstro and the Blob, to fine-tune the jiggling motion when they I would be more precise and detailed in the execution of the beautiful look of Demi and Margaret. Frances Hannon, hair, makeup and prosthetics designerLaura Blount, crowd hair / makeup supervisorSarah Nuth, key hair stylist / makeup artist Proudest momentBlount: Seeing all the Emerald City looks come together on set, it felt like you were back in the golden era of Hollywood. Hardest lookBlount: Building some of the more statuesque wigs with cages and creating hair origami to add to them. Nuth: Translating the inspiration of Madame Morrible's magical power of weather control and cloud formations into a hairstyle for Michelle Yeoh. Best solution to a problemHannon: Discovering the neon drops that brought Elphaba's skin to life. Blount: Spraying the structural wigs with acrylic polyurethane to keep them in place during the high-energy choreography. Nuth: Wet-setting hair into shapes and building wire structures to create hairstyles. This avoided the need for too many heated tools that can affect the color of the white and blond wigs. What would you do differently? Nuth: I would have spent more time soaking up this once-in-a-lifetime job and movie.
