based on the old Zeppelins

Passing Cloud is a project by Tiago Barros for the international ideas competition: “Life at the Speed of Rail”, organized by the Van Alen Institute  in New York City. It reveals a strong conceptual approach on new ways of traveling based on the old Zeppelins.

Nowadays, traveling is achieved with this idea of having a fixed destination and an estimated time of arrival. Passing Cloud completely inverts this system. A floating device is introduced that travels around the entire USA territory according to current predominant winds. It has no fixed time of arrival or place for arrival. The journey becomes the essence.

This project envisions a distinct approach towards moving around the United States being also a revival of the act of traveling. Why traveling at high speed? Why having the final destiny always defined? And why always departing and arriving on a tight schedule? Nowadays, everything is set and everyone is always running around.

Passing Cloud is an innovative and environmentally friendly method of transportation that doesn’t require expensive steel tracks or concrete highways. It is made of a series of spherical balloons that form the shape of a cloud. Its inner stainless steel structure is covered with heavy weight tensile nylon fabric. During the journey, It moves according to prevailing winds speed and direction at the time of travel. Since it moves with the wind, no wind is ever felt during the trip, offering the passengers a full “floating sensation”.

a Visualization Design

Kinematic Bloom is an interactive project designed by Daekwon Park, founder of the web-based Meta-Territory_Studio. The project took shape within the framework of Augmented Architectures course at Harvard Graduate School of Design. The course focused on the idea that spatial experience can be conceived, understood and designed as a series of reactive computational events. The goal of the course was to explore the realms of theory, visualization, design, and production of augmented architecture. It engaged in a critical discussion on the impact that our daily digital experiences have on the perception and expectation of physical experiences.

From a simple source of light, Kinematic Bloom is transformed into an interactive and responsive set of luminaries. Equipped with several sensory mechanisms (sound detection, reaction to light and movement) the structures change shape and level of brightness, depending not only on human movement but also on the proximity of other light sources. The claim of augmentation, which Kinematic Bloom explores, is not to apply sensor technologies to an inert object as a simple overlay, but to shape the entire design process with the idea of integrated systems as a determining factor. The intelligence of design, material and sensor technologies and computation will therefore become combined.
 

to Re Engineering

The Acapulco Chair is one of the most celebrated chair designs of the 20th Century. It is an anonymous design that emerged in the 1950’s in Hollywood’s favorite beach destination: Acapulco, Mexico.

The chair was born next to the famous “La Quebrada” divers cliff, a place visited by Frank Sinatra, Elizabeth Taylor and where John and Jacqueline Kennedy headed for their honeymoon.

The design enjoyed continuous success for almost five decades – being a designer’s favorite for its clean lines and comfort. It was manufactured by several artisanal workshops in Mexico, slowly disappearing from the market at the turn of the 21st Century.

After several design improvements, the chair is once again available with Electrostatic powder-coated steel frame and recycled UV filtered PVC woven cord shell, which makes it ideal for indoor and outdoor use.

The chair is available at thecommonproject, a design initiative based in Los Angeles, Barcelona, and Mexico City. In addition to this classic design, thecommonproject offers a stunning rocking chair version, as well as a kid’s size in both designs. Subtle and vibrant cord colors are the perfect accessory for any location.tyo

to Lava Bionic

“Architecture has to perform as an ecosystem within the organic tissue of the city.”

The intention of the Bionic Tower is to explore the array of ways in which natural and architectural can merge, creating the ultimate inhabitable structure. It starts at the basic level. Using references to the biological organization of the ecosystem, the design works its way from the smallest unit to the intelligence of the overall system.  By use of parametric modeling of a behavioral logic the system gets constantly optimized. Designed by LAVA, this biomorphic project is inspired by nature, and attempts to conceive a structure of great lightness, efficiency and elegance, using advanced design techniques.
to
The architects seem to address issues of ventilation, solar access and water collection as an evolutionary instinct of self-preservation, found in nature and adopted by architecture. Envisioned as equivalents to mechanisms of organic regeneration, the proposed systems are connected to the facade design. They are embedded in the façade in the form of intelligent automation of the surfaces, addressing pragmatic issues such as ventilation, solar access and water collection. New materials and technologies enable adaptability, responsiveness, environmental awareness and strength. The building systems and skin are controlled and react to external influences like air pressure, temperature, humidity, air pollution and solar radiation.

to Erase the Barriers of Art

DCPParquitectos proposal for the New Taipei City Museum of Art is an open and welcoming design that erases the barrier of exclusivity normally surrounding the world of art, patrons, and experts.

As such, the architecture of the New Taipei City Museum of Art is one that embodies this idea of erasure through eliminating the traditional borders between exhibition space and circulation, as well as exterior and interior. Every part of the museum is represented by a space without limits that can hold any type of expression.

Put together, each space is part of a large connected organism that expands and extends itself through the site, acting as a filter and transitional space between public and art.
A forest of columns, extending from the topography of the exterior into the interior spaces, acts as the device that delineates space, each program has a specific uniform distance between each column. This creates a unique atmosphere throughout the museum in which spaces are only roughly defined.

The first three levels of the museum sit in between the forest of columns around the building. As the visitor moves upwards towards the upper two floors that house the main galleries, this forest starts to disappear. Upon arrival, the visitor can enjoy a space that floats above all else.

These main gallery spaces are defined above all else by flexibility. Here, the column grid is the most open, allowing museum curators ample room to design exhibitions and sequences that can suit any particular need.

It is this level of flexibility and openness that will make the New Taipei City Museum of Art a unique public forum for art, learning, and culture.
 

a Great Inspiration in Art

In approaching the design for the new Kimball Art Center, we found great inspiration in the urban development of Park City, the Kimball site, and the citys mining heritage. We feel the form of the new Kimball Art Center emerges where these rich stories overlap. We were particularly moved when a long-time resident of Park City spoke nostaligally about the former Coalition Building, which once stood just south of the Kimball site.

It stood 80 feet tall for 80 years as an iconic landmark for Park City and a monument to the mining heritage, until a fire tragically brought it down on 1982. We wanted to recreate some of its attributes in the new Kimball Art Center – not only the proportions and materiality but the history it represented. Historically, timber was the primary construction material of the first miner settlers in Park City. Inside the mines, heavy timbers were stacked into retaining walls. The same technology was applied outside the mines as primary structure for most residential construction. We conceived the new Kimball Art Center as an evolution of this construction technique basically a highly-evolved log cabin at an unprecedented scale.

We found the most interesting challenge to be where the Kimball is situated in the urban context. At the intersection of the most socially active street Main St. and a diagonal street that has become the gateway to the city Heber Ave, the new Kimball needed to address both orientations. We solved this by essentialy giving each street a gallery. The building footprint sits in relation to Main St and the city grid, then as it rises it turns it to greet visitors entering the city via Heber Ave, creating an iconic yet contextual building at the citys doorstep.

 

a Monthly Rose

The new Dalian library conceived by Architects Collective is designed to become the center and heart for the local community with a strong relationship to the ocean and the bay. The building is placed in a park setting and aims to be a landmark for locals and visitors and a symbol for the creative and environmentally friendly future of New Pulian. It is a place for the public to read, contemplative and come together. The basic architectural form for the new library is the rose petal since the Monthly Rose is the city flower of Dalian. The new Pulian branch is one of several library branches in the Dalian region with each branch symbolizing a petal and forming a rose flower.

The Morpholio Project

The proliferation of device culture, social networking, and cloud technology is changing the way we work and connect on a daily basis. For designers, this means that technology is not only transforming the process of production, but also the processes through which we share, critique, and organize ourselves around the work we do. It has been predicted that in 2020, there will be 50 billion mobile internet connections worldwide, the equivalent of seven devices per person. Morpholio is not simply about the existence of technology, but rather is a tool for and an experiment in how we might better harness its power.

What is the future of critique, the driver of design culture, in this increasingly connected world? Is the speed at which images circulate around the globe, advancing the level of conversation within and amongst design disciplines? When placed in opposition, the time honored design school tradition of convening public debate around a set of images and ideas, presents a stark contrast to the typical comment forum found in social media. Taken together, however, a new spectrum of valuable means of gathering feedback about one’s work becomes visible. Its continued evolution will be impacted by the tools we create for sustaining and magnifying meaningful conversation, critique, feedback, and debate with a global community.

The Morpholio Project begins by re-imaging the portfolio. “Although essential to design culture, the current methods of creating and sharing design portfolios and presentations still ultimately rely on fixed notions of time, media and outdated technologies of sharing,” says Anna Kenoff, Co-Creator. The design world lacks the tools needed to understand how our work is consumed and experienced by those we most want to reach. The project ultimately asked, what would happen if you could merge processes of presentation, critique and collaboration into a single elastic platform?
Morpholio Beta 1.0: Present + Collaborate + Critique
The iPhone and iPad app, along with the MyMorpholio website, provides a unique space in which to collect, share, and discuss your work.

Present
This software begins by transforming the users portfolio into a constantly versioning and customizable collection of images that is more reflective of the way we work today. Capable of communicating with multiple devices, it organizes image collections in a comprehensible and accessible format that makes sharing and presenting work seamless and infinitely flexible.

Collaborate
Morpholio “Pinup,” allows collections to be posted for invited viewing and response. In “Pinup” you make your work public and searchable by all Morpholio users. You also have the option to send immediate invites to a targeted audience, and continuously update the images they see as you get feedback, and develop ideas. The “Co-creators” feature allows you to share and exchange image collections with anyone you choose, as well as give them access to selected images. Share image collections with your project team, consultants, or collaborators.

Critique
Morpholio “Crit” allows collections to be posted for private viewing and response. In “Crit” you can post work and invite other users to critique your work. Invited viewers can easily comment on any image by overlaying text, and will soon be able to use other feedback methods that are currently in development. Set up a critique for your studio, consultants, office, friends or project team.

to Bike Life

JDS’s proposal for the Bicycle Park in Chongming, China, consists of three landmark buildings, each portraying different aspects of the culture of cycling. With their spiraling shapes and sloping sides, the structures are accessible by bike, and offer a varied experience to visitors. The Park aims to inform and stimulate biking as an expression of social awareness, while illustrating the relationship between sport and technology through its distinctive architecture.

The Visitor Center acts as an entry landmark, serving as main access point and providing information about the park. The Bike Museum is a double helix, with its exterior portion used for the ride downwards. Swirling ramps provide excellent views of the surroundings, while the interior leads the visitors on a tour through the historical development of the bicycle. The multipurpose building is shaped as an island that can be used by people for various purposes. It can be used for holding conferences, competitions and even concerts. The slopes are at the disposal for biking enthusiasts to navigate.
The proposal seems to accentuate the accessibility of space by offering a bicycle-friendly environment and architecture that can be versatile in its use while still maintaining its educational and museological purpose.

 

non Parametric Flowers

Black Narcissus highlights the importance of encompassing all methods of fabrication; digital and analog in terms of technology, management efficiency and time towards the production the project. The piece is constituted of 1,000 pieces including the 644 pieces of CNC routed syntra, 50 large flowers with jewel like crowns and 100 small flowers. The idea was to produce a structure that combines a parametrically designed large form ornamented and gardened with nonparametric flowers.

Through this gardening process of aggregation, the flowers produce a sensation of excess in a garden of delight.
The precedent came from looking at contemporary fashion sensibilities and techniques thinking of it as an “haute couture” surface. We also took a look at the 1947 Michael Powell film Black Narcissus, where a group of nuns travel to a remote location in the Himalayas to set up a school and hospital and “domesticate” the local people and environment, by conversion and gardening, only to find themselves increasingly seduced by the sensuality of their surroundings. The location, the culture and the mountain air all begin to have a strange affect on the nuns. What was important about the film is understanding the power “sensual”, the way the recognition of your desires to the point of self-contemplation; an aesthetic displacement, you see your sensual self in the work as an act of narcissism. You become as beautiful as what surrounds you. Narcissism as a natural condition of self-admiration and a distorted self from reality, which it is more about the absurdity of the “cultural” concept in a pursuit for an argument of beauty.

Black Narcissus is a garden of contemplation where the surface of reflection is the piece itself. The piece is joyous and ominous, it attracts and repels because it sense of superficial ornamentation. It climbs up the wall caressing it. This piece does not operate within the notion of effect (literal reflection) but through affect, a true moment of qualia.

Design: Gabriel Esquivel & David Hernandez
Team: Erin Templeton, Dylan Weiser, Arnold Ghil, Miaomiao Xiao, Catlan Fearon, Hugo Ochoa, Megan Arrington, Le Phuc

Merry Merry Christmas

Wishes and Love to be!

into Ottoman's Empire

The main purpose is to design a multifunctional complex for people with an interest in knowing about Islam during the time of the Ottoman Empire. The Ottoman Empire was the last big Islamic Empire and one of the most powerful during the Islamic era up until recent times. The building will serve as a hub for social activities and will portray the Ottoman Empire, especially, in an artistic sense.

The building conceived by Yusuf Onder will have a library, museum, lecture rooms, workshop level and a rooftop garden/cafe. Another goal is to offer people a place to learn and understand about this unique, hybrid of, culture and religion and it’s place in the Ottoman Empire in a hope to diffuse the sense of xenophobia towards the religion and culture. This thesis expounds on the, long old, idea of constant integration of religion and culture from history.

Users of the facility will comprise, the numerous tourists in the Bay Area San Francisco, especially those with a curiousity about the diversity of San Francisco and then the Islamic World. Another category of Users are tourists visiting San Francisco and the Site with the Contemporary Jewish Museum or the St. Patricks Church. This new architectural edifice complete the triangle of the major religions and becomes a beacon for unity.

San Francisco is deal for this kind of Center, because San Francisco as a multicultureal metrepolitan city is iconic for it’s integration of many sorts of people and socio-cultural ideas. Already exists in the city is a strong presence of other major religions eg. Christianity and Judaism amongst others: this last piece of the pseudo-puzzle would complete the already begging polity for a complete and balance hybrid society. It would be examplary for San Francisco to have or to show the World how open minded they are and with a Topic as sensitive as an Islamic Culture Center it would win the Hearts Muslims around the World.

a Linen Collar of the 1600's

The award winning lighting design is based on the effects of the Dutch ruff, a decorative linen collar considered fashionable in the 1600′s. The collars required several yards worth of linen, and had to be starched and ironed into pleats, or even supported on wires, in order to achieve their voluminous appearance. Inspired by the way Flemish baroque painter Cornelis de Vos illuminated these items, Andrew Saunders created the similarly shaped Luminescent Limacon. The design integrates historical referencing to the contemporary fabrication techniques, transforming the traditional piece of garment into a vehicle for manipulating light.

This occurs at two levels, both as an ephemeral reflective source and as a figural volume with a material presence. This dense accumulation of light is achieved through a combination of the chiaroscuro painting technique, which uses dramatic contrast of light to build volume, and by trapping light through a process of periodic folding that creates a deep translucent ruffle. The geometry of the structure is determined through use of the polar equation-based Limacon curve. Rolling of the curve at different speeds generates self-similar profiles. Two levels of geometry appear simultaneously: the primary one is combined vertically, while the secondary, following similar geometric progression, creates folds that are nested diagonally and can be interconnected when they meet flush. For fabrication and assembly, these surfaces are embedded with a number of parameters including placement of apertures for connection points, material thickness, tabbing and indexing. Each individual unrolled developable surface contains a unique and specific location and assembly instruction.

geometric Ornaments

The basic idea of the project is rooted in the notion of flows. It strongly references historical, environmental and even biological diversification and friction that shaped the contemporary city of Istanbul. The geometric form dominating the building is combined with typical Turkish patterns and ornaments, displaying both European and Asian cultural influences.

Located at the boundary between continents, the city of Istanbul is experiencing geophysical friction generated by the shifts of continental plates. The friction between two forces generates dramatic reaction of the elements; it can be transferred to all four basic elements in nature, with an impact determined by the level of energy. The same rule is applied to the urban environment. The layout of the structure reveals an atrium building, organized around the central square. The central area symbolizes aether, the 5th element in nature. Aether is also called, from Latin, ‘quinta essentia’ which stands for the element that unites the other four.

The entire building is divided into three sections: conference, educational and infrastructure. A shelter with a capacity of 150 people, divided into 2 parts, contains places to sleep, to sit, toilets and a place to prepare meals. It’s the last room to be visited during the trip around the Centre. The long corridor that leads to it demonstrates and recalls anxiety or even fear connected with situations in which it needs to be used.

Barcelona 40 years later...

The project was developed by IAAC students Carolina Aguirre, Xiomara Armijo and Carlo Caltabiano during the MAA Emergent Territories Studio directed by Willy Müller. FlexHubDock envisions Barcelona city 40 years later, with the Port Area as new Hub not only for commerce/logistics but for people and the city, rethinking it as a new social layer.

The FlexHubDock is the best example of how Port and City can coexist in harmony. A smart-shared surface will enable the Port area as both a Dock for ships and public Plaza. Depending on the needs for public space and activity as dock, it can be totally managed in real-time, by embedded sensors and network system that receives information of space requirements to begin its transition. In a single day the function and shape of the FlexHubDock can change several times and even share functions.

The solution is based on a new concept of shared space. Flexible enough to respond to the demands of the Port as Dock and as new Social/Mobility Hub; able to transform as the users interact as Agents, optimizing space in different time scales, receiving and processing parameters in real-time.

A Dock is usually associated as in the limits between the city and the water. But the FHD is able to somehow use the water as land, and transform this land into water, giving the city a whole new layer. Spaces can appear and disappear.

The FHD modular/parametric system, provides an adaptable additive structure open for future applications in other ports and cities around the world. The FlexHubDock Project aims to offer new possibilities, some perhaps still unimaginable today.
 

composed of Blades

Dominique Jakob and Brendan MacFarlane have created a light sculpture composed of blades and LEDs, a luminaire specially designed for Moaroom, a Paris-based furniture and art gallery. Since 2004 Moaroom works with designers and artists from New Zealand and presents a selection of creations from the world of design and visual arts. Aimed to explore design beyond the usual scope of trends and patterns, these works are inspired by nature and its needs, and are created in order to respect the environment.

“Both transparent and opaque, this fixture is conceived as a creature from the depths of the sea newly discovered, both unknown and unnamed. It belongs to a dark world, where new sounds, new experiences can be imagined and lived, “say the architects.

The suspended sculpture, composed of thin strips of aluminum and powered by LEDs, alternates between light and shadow. It is a 160x80x45 cm snake-shaped light source that flows organically through space, creating an impression of a moving organism. Hovering above the visitors to the gallery, this item brings the Studio’s continuous exploration of patterns and color into the realm of interior design.

a Tree in Andersen`s Mind

Out in the woods stood a nice little Fir-tree. The place he had was a very good one; the sun shone on him; as to fresh air, there was enough of that, and round him grew many large-sized comrades, pines as well as firs. But the little Fir wanted so very much to be a grown-up tree.

He did not think of the warm sun and of the fresh air; he did not care for the little cottage children that ran about and prattled when they were in the woods looking for wild strawberries. The children often came with a whole pitcher full of berries, or a long row of them threaded on a straw, and sat down near the young tree and said, "Oh,
how pretty he is! what a nice little fir!" But this was what the Tree could not bear to hear.

At the end of a year he had shot up a good deal, and after another year he was another long bit taller; for with fir-trees one can always tell by the shoots how many years old they are.

"Oh, were I but such a high tree as the others are!" sighed he. "Then I should be able to spread out my branches, and with the tops to look into the wide world! Then would the birds build nests among my branches; and when there was a breeze, I could bend with as much stateliness as the others!"

Neither the sunbeams, nor the birds, nor the red clouds, which morning and evening sailed above them, gave the little Tree any pleasure.

In winter, when the snow lay glittering on the ground, a hare would often come leaping along, and jump right over the little Tree. Oh, that made him so angry! But two winters were past, and in the third the tree was so large that the hare was obliged to go round it. "To grow and grow, to get older and be tall," thought the Tree "that, after all, is the most delightful thing in the world!"

In autumn the wood cutters always came and felled some of the largest trees. This happened every year; and the young Fir tree, that had now grown to a very comely size, trembled at the sight; for the magnificent
great trees fell to the earth with noise and cracking, the branches were lopped off, and the trees looked long and bare; they were hardly to be recognized; and then they were laid in carts, and the horses dragged them out of the woods.

Where did they go to? What became of them?

In spring, when the Swallows and the Storks came, the Tree asked them, "Don't you know where they have been taken? Have you not met them anywhere?"

The Swallows did not know anything about it; but the Stork looked musing, nodded his head, and said: "Yes, I think I know; I met many ships as I was flying hither from Egypt; on the ships were magnificent masts, and I venture to assert that it was they that smelt so of fir. I may congratulate you, for they lifted themselves on high most majestically!"

"Oh, were I but old enough to fly across the sea! But how does the sea look in reality? What is it like?"
.....................................

anodized Aluminum

This piece of public art was chosen as the winning proposal among three finalists for the new transit center being built in North Redondo this year. Located at the entry plaza location at Kingsdale Avenue, designed by Marc Fornes/THEVERYMANY in cooperation with Volkan Alkanoglu, the project is a piece of urban furniture, announcing the city of Redondo Beach to arriving visitors.

“Gate Wave” is designed to serve as a communication device, allowing the public to interact and engage with the variety of moiré effects within the colorful pattern and ephemeral qualities of light and shadows.  The design is 13.5 feet at its highest and almost 50 feet wide at its base. It will be constructed using concrete footings, a timber frame structure, and anodized aluminum in four total layers, with cyan and lime colorations on the interior aluminum and white on the outside.

The project had to overcome two major objections: the possibility of misusing the structure as a skateboarding ramp, as well as the fact that the project lapped beyond the constraints set forth in the Request for Proposals. Despite these issues, along with concerns regarding the effects of the ocean air’s on the anodized aluminum shapes near the top of the sculpture, the artwork will be built later this year.

 

Ο Πυγμάχος, το Λιοντάρι και η Σκόνη

Όλη η ζωή είναι ένα πείραμα

Η κοινωνία προετοιμάζει το έγκλημα. Ο εγκληματίας το διαπράττει

Αν ένα λιοντάρι μπορούσε να μιλήσει, δεν θα το καταλαβαίναμε

Σκέφτομαι άρα υπάρχω

Η πιο μεγάλη τέχνη είναι να ξέρεις να αποχωρείς

Δεν μπορώ να πάω πίσω στο χθες γιατί ήμουν κάποιος άλλος

«Πω, πω, σκόνη που σήκωσα!», είπε η μύγα που καθόταν στο πίσω μέρος του άρματος

Η ύπαρξη προηγείται της ουσίας

Ένας φιλόσοφος που δεν θέλει να παίρνει μέρος σε συζητήσεις είναι σαν έναν πυγμάχο που δεν θέλει να μπαίνει στο ρινγκ

Ένα ποίημα δεν τελειώνει ποτέ, μόνο εγκαταλείπεται

Δεν υπάρχει πιο ταπεινωτική απάντηση από την περιφρονητική σιωπή

Οποιοσδήποτε ανόητος μπορεί να πει την αλήθεια. Χρειάζονται προσόντα για να πεις ψέματα

Οι ιδέες είναι σαν τα καρφιά. Όσο τις χτυπάς, τόσο βαθύτερα μπαίνουν

Αληθινοί επαναστάτες είναι εκείνοι που δεν έχουν να χάσουν τίποτα

Εκείνο που η κάμπια το ονομάζει τέλος του κόσμου, η ζωή το ονομάζει πεταλούδα....

από το βιβλίο του Θ.Πελεγρίνη

the Match Girl

On a cold New Year’s Eve, a poor girl tries to sell matches in the street. She is freezing badly, but she is afraid to go home because her father will beat her for not selling any matches. She takes shelter in a nook and lights the matches to warm herself. In their glow, she sees several lovely visions including a Christmas tree and a holiday feast. The girl looks skyward, sees a shooting star, and remembers her deceased grandmother saying that such a falling star means someone died and is going into Heaven. As she lights her next match, she sees a vision of her grandmother, the only person to have treated her with love and kindness. She strikes one match after another to keep the vision of her grandmother nearby for as long as she can. The child dies and her grandmother carries her soul to Heaven. The next morning, passers-by find the dead child in the nook.

SourceThe source for the story was a widely popular woodcut illustration by the Danish artist Johan Thomas Lundbye depicting a poor child selling matches printed in a calendar for 1843; several illustrations had been sent to Andersen by the editor of an almanac requesting him to write a story around one.

Another known inspiration for the story is the well known fairy tale The Star Money previously recorded by the Brothers Grimm. It is a story of a poor young girl who gives away everything that she has to the needy and ends up with nothing except her love for God. The Grimms' variation differs, ending with the girl remaining alive and receiving divine gifts (money that falls from the stars) for her charity.

Another source of inspiration could be his trip to Bratislava (Pressburg) in 1841 where he was witnessing how the town of Devin burnt down and how women were searching for their lost children.

[edit] Publication"The Little Match Girl" was first published December 1845 in Dansk Folkekalender for 1846. The work was re-published 4 March 1848 as a part of New Fairy Tales. Second Volume. Second Collection. 1848. (Nye Eventyr. Andet Bind. Anden Samling. 1848.), and again 18 December 1849 as a part of Fairy Tales. 1850. (Eventyr. 1850.). The work was also published 30 March 1863 as a part of Fairy Tales and Stories. Second Volume. 1863. (Eventyr og Historier. Andet Bind. 1863.)