taking on the idea of understanding, the items showcase the addition of either a perforated metal or a wooden texture.
Many times, car enthusiasts are simply overwhelmed with choices. As the weather gets colder here in Michigan and across many areas of the United States, a lot of my gear head friends are turning wrenches in their garage. This is the time they focus on getting their “baby” ready for spring.
One such modification comes in the way of a replacement clutch.
And it’s not always an easy decision.
Today there are different clutch friction materials, each with their own advantages, from organic, ceramic, and Kevlar to carbotic, feramic, and feramalloy. Depending on the vehicle and its overall usage, material requirements vary.
Lou Rivieccio is co-founder of Phoenix Friction Products, a New Jersey based clutch and brake pad manufacturer. To help educate consumers, they put together a handy infogrpachic, outlining the world of clutch friction materials.
“Since most consumers don’t know what to look for, they’re being cheated. The cost, durability, and performance of a clutch disc are largely determined by the friction material. A lot of clutch manufacturers trick their customers. They will take a cheap, organic clutch disc, paint it a bright color, and then call it a ‘performance clutch.’ Consumers need to understand what they’re buying to get a good deal,” Rivieccio said.
For almost 30 years, Phoenix Friction Products has manufactured hundreds of thousands of different clutches. Over the years clutch friction materials have changed, making it more difficult for consumers to know the best option.
“When we first got started, most clutch discs were made from asbestos. It was easier to choose a clutch back then,” Rivieccio said.
Kedem’s Tel Aviv-based studio – which also recently completed a monochrome penthouse apartment – sought to create seclusion at the street-facing front of the house, but to give a more open feel to the spaces facing a private garden at the rear.
A high wall separates the house, named Concrete Cut, from the street. Behind it, three distinct layers of material present a solid and impervious elevation towards the rest of the neighbourhood.
The bottom and top layers are made from translucent glass planks – the same material used by British architect Carl Turner for his Manser Medal-winning home.
They allow daylight to filter inside, and their tone and uniformity complement the robust surface of the concrete sandwiched in between.
“Viewed from the front, [the house] looks like a monolithic operation of materials with a deep, monochromatic range of colours,” said the studio. “Three rectangular prisms, laid upon one another into a peaceful composition, stable and subdued, appearing as heavy masses.”
“A second, discerning glance reveals a dramatic encounter of materials taken from two separate worlds – poured, massive concrete and glass panels, creating a semitransparent wall with a decisive line running through it.”
The lower portion of the glazed wall shields an entrance tucked behind one corner. Bamboo stems that stretch upwards from the basement level are backlit by light coming through the translucent surface.
A large pivoting doorway opens directly onto the open-plan kitchen and dining area, with the rest of the space along the front elevation accommodating services including a bathroom, laundry, wardrobe and a lift.
At the far end of this space is a double-height lounge that looks onto the terrace and swimming pool through floor-to-ceiling windows.
Large steel pillars in the corners of the room provide evidence of the building’s supporting framework, while the concrete cladding extends in a sinuous line from the roof, down one side of the windows and across the facade before descending to the ground.
“While the front facade is an abstract creation conceptually assuring the blending of identity and function, the rear facade graphically expresses three-dimensionality, the probing of depth and the feeling of brightness and freedom,” the architects said.
“Colleen saw the video Cusp I did for Mimi Goese and Ben Neill and thought that I was the right director to create a music video for I’m Kin,” he told Dezeen.
He added that the artist chose him “because of the lyrics, the hidden meanings of the song, and how I was working with objects”.
Thockler said that the song and the vivid images it created in his mind provided the only inspiration for the video.
“We wanted to emphasise the meanings of the lyrics, and create a metaphoric and poetic work,” Thockler said.
The words reference naturally occurring processes – stones sparking to make fire, melting ice – and the music is made using traditional instruments mixed with synthetic sounds.