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Friday, 29 June 2012

WOULD you rather have tomatoes that look good, or taste good

 

 

WOULD you rather have tomatoes that look good, or taste good? Most people, no doubt, would swear that they prefer taste to looks when it comes to buying fruit and vegetables. But that is not how they behave. Years of retailing experience have shown that what actually gets bought is what looks good. And, unfortunately, for tomatoes at least, that is not well correlated with taste. A uniformly red skin – the sort preferred by consumers – is associated with a “cardboardy” flavour. But until now, nobody knew why.

The answer is provided by a paper in Science, written by by Ann Powell of the University of California, Davis, and her colleagues. The reason turns out to lie deep in the genetic regulation of photosynthesis. For 70 years, tomato breeders have sought fruit that ripen evenly. For that to happen, they need to start from a state of uniform light-greenness. Older varieties of tomato, by contrast, are dark green over the part of the fruit nearest the stem.

Those decades of selective breeding have done what was required. Traditional genetics identified a gene known as u (for “uniform ripening”). This, in classic Mendelian fashion, came in two forms, a dominant and a recessive. Dominant versions of a gene always trump recessive ones, so the recessive characteristic emerges only when both of a plant’s parents contribute a recessive version of the gene to their offspring. Identifying strains with the relevant recessives, and then cross-fertilising them, is the sort of thing that plant breeder are good at. But what they did not know was exactly what sort of gene u actually is.

To find out, Dr Powell and her colleagues looked in the part of a tomato’s genome that Mendelian genetics shows is where u is found. This has been worked out over years of intensive study of the process by which genes are mixed up during fertilisation. Such mixing shows approximately where on a chromosome a gene is located. When they sequenced the DNA of this region, the team found eight genes, any one of which might, in principle, have been u. But they discovered that in all cases where the version of u in the plant was recessive, there was one gene out of the ten that was broken. An extra genetic letter inserted into its DNA caused the genetic equivalent of a full stop in the message, meaning that the protein produced from the gene was too short, and did not work properly.

The gene in question was for a type of protein known as a transcription factor. Transcription factors are molecules that regulate the expression of other genes and the factor in question is one that is known, in other plants, to regulate chlorophyll distribution, and thus photosynthesis.

Since about 10% of the sugars in an old-fashioned tomato are produced by photosynthesis in the fruit itself, rather than being transported in from elsewhere, and since making those sugars also results in other flavoursome molecules derived from them, Dr Powell thinks she has found the explanation for cardboard tomatoes.

Whether this discovery actually helps is moot. Any tinkering that brought back the flavour by manipulating the transcription factor would probably also bring back the original uneven colouring. But at least you now know that when your grandmother tells you that tomatoes tasted better when she was a girl, science will back her up.

Wednesday, 27 June 2012

Animal-human hybrid stickers invading Parisian streets


Suriani-16.jpg

While marketing and mainstream communications campaigns have derived branding inspiration in the comic-like cartoon style of street art, and the values attached to its culture—freedom, community, transgression—the paradox still exists to see it framed and sold through traditional art channels.

Suriani-1.jpg

We caught up with street artist Rafael Suriani at his recent show, "Collages Urbains", at Cabinet d'amateur gallery in Paris, where he told us more about street art and his relationship with the medium.

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Suriani's mark features animals, surviving and thriving in the streets for its powerful and highly recognizable aesthetic. In his half-human-half-animal figures, the animal faces act as liberating masks, allowing the artist to express social criticism in an elegant way. The vibrant, seemingly playful creatures refrain from getting too serious and maintain a suggestive tone that avoids the obvious.

Suriani-8.jpg Suriani-3.jpg

The stickers are the result of a double-binding process that first assembles man and animal, then adheres the resulting figure to the wall. In the past, Suriani has drawn from his Latin-American heritage, playing with shamanic mythology figures such as toucan or jaguar. In his recent series, on the other hand, he is more interested in urban domestic animals such as cats and dogs—according to the artist, the convention that they tend to resemble their owners offers a metaphoric way to talk about us people. Recently Suriani made a series of French "Bulldogs" as a special dedication on London walls, using this breed to cartoon and make fun of some French characteristics. Each dog expresses a different state of mind—humor, spirituality, criticism or beauty.

Suriani-9.jpg Suriani-10.jpg

Suriani uses the rare technique of hand-painting every poster he sticks on the streets. Making each sticker is the result of a process involving selecting photos from the Internet, cutting them in Photoshop, then screening and painting before cutting the final product. Such repetition lies at the heart of street art practice, which is often based on plastering as many spots as possible, invasion-style.

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When considering the ephemeral fate of the piece of work destined for degradation of the elements, police destruction or theft from passers-by, the time and effort for such little reward seems remarkable. Suriani explains, however, that the fleeting nature of his work is freeing and allows him to be audacious with both subject and technique. To him, because there is no pressure or constraint, that achievement is rarely a failure.

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In the end, the piece of art is not the only sticker by itself, it is the sticker in its context, seen as a whole on the wall with the daylight shining on it, the motorbikes parked against it or the branch of a tree creeping across. Rarely is the work's time spent on the wall its only life, after all, with the rise of dedicated photographers immortalizing the scenes for the Internet.

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Suriani claims his intention to step into the city's landscape by bringing much-needed beauty comes with a positive message. Rather than being aggressive or controversial, Suriani takes pleasure in having people on the street enjoy his figures. His work is bound to the city—physically, geographically and socially—compelling the public to refresh their view of their surroundings and drawing their eyes to the places that typically go unnoticed. As an architect, Suriani has found a way to unveil the city and change people's perception of the scenes they see everyday without truly seeing them. The choice of venue is very important, based on aesthetic consideration with attention to the context and surroundings like the location.

EURO 2012 POSTERS BY DAVID WATSON

Euro 2012 Posters by David Watson

Euro 2012 recently began and, for those of you who don’t know, it’s the European football championship. European football is what we Americans call soccer, and it has slowly gained steam over the years, although still not as popular as American football…  Whether you’re into the championship or not (or even sports in general), you’ll probably love these simple, modern posters David Watson ofTrebleseven designed for it.

 Euro 2012 Posters by David Watson

Each poster represents a particular country that’s playing, and the colors of their flag are incorporated into one of the various circular designs. I love the typographic twist these posters have and how they don’t have blatant sports references in them.

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson

Euro 2012 Posters by David Watson




AWARE2 gigapixel camera


'AWARE2' gigapixel camera by duke university
above: 3 increasing zoom levels of footage taken by the camera

 
engineers at duke university have developed a camera able to take photos with up to one billion pixels of resolution. 
the 'AWARE2' gigapixel camera uses 98 sensors each at 14 megapixels, capable of detecting detail from as far as 1 kilometer away.
the current model weighs in at approximately 100 pounds, and only shoots in black and white.

explore more of the super high-resolution photos on duke's site with these zoomable examples of a lake scene, building atrium and riverside town.

 


original image shot at .96 gigapixels; explore the full zoomable image here



the 'AWARE2' camera


camera processor render



making of 'AWARE2' gigapixel camera 

Sunday, 24 June 2012

new greek restaurant PHOS, Mykonos

© Vangelis Paterakis

Architects: LM Architects
Location: Mykonos, Greece
Design Team: Mariza Aggelidi, Lila Galata, Ariadni Kafetzi, Bettina Velliou 
Proyect Year: 2012
Photographs: Vangelis Paterakis

 

© Vangelis Paterakis

The greek light, a source of inspiration in any area of artistic creation, lent its name to the new greek restaurant PHOS, Mykonos
(PHOS is the greek word for light).

In this project we handled the shaping of the restaurant area by expressing traditional elements, through a contemporary view. Selecting, as a starting point for inspiration, the shade structure of the greek islands, which owes its existence to the stark greek light, an architectural element was created that shapes the identity of the restaurant area. The deconstruction of the wooden pergola and its mutation into a sculpture expresses our view, regarding the participation of traditional notions in contemporary architecture, denoted in a subversive manner. 

bastiaan kok has developed a 'porsche bicycle'


'porsche bicycle' by bastiaan kok
all images courtesy of bastiaan kok
low placed handlebar and integrated bicycle helmet storage



netherland-based bastiaan kok has developed a 'porsche bicycle' which is influenced by the famous 911 series car. 
the bodywork resembles the classic lines of the sport to the integrated headlight, through to the slightly curved top tube, 
to the impressive rear wheel fender ending in the taillight. a low placed handle bar and integrated bicycle helmet are reminiscent of old race motorbikes.

the bicycle tube frame is replaced by a single piece of lightweight alloy for bodywork. the front fork is manufactured using investment casting 
with a master produced by rapid prototyping. with this method the complicated shape is created out of one piece with surface finishing and
integrated ultra thin ribs with all the necessary bearing shells. the five spoke carbon wheel holds 60-622 schwalbe big apple drive tires with 
an internal shaft drive propeller and disc brakes.



porsche 911 characteristics in detail



sketches



single piece bodywork with integrated bearing shells



final design sketches

Friday, 22 June 2012

Entitled "Cock and Bull," this showpiece by British artist Damien Hirst towers above diners at Tramshed, which only serves chicken and steak.

DAMIEN HIRST

Entitled "Cock and Bull," this showpiece by British artist Damien Hirst towers above diners at Tramshed, which only serves chicken and steak.

Internationally renowned British artist Damien Hirst has created an art piece for a London restaurant in which a whole Hereford cow and cockerel are preserved in formaldehyde in a steel and glass tank, smack dab in the middle of the dining room.

Called "Cock and Bull," the showpiece towers above diners at Tramshed which -- surprise -- serves only steak and whole roasted chicken.

Like a giant aquarium mounted on a TV stand, the art installation is an extension of Hirst's Natural History, a collection of preserved animals he's been creating since 1991 -- arguably his most famous series. Hirst also created a painting for the restaurant opening entitled "Beef and Chicken" which hangs on the mezzanine level and depicts the 1990s cartoon characters "Cow and Chicken."

In the basement level, the Cock ‘n' Bull gallery showcases a rotating art exhibit every six weeks. The first exhibition Quantum Jumping features art work themed around "jumping into a parallel dimension," and runs until July 1.

The classically British menu by chef and restaurateur Mark Hix, meanwhile, is conducive to family-style dining with whole roasted, free-range chickens or marbled sirloin steaks, both served with fries. Appetizers include Yorkshire pudding with whipped chicken livers, cauliflower salad, and smoked Cornish mackerel with beets and horseradish.

It's not unusual for restaurants to house the collections of famous and interesting artists, given the synergy between food and ambiance. Pierre Gagnaire's eponymous restaurant, in Paris, for instance, houses works from the Galerie Lelong, while Wolfgang Puck has also turned his restaurant space into an exhibit for a roster of rotating artists at his CUT steakhouse in Los Angeles.

Meanwhile, restaurants like Eric Ripert's Le Bernardin in New York, Jason Atherton's Pollen Street Social in London and Jean-Georges Vongerichten's Spice Market in London have been shortlisted in the Restaurant & Bar Design Awards this year.



Edward Burtynsky Photographs Farming in Monegros Spain


© Edward Burtynsky, courtesy Flowers, London Dryland Farming #13, Monegros County, Aragon, Spain, 2010

Canadian photographer Edward Burtynsky is having a London moment. Not only are his familiar works on the oil crisis on view but he is also exhibiting a new series examining the impact of long-term farming in Monegros, Spain.


© Edward Burtynsky, courtesy Flowers, London Dryland Farming #21, Monegros County, Aragon, Spain, 2010

These photographs are looking at the tradition of dryland farming carried out over many generations in the north-eastern part of Spain. It's an agricultural region where the land is semi-arid, sparsely populated and prone to both droughts and high winds. The land is made up of sedimentary rock, gypsum, and clay-rich soil. The photographs show the impact of these conditions, as well as man's expanding foot print.


© Edward Burtynsky, courtesy Flowers, London Dryland Farming #8, Monegros County, Aragon, Spain, 2010

Burtynsky is shooting the photos from a helicopter, two thousand feet up: so high that there are almost no details to be identified. The topography looks like an abstract painting.


© Edward Burtynsky, courtesy Flowers, London Dryland Farming #27, Monegros County, Aragon, Spain, 2010

Despite a scarcity of water, generations of farmers have continued to farm, so the photos are a contrast between nature's untamed forces and man's attempts to harness it. The cracks and crevices form writhing lines with deep earthy tones.


© Edward Burtynsky, courtesy Flowers, London Dryland Farming #31, Monegros County, Aragon, Spain, 2010

Friday, 15 June 2012

advertising work from all over the world

Advertising

We have new ads from all over the world to share with you this week. First up, we head to the US for this latest film from Google Studio G, which uses the humble banana to help advertise Google Play...

Agency: Google Studio G; Writer/director: Jonathan Zames; Production design: Syyn Labs.

DDB Paris has turned a series of Mini cars into 'Mini Stores' in Paris, where visitors can 'come in', talk to a salesperson and then test drive the cars. The fun idea avoids the brand having to open an expensive showroom – instead, they just had to pay the price of parking tickets... The case study film above explains the project in more detail. ECD: Alexandre Hervé. Creative: Alexander Kalchev. Production company: Standard Films. Director: Clemens Purner.

Also from Paris is this epic space adventure for Perrier, directed by Johan Renck. Agency: Ogilvy Paris. Production company: Soixante-Quinze.

To promote the Adidas Climacools running shoes to the 14-19 age group in France, Sid Lee in Paris launched a project that saw a number of customers who tried on the shoes in French stores be kidnapped and sent on a mission involving a number of running challenges. We're assuming the customers knew what they were getting themselves into beforehand – the film above shows how it worked. Agency/creative team: Sid Lee. Production company: Astrolab. Director: Julien Rocher.

This witty little number from Wieden + Kennedy New York demonstrates one of the reasons why it's better to watch ESPN on your laptop rather than TV. Creative directors: Stuart Jennings, Brandon Henderson; Creatives: Charles Hodges, Gary Van Dzura; Production company: Radical Media; Director: Steve Miller.

Jung von Matt Stockholm is inviting a group of kids to decorate the windows of department store NK in August, with the first person to work out what they're building to win a prize of 5,000 SEK's worth of Lego Duplo products. In the film above, the kids give hints as to what the displays might be.

São Paulo-based animation and design companies Molho Filmes and Ad Studio have collaborated on this charming animation created for phone company Touch and JWT Beirut. Directors: Doug Bello, Marcelo Garcia.

To promote Yoko Ono's summer exhibition at Moderna Museet in Stockholm, TBWA Stockholm asked Ono to create a newspaper ad, which ran in the arts section of Sweden's largest newspaper, DN. Ono also signed five copies of the paper before it was distributed, meaning that five subscribers to DN received their own signed piece of art with their paper (let's hope they all noticed!). Shown above is a signed page. Creative director: Kalle Widgren. Creatives: Alexander Fredlund, Johannes Ivarsson.

We finish this week's round-up with a film that borders on the creepy. Created to promote the Young Directors Award 2012 by BETC Paris, the short sees a young child stumble on his parents in the bedroom and start directing the action - yikes. Creative director: Damien Bellon. Director: Karen Cunningham. Production company: Pop-Up Films.

Monday, 11 June 2012

Man stranded in desert builds motorcycle out of his broken car

Citroen 2CV motorcycleAccording to Merriam-Webster, ingenuity can be defined as "skill or cleverness in devising or combining" or "cleverness or aptness of design or contrivance." We'd say that's an apt description of a Frenchman named Emile who reportedly found himself stranded in the deserts of Northwest Africa after breaking a frame rail and a suspension swingarm underneath his Citroën 2CV.


What to do? Why, disassemble the broken hulk and build yourself a motorcycle from its pile of parts, of course! As the story goes, Emile was able to use the inventive machine to escape the desert, though not before convincing the local authorities that he wasn't an insurgent and paying a fine for importing a non-conforming vehicle...

Since Emile was the only soul in the area, nobody has been able to confirm the veracity of the events that led to the little French runabout's conversion into a makeshift motorcycle. That said, judging by the images you can see here (apparently from the March 2003 issue of 2CV Magazine), this Citroën-bred two-wheeler does indeed exist, and it was definitely fashioned from parts scavenged from an old 2CV.

Emile, wherever you are, we take our hats off to your real-life MacGyver skills, sir.

Thursday, 7 June 2012

Bank of England meets amid talk of £50bn stimulus

Bank of England policymakers meet today to decide whether to change interest rates or to pump in more money into the ailing economy, with leading economist saying they may opt to inject a further £50bn of stimulus.

Europe is on the verge of financial chaos.

Global capital markets, now the most powerful force on earth, are rapidly losing confidence in the financial coherence of the 17-nation euro zone. A market implosion there, like that triggered by Lehman Brothers collapse in 2008, may not be far off. Not only would that dismantle the euro zone, but it could also usher in another global economic slump: in effect, a second leg of the Great Recession, analogous to that of 1937. This risk is evident in the structure of global interest rates. At one level, U.S. Treasury bonds are now carrying the lowest yields in history, as gigantic sums of money seek a safe haven from this crisis. At another level, the weaker euro-zone countries, such as Spain and Italy, are paying stratospheric rates because investors are increasingly questioning their solvency. And there’s Greece, whose even higher rates signify its bankrupt condition. In addition, larger businesses and wealthy individuals are moving all of their cash and securities out of banks in these weakening countries. This undermines their financial systems. 423 Comments Weigh InCorrections? Personal Post The reason markets are battering the euro zone is that its hesitant leaders have not developed the tools for countering such pressures. The U.S. response to the 2008 credit market collapse is instructive. The Federal Reserve and Treasury took a series of huge and swift steps to avert a systemic meltdown. The Fed provided an astonishing $13 trillion of support for the credit system, including special facilities for money market funds, consumer finance, commercial paper and other sectors. Treasury implemented the $700 billion Troubled Assets Relief Program, which infused equity into countless banks to stabilize them. The euro-zone leaders have discussed implementing comparable rescue capabilities. But, as yet, they have not fully designed or structured them. Why they haven’t done this is mystifying. They’d better go on with it right now. Europe has entered this danger zone because monetary union — covering 17 very different nations with a single currency — works only if fiscal union, banking union and economic policy union accompany it. Otherwise, differences among the member-states in competitiveness, budget deficits, national debt and banking soundness can cause severe financial imbalances. This was widely discussed when the monetary treaty was forged in 1992, but such further integration has not occurred. How can Europe pull back from this brink? It needs to immediately install a series of emergency financial tools to prevent an implosion; and put forward a detailed, public plan to achieve full integration within six to 12 months. The required crisis tools are three: ●First, a larger and instantly available sovereign rescue fund that could temporarily finance Spain, Italy or others if those nations lose access to financing markets. Right now, the proposed European Stability Mechanism is too small and not ready for deployment. ●Second, a central mechanism to insure all deposits in euro-zone banks. National governments should provide such insurance to their own depositors first. But backup insurance is necessary to prevent a disastrous bank run, which is a serious risk today. ●Third, a unit like TARP, capable of injecting equity into shaky banks and forcing them to recapitalize. These are the equivalent of bridge financing to buy time for reform. Permanent stability will come only from full union across the board. And markets will support the simple currency structure only if they see a true plan for promptly achieving this. The 17 member-states must jointly put one forward. Both the rescue tools and the full integration plan require Germany, Europe’s strongest country, to put its balance sheet squarely behind the euro zone. That is an unpopular idea in Germany today, which is why Chancellor Angela Merkel has been dragging her feet. But Germany will suffer a severe economic blow if this single-currency experiment fails. A restored German mark would soar in value, like the Swiss franc, and damage German exports and employment. The time for Germany and all euro-zone members to get the emergency measures in place and commit to full integration is now. Global capital markets may not give them another month. The world needs these leaders to step up.

Monday, 4 June 2012

The forgotten dead sat in corroding canisters in an abandoned outbuilding of the Oregon State Hospital for decades.

What’s creepier than an abandoned morgue? Places that have been left vacant to deteriorate and decay are already drenched in a sense of death, standing as reminders that even the inorganic things we build are not immortal. But in actual morgues and mortuaries – where autopsy tables, bone saws and embalming fluid often still litter the tables – push the macabre factor through the roof. These 14 abandoned morgues, mostly located in larger abandoned hospital complexes, will give you the chills.

Canisters of the Dead at Oregon State Hospital

(images via: book tryst)

The forgotten dead sat in corroding canisters in an abandoned outbuilding of the Oregon State Hospital for decades. The crematorium, autopsy room and hallways of the building were untouched until photographer David Maisel got a look inside to photograph these copper canisters, many so corroded that they looked like someone had painted designs onto them. Each of these 3,500 canisters held the remains of a patient. Maisel photographed each one for his series “Library of Dust.” They have since been placed in orderly rows of black boxes.

West Middlesex Hospital, England

(image via: opacity)

Built in 1894, England’s West Middlesex Hospital was once an infirmary for a nearby workhouse and then served as a community hospital before its buildings became so rundown that they weren’t safe for use anymore. A new hospital was built nearby, and the old one is due for demolition. Like so many abandoned hospitals, its rooms still contain linens and medical records – and the mortuary still bears its rows of embalming fluid and other chemicals, as if awaiting new bodies.

Military Hospital, Cambridge, England

(images via: odin’s raven)

This military hospital features a reputedly mile-long corridor with its many rooms branching off to the sides, built this way in a bid to reduce cross-infection. The hospital has cared for injured troops through every major war England has seen since it was built in 1879, including World Wars I and II. Its morgue may be one of the creepiest in the world, rife with an amazing amount of decay, an old telephone sitting on the stainless steel table.

Mortuarium Schoonselhof, Belgium

(images via: andre joosse)

These photos captured the Mortuarium Schoonselhof in Belgium before it was demolished in 2007. Used for autopsies, the facility had a 12-cadaver freezer and two tables. Its tools and chemicals were also left behind, including electric bone saws.

Leidner Funeral Home, St. Louis, Missouri

(images via: vanishing stl)

Funeral homes can be just as creepy as cold and clinical morgues – especially when they’re literally crumbling ruins. The blog Vanishing STL chronicles two separate funeral homes that began as high Victorian mansions on St. Louis Avenue’s ‘Millionaires Row’, one lovingly maintained and the other left to decay. According to the blog, brick thieves have been taking the place apart piece by piece for years, destroying a huge portion of the mansion.

St. Mary’s Hospital Morgue, England

(images via: silver*rose)

Formerly known as the Gateshead Borough Asylum, St. Mary’s Hospital was built in 1914 in Stannington, Northumberland. It was finally closed in 1995, and according to urban explorers, many of the buildings are still in good condition and could possibly be preserved, but some are falling victim to neglect. Says photographer Christina Rose Howker, “This was the last time I saw this room with all it’s inside walls on the inside. Last I saw, the three front walls had been demolished, leaving the white tiles on the back wall exposed to world and the light of day. There was no sign of the once pristine mortuary slab.”

Funeral Home, Minneapolis, Minnesota

(images via: daniel letson)

Dark and dreary, this corpse prep room at an abandoned funeral home in south Minneapolis definitely has a creepy feel to it. The combination of the room’s history, the morgue equipment and the debris that litters the floor elicits visions that could come straight out of a horror movie.

Harold Wood Hospital Morgue, Essex, England

(images via: jordan kidman)

There’s no denying it – morgue fridges are extremely unpleasant. This one, at Harold Wood Hospital in Essex, England, looks like it could still be in service. Maybe that’s because it was only just abandoned in 2006, after 122 years of use.

Beelitz-Heilstätten Morgue, Berlin, Germany

(images via: uexplorer)

This may just be the most beautiful abandoned hospital in the world. Urban explorers travel from all over Europe to see and photograph the Beelitz-Heilstäten outside Berlin. Built in 1898 as a tuberculosis sanatorium, it was turned into a military hospital at the beginning of World War I. Adolf Hitler himself was treated for injuries here, an experience he wrote about in Mein Kampf. The hospital was occupied by Soviet forces between World War II and 1995, and by the turn of the 21st century it was abandoned altogether.

Hudson River State Hospital, New York

(images via: der krampus)

Once known as the Hudson River State Hospital for the Insane, this New York state psychiatric hospital features a beautiful High Victorian Gothic-style building known as Kirkbride that represents the first time this architectural style was used for an institutional building in the United States. The whole hospital has been abandoned since 2003, and one ward was seriously damaged in 2007 after lightning set it on fire. The morgue is actually in a separate building, on the northeast corner of the property.

Public Health Service Hospital, San Francisco

(images via: fecal face)

Photographer Tristan Savatier captured these and many more images of the Public Health Service Hospital in the Presidio district of San Francisco. The hospital was built in 1931 and closed in 1981; it’s been abandoned since 1988. San Francisco-based art website Fecal Face says, “In the eastern part of the basement, the morgue still has its freezer with six big drawers for the dead bodies, and the greenish autopsy room next door. Many rusted machines, pumps, pipes and tanks are still there.”

Unidentified Hospital Morgue

(images via: missinlinx)

The identifying information about this particular public hospital has been removed, possibly to protect the site from vandalism. Urban photographer ‘Laserbeak’ says the hospital was established in 1806 and was closed in 2001; he was able to photograph the morgue while demolition was taking place on other areas of the hospital. Other buildings on the site are still active including an STD clinic, drug treatment clinic and a medium-security jail.

Glenn Dale Hospital, Maryland

(images via: opacity)

Originally built as a tuberculosis sanatorium, the Glenn Dale Hospitalis an abandoned complex on 216 acres in Maryland’s Prince Georges County. Many of the separate, crumbling buildings are connected by underground tunnels. Local legend has it that the buildings were once used to house the criminally insane, who were released into the streets when the hospital closed – and then made their way back to the abandoned structures, with nowhere else to go.

St. Peter’s Hospital Mortuary, Surrey, England

(images via: lula tahula)

With water-stained floors and identical steel morgue tables, St. Peter’s in Surrey, England is definitely creepy. It was built to serve the casualties of World War II, but the mortuary was eventually found to be too small to handle the influx of the dead, so it was shut down in 2009.