Installing a pool has historically been a hassle for homeowners, as well as a money suck. Not so with Modpool, a new shipping container-based solution.
If we can turn them into homes, then surely we can turn shipping containers into one of our homes’ greatest accessories — pools. One company is doing just that, and has created what it calls the pool of the future.
Meet Modpools, the Canadian brand responsible for patent-pending pools that utilize the “structural rigidity of a modified shipping container to provide end users with a relocatable hot pool.” Modpool promises setup that takes just minutes, and also wants you to spend time in your pool year-round. To that end, it has developed controls capable of increasing water temperature up to 30 degrees per hour in -10 degrees Celsius weather. And because this is a 21st-century innovation, you can control temperature, jets, and lighting from your smartphone.
Mark Kohlen of Honomobo, the company making the Modpools, spoke to Digital Trends about the creative new use of these giant crates, and whether or not you should look into investing in one. “Shipping containers are naturally durable and structurally sound,” he told Digital Trends. “Repurposing a shipping container cuts down the carbon footprint and turns something that may have not been useful into what we think is a lifestyle changing, modern asset.”
Modpools are just 50 percent of the cost of conventional in-ground pools, and come with a hot tub and pool area that can be separated in the cold months. That means you can decide which portion to heat, and enjoy the separate benefits of both a pool and a hot tub, all for one comprehensive price.
When asked if shipping container pools would be easy to install, Kohlen said, “Our pools ship completely ready to use with all the pool equipment built in. With some light ground prep, power and gas access, you can simply plug and play.”
He added that the Modpool, which features a window on its side, can be installed where traditional in-ground pools can’t be. “Many people have ground that is too hard because of rock or, alternatively, have ground that is too soft because of high water levels,” Kohlen pointed out. “A Modpool can be placed above ground with decks built around, partial in-ground behind retaining walls or completely in-ground. We find many of our customers want a pool but are unable to have a traditional pool installed.”
And because it’s easy to install, it’s also easy to move — that means no more leaving your pool behind when you move. “This is a vast departure from a traditional pool, and makes our pools a smart lifestyle and financial choice,” said Kohlen.
The Modpool has a distinctive look that makes it a worthy addition to any contemporary home. “When I set out to design and build a shipping container pool, I wanted to do something completely new and unexpected,” Kohlen said. “When the idea of adding a window came to me, I knew I had to make it happen. The window was a major challenge but it was worth it. It opens the space and completely changes the swimming experience. The window defies the norm, taking a shipping container and making it into something special.”
Meet Josh Egesi, A Multidisciplinary Artist
Anttention Media had the pleasure of interviewing a talented guy who currently ranks as the largest bottle-caps portrait in Africa. A true creative soul who has wholly given himself to the pursuit of creative excellence.
Joshua Egesi was a six year old primary two pupil when he began imitating the comic drawings of his elder sister. At that tender age, even if he could not properly express it in his incoherent babbles, he was fascinated by the idea of drawings. And just like that, spurred by the ‘magic’ of his sister’s pencil, at the age of seven, he wanted to be an artist.
In pursuance of his dream of becoming an artist, and armed with an OND certificate from Federal Polytechnic Auchi, Edo state, the inspired youngster decided to further develop his artist’s acumen. Hence, he proceeded to the University of Benin to enroll for a Bachelor of Arts degree in Fine Arts.
Like Cyrus Kabiru, the Kenyan ‘thrash collector‘, Josh sees himself as an environmental artist, Although, this perception was informed by his encounter with bottle cover as a medium in late 2015 when he was an intern at the Environmental Art Garden in Abuja. Being the restless mind that he was, he concluded that just like every other waste in the garden, the bottle caps also had to be transformed into art. He consequently figured that he could make his art more subjective with the bottle caps and immediately picked inspiration from pixels which, en-mass makes up an actual picture.
Egesi believes that art should project something concrete, not only mirror the society, but go a step further in proffering solutions to the multi-faceted problems that abound, especially in a clime like Nigeria.
Artist’s Social Media Links
Facebook: Joshua Egesi
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We are happy to have featured this amazing talent on HANDS our creativity centered programme and hope to invite him to our annual creative exhibition show aimed at promoting African art and exhibition. His details are available here and his talent ready to serve a populace.
Facebook: Joshua Egesi
Anchor: Tolu ‘Taraj’ Omisakin
Camera Works: Chris Mokwunye ‘Krismok’
Graphics: Michael ‘Surplus’ Egbo
Music: Oluwatosin ‘O’tea’ Aphia
Let’s take your craft to the world! Booking Agent Chibuike Obi (firstname.lastname@example.org)
Ivory Coast: African art museum gets new lease of life
It has been buffeted by the pendulum swing of domestic politics and suffered looting that left it without some of its most precious items.
But Ivory Coast’s Museum of Civilisations is now back, and determined to recover its place as one of the richest museums of African art in the world – a place of “incomparable wealth”, as Senegal’s late poet-president Leopold Sedar Senghor said in a 1971 visit.
Looted four decades later during a political and military showdown, the museum shut its doors for a two-year refurbishment, reopening in July with redecorated rooms, modern lighting and a new conference centre, restaurant and garden.
The first exhibition since the renovation is rightfully called “Renaissance”.
It places the spotlight on a selection of a hundred of the museum’s finest pieces, from the palaeolithic era to contemporary art.
“We can consider ourselves lucky to have such a beautiful collection,” museum director Silvie Memel Kassi said.
“It’s an asset – a collection of 15 000 pieces from across every region.”
But she still mourns the pillage that occurred in 2011, during a post-electoral time of anarchy in the Ivorian economic capital, Abidjan, that claimed some 3 000 lives.
“That really left us with a bitter taste in the mouth,” she said. “The items that were looted [120 items] were major works: sacred pieces, objects made of wax… Our estimate is that almost €4bn was lost, Memel Kassi said.
In the coming months, the museum plans to put on a “ghost collection” exhibition to keep the memory of the vanished pieces alive and to promote recognition of illicit trafficking in historical objects, which circulate in a market financed by many private collectors who are often not overly troubled by origins.
Founded in 1942 when France was the colonial power in much of west Africa, the museum is itself a work of art with 20 columns finely sculpted in wood.
The renovated premises give special place to contemporary artists with a hall set aside for people like Ivorian sculptor Jems Koko Bi, while the garden displays recent work.
“We deliberately speak of the museum of civilisations,” the director said.
“We wanted to show that the artists whose creations are today regarded as ‘ancient works’ are the very same as Africans producing contemporary work.
“We’re living through a renaissance even at national level with cultural and artistic development… We have the ancient aspect in the museum collections and the contemporary work in the creations of young sculptors.”
The museum is also planning an exhibition to highlight ties between Picasso and Ivorian sculpture on the heels of a “Primitive Picasso” show at the Quai Branly, the Paris museum dedicated to the indigenous art and cultures of Asia, Africa, Oceania and the Americas, which opened in 2006.
More than 10 000 people have visited the museum in Abidjan since it reopened, but the curator hopes to raise this figure tenfold over the course of the year, since tourists are returning to the country.
Engaging students and schoolchildren in the collection is also a priority.
“The museum is also the memory of a people,” Memel Kassi observed. “It’s important to see it discovered by the Ivorians.”
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