#Palette Richelieu | Explore Tumblr posts and blogs

amoeba-shaped-rock · 1 year ago

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Playwright's Flowers

Warning: This post contains spoilers for IS2

Introduction

The Playwright is the fourth boss in IS2, and there’s not much information on him outside of relic and boss descriptions. He only appeared in two CGs, both of which feature him writing on his desk in what seems to be his office. This essay will focus on a specific common denominator that appeared in both CGs: the vase with blue and white flowers.

(from encounter node Revenge Story)

(from fourth ending CG)

You might be tempted to say, “So what? They’re just flowers.”

The thing is that, blue roses, as depicted in the CGs, don’t exist in the natural world. Blue flowers, in general, are rather rare. The blue roses that exist currently are the product of genetic engineering, or dye. Genetically engineered roses have their blue pigment taken from Pansies, which appear more purple than the azure blue shown in the CGs.

(Rosa "Cardinal de Richelieu")

So it couldn’t have been genetically engineered. This implies that Playwright deliberately dyed some of his white roses with blue dye. And if we look closely at his sprite, all the blue accents in his design are accessories that are worn, instead of on his person.

2. Significance of the Colour

Why blue? Why did he choose to surround himself with this colour? For aesthetics? If he were a real person, then we can simply say, “Because it’s his favourite colour,” and leave it at that. But unfortunately, he’s a fictional character, one that is related to Phantom- who is chock full of references to Gothic literature at that, which means by design, his colour palette was a deliberate choice on the developers’ part.

The most obvious explanation is because he is meant to be Phantom’s foil, specifically in his Blood Diamond outfit. We can see it clearly in Rhythm in Literature:

Firstly, the title alludes to the two of them: Rhythm for Lucian, who is well known for his singing voice, and Literature for Playwright, who is known to write the scripts for the troupe’s performances.

Looking at the illustration, the two of them clearly contrast each other, both in design and in position. Starting with the obvious, Luci has red accents and Playwright has blue. Luci wears a hat, a flashy outfit, has short, light coloured hair and short, fluffy tail, meanwhile Playwright only wears glasses and ribbons on his head, a relatively plain/modest outfit, longer, neat dark hair (with few strands of white), and a long tail with short, dense coat of fur. Lucian stands in the spotlight, facing the audience, meanwhile Playwright faces the backstage, away from the spotlight. Both have black central pieces (vests?) but Phantom’s sleeves are white, while Playwright’s are dark gold(?). Phantom’s cape takes up a lot of space, meanwhile Playwright takes up only a minimal amount. Also, the number of belts.

(these two are such ship material I swear)

Looking back at the troupe’s children: We have Lucian, who decided to fight back against the troupe. Shalem, who ran away. Ursus boy, who chose death. Playwright, in my opinion, represents the fourth option: to join the troupe and take part in their tragedy.

We can also see how he contrasts other ex troupe members from the ‘Parallels’ medal description:

‘Duality of possibilities’ is in reference to endings 1 and 2. Ending 1 features ‘hope’ where Lucian was brought back safely, but not entirely devoid of despair (ending 4). On the other hand, ending 2 features Ursus boy who suffers even in death, but we the players have an option to help him and grant his wish to disappear (encounter node Reprieve), which is an ending of despair, but not entirely devoid of hope.

The play is composed by both the cast and the playwright, together, so I think the Playwright also parallels Lucian to some extent. Lucian was always full of hope (he was the talented student with potential, looked forward to debut as an actor, etc) meanwhile Playwright was called incompetent (Silver Fork), has a bad ending (Writer's Tongue), he probably represents left hand's despair.

Another possible explanation is because the Crimson Troupe’s signature colour is red, so he surrounds himself with the opposite colour, blue, as a sign of minor rebellion against the troupe. This implies that the Playwright doesn’t agree with the Troupe’s goals, but is cooperating with them for the sake of his own goals. Further proof that supports this interpretation is the play “The Lullaby”:

“A clean, comfortable, and relaxing dreamscape all begins with a lullaby, and when you are awake, everything will be that much better.”

From the CGs we can see that Playwright’s office has a similar window, lamp and ink bottle, and the shape of the glasses is similar to his. So we can safely assume that this play, which also heavily uses the same azure blue in its palette, is in reference to his office. The play symbolises a safe place to retreat to, which might imply that the Playwright uses his office (and by extension, his writing?) for escapism.

A counterargument against this interpretation is that the troupe master also adorns the same blue on his ring.

But I think it can be explained by two possibilities:

i - that the troupe master knows about Playwright’s rebellion and is using the blue ring as a subtle threat, or

ii - the troupe master uses blue in his colour palette in an ironic way - this is related to my other theory that the troupe leader is a liberi (or at least, “unknown-suspected liberi” like Conviction) where he is the Bluebird of Happiness, but brings tragedy instead of happiness.

Alternatively, he might have chosen blue because it’s the troupe leader’s colour. The troupe’s signature is red, but to show his status, the leader might have chosen to wear blue to signify his special position within the troupe, and as his right-hand man, the Playwright follows suit.

He might also have chosen blue because he’s sick of seeing blood. According to the relics in IS2, he uses his blood as ink, and he is constantly seen writing or scribbling with his quill. The colour blue contrasts his blood’s red, you know, unless he has blue blood… hahah. hah. no I’m not kidding because see: my Gaul royalty Playwright theory right below:

What are the two things we know about Playwright? He probably came from Gaul like Shalem and Phantom, and he has blue in his design. Blue, and French. Azure blue is France’s national colour, and many centuries ago, was used to represent the French monarchy, so Playwright might be a royalty for all we know. Read the rest of my Royalty!Playwright theory in this post.

3. Blue Flowers and the Era of Romanticism

So we covered a lot about the colour blue itself, but we barely touched the main topic: blue flowers. Blue flowers are an important symbol in Romantic movement. But first of all, to really understand the significance of it, we have to look at the meaning of Romanticism and how it started.

To put it simply, Romanticism is a literary, philosophical, artistic movement that focused on the emotion and the self, in contrast to the Age of Enlightenment that preceded it which focused on reason and logic. Interestingly, some historians dated the end of Enlightenment era at the outbreak of the French Revolution in 1789.

Back to Romanticism, this movement emphasised imagination, freedom, creativity, and nostalgia for the past. This focus on emotion over reason brought a lot of the literary tropes we know today, such as denying arranged marriages in pursuit of true love or the edgy solitary hero versus the entire world.

Prominent writers of Romantic movement are Edgar Allan Poe, and Lord Byron. Edgar Allan Poe was referenced multiple times in Phantom’s character and design: his birthday was based on Poe’s, and his Blood Diamond skin was based on one of Poe’s short stories, Masque of Red Death. On the other hand, Lord Byron’s stories gave birth to the character archetype called Byronic Hero: a sensitive, emotionally complex hero who goes against the world with a sad backstory that makes you want to root for him. One notable example of a byronic hero is Erik from Phantom of the Opera. That is to say, the Romantic era has considerable influence on Phantom’s lore.

During such a time, blue flowers were used to symbolise dreams, desires, love, and the pursuit for the unattainable- themes which were core to the movement. It also represented hope and beauty. Especially blue roses, which didn’t exist, were used to represent impossible love. Worth noting that these meanings simultaneously support and contradict the Crimson Troupe’s ideals: arts and beauty, but in the form of tragedy and despair instead of hope.

4. The Interpretations

Between the symbolism used during the Romantic era, and the flower language used in Victorian England, there are many interpretations we can draw - especially the way he mixed white and blue flowers, instead of sticking to only one colour. (plot twist: he just ran out of blue dye- in which case screw you kitty cat for making me think so much about this)

A. Mixture of lies and truths

White roses are often used to symbolise purity and honesty, and therefore blue roses, which are white roses dyed blue, can be seen as “fake”, “artificial” or “fabrication”. These can allude to many things, for example:

His arts

Playwright’s arts is said to be able to change reality to his desire, but such a powerful ability has to come with limitations. Following this interpretation, it’s likely that his arts can’t make something that diverges too far from reality. Like the way the blue rose needs white rose as a base, he probably needs to use reality as a basis for his scripts. This might explain why he needed to rewrite his script when Rhodes Island interfered and came to save Phantom.

His identity

From the relics and encounters, we know that Playwright is very dedicated to his revenge plan. It was emphasised in almost every piece of lore crumb that mentions him post-2nd expansion, and he was willing to sacrifice everything he treasured for his revenge.

I think there’s a good possibility that he is faking his loyalty to the troupe for his own goals, either trying to use the troupe’s strength and manpower for revenge, or biding his time to stab the troupe in the back.

We can see in Act 1’s description, where he was described as “hero”. I’m certain that this is referring to Playwright because not only is it a necessary relic to get his ending, but also there’s literally no one else we know who has a bottle of blood ink, is trying to get revenge, and wrote himself an ending where he dies in a fire. The two meanings of “hero” are either the protagonist, or the person of noble character; He cannot be the protagonist, because from everything we’ve seen so far, it is Lucian who is constantly being referred to as the “protagonist” or “lead actor”, leaving only the second definition.

From what we know about Playwright currently, he is more of a villain than a hero- he cooperated with the troupe master, making Phantom’s life miserable, massacred people, and they plan to kill countless more. This is why I believe there will be a role reversal, where Playwright’s ends will justify his means, and he will be regarded a “hero”. Maybe not the traditional hero, but rather an antihero or a byronic hero. But then begs the question, what sort of end justifies all these massacres? If you ask me, I would be inclined to say the Crimson Troupe being destroyed for good and the death of the troupe leader, a possible Feranmut, but really, I’m too biassed towards my troupe-hating-playwright theory.

Alternatively, maybe we were lied to, and Playwright is the real “protagonist” of the story, and not Lucian, but I doubt this is the case. Playwright wrote himself an ending, but he also considers himself removed from his scripts, referring to himself as “the creator”.

His death

The developers didn’t spare any subtlety when talking about Playwright’s ending, as it was mentioned multiple times that he will die in a fire. However, this may be intended as a red herring - an attempt to misdirect the players to the wrong conclusion.

In Act 1’s description, it’s notable that the terms “first act” and “first ending” are used. Initially I thought that it was a one-act structure play, but if there’s only one act, there’s no need to specify those as the “first”. It implies that there are Acts 2, 3 or more, and Playwright’s “ending” won’t be the end of his life. It might have meant the end of his revenge plans.

Still, whatever the Playwright writes becomes reality, and he did write an ending in which he himself died. There might be a way to circumvent this, for example, by faking his death a certain scifi anime/vn whose name I can’t say because it’s a spoiler-style and letting the Crimson Troupe’s “Playwright” die, and this emo cat takes on a new name and identity (like joining Rhodes Islands and getting a new codename? hopium).

4th ending - Silent Chapter

The fourth ending has Playwright monologuing a lot of things, where he says a lot of these vague lines, and it ends with him talking to the troupe leader. Because of how vague the dialogues are, I think some of these have double meanings, which describe the current situation, but also foreshadow the future events.

In this interpretation, the “lies” aren’t false statements, but rather misleading statements that drive readers to the wrong conclusions.

B. Striving for the impossible, and eternal love

This one takes the Romantic era meaning of blue flowers: something desirable but unattainable. Roses in general represent love of all kinds, and white roses specifically are used to signify eternal love. It makes sense when you think about it - Playwright has such a strong drive for revenge, he must have cared about the person(s?) he swore vengeance for a whole lot. But, following this interpretation, his revenge plan is difficult, if not outright impossible to achieve.

Maybe the target of his vengeance already died and therefore revenge is impossible, but if that were the case, he probably would have found something else to do with life- or just died right there and then because the life he spent for revenge has no purpose now. Cat is extreme.

Anyways, this means that the target either holds a powerful position in society, or is so strong that normal people can’t touch them. There are many directions to go with this info- for example, if we want to go with the Gaul Royalty route, he might want to take down the Victorian government (or like what’s left of it after the whole conflict in the main story), or maybe Leithania/Ursus too. If we want to go with the Troupe route, the troupe master is hinted to have space/time powers, which can make him nigh untouchable. And so on.

Either way, it makes a good food for thought for when we get more Playwright lore. (HG pls)

C. Nostalgia for the past, and innocence

This interpretation also follows the Romantic era symbolisms, where the past is glorified and the present is rejected. In Playwright terms, maybe the flowers signify his desire to return to the good old times, before he found out the truth about the troupe’s nature - the loss of innocence, so to say. This sentiment is shared by Phantom, who considered the troupe members his friends and family until the debut night happened and brought everything to ruin.

If we go by what is written in Shalem’s profiles, the troupe had always been intense and competitive, and those who can’t perform up to measure would be eliminated. Some IS2 relics imply that they might be killed and eaten, too. Maybe Phantom didn’t feel the brunt of these because he was the talented genius acknowledged by the troupe leader himself, but Playwright’s case might be different. His first encounter CG was called “endocarceration”, endo as in internal, and carceration as in imprisonment. Similarly, the battle node in this encounter is called, “Bound by Self”. This node is where players encounter playwrights in a dungeon, who want to continue writing but when they do, all they write is nonsense. Maybe Playwright is similar, he is trapped by his need to create the ‘perfect’ story, but he couldn’t. It’s possible that he used to be talentless, until he caught oripathy and got the ability to bend reality (the latter part seems to be implied by Painful Happiness).

So to say that, maybe his time in the troupe before he found out the troupe’s true nature wasn’t all sunshines and rainbows either. Instead, the past he fondly thinks of might be the days from before he joined the troupe, or when whoever he wanted to avenge was still alive.

D. Divinity and loyalty

Because of how rare the blue pigment was back in the day, blue is a colour reserved only for the rich and the noble. Artists only used the colour to paint something considered important, and in the case of Renaissance times, the Virgin Mary. This resulted in the colour blue being associated with holiness and divinity. This, coupled with white roses’ loyalty, might signify the Playwright’s loyalty to the troupe.

A lot of Playwright’s character (not that there’s much of it so far) revolves around his revenge, so I’m not sure how this would fit into it. A thought I had is that maybe his revenge isn’t for a person, but rather for the arts. That matches with the idea that his death by fire is for the sake of martyrdom.

A well-known French person who died by fire as a martyr was Joan of Arc, but outside of these two similarities, I’m not sure if there’s a connection between them. Plus, the spot for Joan reference was already taken by Saileach- Unless…

Joan of Arc was said to crossdress as a boy, therefore the Playwright is actually Saileach crossdressing in her off hours. (Cough forgive me)

I don’t know what else to put here in this section, I don’t have many thoughts or ideas about it.

5. Extras:

Other things that are tangentially related but not important enough to be included in the main body:

Gothic literature

Touched a bit in the main body. Gothic literature as a genre had major influences on Phantom’s lore, background and character. Aside from the obvious Phantom of the Opera, there were also references to Masque of Red Death and Black Cat, among many others. I highly recommend to read both short stories by Poe to gain more insight on Phantom as a character.

‘Tear of the Departed’

It was made by an elite operator who hadn’t made any appearances yet, and was hinted to be dead or retired. It has the same shade as Playwright’s blue, and Playwright is often associated with fire. He was also referred to as a ‘hero’, and both honesty and perseverance are traditional heroic qualities. This is a crack theory based on nothing concrete but maybe Playwright is trying to avenge Whitesmith?

Also interesting to think about because the voice in Phantom’s head, the same one that does his brainwashing, led Phantom to RI. So I don’t think it’s too much of a stretch to say that someone in the troupe wanted RI to be involved.

ACT 1 (yes, this relic again)

It’s interesting to note that Act 1’s effects grant hope for some reason. Of course, in gameplay, it grants hope to the players. But I like to think that his arts grant hope to the Playwright himself- a hope to achieve his impossible goal of revenge. The blood red of the ink contrasts nicely with the blue flowers, as if saying that the blue’s unattainable dream is now attainable.

Fleur Bleue

In modern France, the term blue flower (fleur bleue) is used to refer to a sentimental, innocent person who is a dreamer. Maybe the Playwright is actually a sensitive and innocent person inside, before he was corrupted by the troupe. I do think he enjoys tragedy, the same way Phantom and Shalem do - Shalem’s files said: the children of the arts will always yearn for beauty, after all. It’s probably part of the troupe’s brainwashing. But, like Phantom and Shalem, maybe he does have another side to him.

6. Closing Thoughts

Blue flowers seem to have a lot of meaning throughout time and place, and many of them seem to fit Playwright's theme and narrative. I'm sure there are other interpretations to be made, so if anyone has any, do share! I'll be glad to discuss troupe lore.

7. Bonus

Real picture of me:

My friend asked me if those flowers really are roses.

I… don’t know. They seem like roses. If they aren’t, welp, guess I spent all these time for nothing then.

(was gonna insert a saileach with playwright face in here but man I suck at editing)

#arknights #playwright #crimson troupe #analysis #or overthinking Idk #can someone edit playwright's face on saileach #I will thank you with all my heart and a cookie #troupe lore musings

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skillstopallmedia · 2 years ago

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Michel T. Desroches | palette of emotions

In his studio-home in Saint-Jean-sur-Richelieu, the painter-illustrator Michel T. Desroches strives tirelessly to make his canvases vibrate, seeking to transmit these shock waves to his audience. Its vectors: faces, hands and bodies, composed or recomposed, at the service of emotion and expressiveness. A long-time mental health worker, he was able to tap into this reservoir to promote his work,…

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absynthe--minded · 7 years ago

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Worst costume design you've seen in a movie? (Beauty and the Beast remake doesn't count because we all know you hate everything about it)

“we all know you hate everything about it” this is my legacy and I am very proud of that fact.

okay so this is actually a harder question than you might think? because a lot of the time I don’t hate everything about a film’s costume design, just some of it (Alice Kingsley’s blue dress in the first Alice in Wonderland film, exactly one half of every piece of clothing I saw onscreen in Jupiter Ascending, etc). Also I don’t necessarily hold that “garish” or “loud” means “bad” even though my own sensory issues scream at me, because sometimes an oversaturated color palette and bright, showy production design is part of the general aesthetic of the film (most of what Baz Luhrmann does, a bunch of weird indie films like Shortbus, the Spy Kids movies).

That being said, there are a few films that definitely stand out, and the one that’s been on my mind recently is The Three Musketeers (2011). Why, you ask?

first off our leads are disgustingly bland - you can’t see it in this picture but underneath their admittedly well-tailored leather jackets (probably fake leather but who’s keeping score?) with the unnecessary compass rose design, they’re wearing generic peasant shirts. The one-shouldered capes are actually pretty badass? And in a film with a more monochromatic production design I do think I’d be less critical of these base outfits, because there’s nothing inherently wrong with them. So why am I complaining?

Because this film is incapable of creating and maintaining a consistent visual aesthetic, that’s why. It also has no idea what time period it takes place in. (Brief aside: I talk about historical accuracy a lot wrt the Beauty and the Beast costumes, but if there had been visual consistency I would care a lot less. Moulin Rouge! has a late-Victorian setting but uses it basically as window dressing for magical realism, so while the costumes are historically based they aren’t historically accurate but that is part of the established motif of the movie. The same rule applies here - if there had been genuine links in design and fabric choice and overall aesthetic between picture 1 and picture 2 I wouldn’t be having this conversation with you all.) this picture honestly sums up literally all my problems with this film - what the hell is going on? what time period is this? Ostensibly this is the real world, not a Fae court where anything goes in terms of sartorial choices. Also I hate everything about the outfit of the guy on the left (and you can tell how memorable the rest of this movie is, because I clearly remember everybody’s name!) because it’s so jarringly out of place and yet comes the closest to being historically accurate!

and just when we thought we were in Technicolor Hell Land forever, Orlando Bloom shed his blue and yellow travesty to give us this actually not entirely terrible black ensemble (see what I mean about no consistent visual aesthetic?) The one-shouldered cape is back - we saw it in two of the three men above, and Cardinal Richelieu bucked the trend by giving us a traditional cape (and fucking plate armor. You know, the plate armor that was fast becoming obsolete because of how effective guns were? That plate armor.) and if this is the one thing that ties all of these costumes together I don’t buy it. everything in this film is either loud and horrible or miserably bland. or you’re Milla Jovovich and you’re stuck in somebody’s nightmare dream of what period costume looked like

what is the waist on that dress

is that a peplum

it’s a shitty peplum, with fringe. shoot me.

okay I know these are supposed to be undergarments but UNDERGARMENTS FOR THOSE FUCKING HUGE DRESSES DID NOT WORK THAT WAY

HOW DID SHE SUPPORT THAT SKIRT? MAGIC? APPARENTLY.

and this is like. the most pernicious kind of Bad Costume Design, because on the surface it looks pretty good? but if you want to be a good costume designer you need your clothes to actually work and have consistent themes, and variations on that theme should be symbolically significant or point to things about your characters (also did you see that our leads are back to being disgustingly bland two pictures up? because I sure did!) and they should make SENSE and

there are a lot more movies like this out there. I have opinions about all of them.

#replies #costume design #bad movie costumes #ask me more of these kinds of questions please!#I love feedback #anon replies

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samuelmmarcus · 6 years ago

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Beautiful Homes of Instagram: California Mid-century Modern

Do you like a home with character and personality? If so, you will love this new Beautiful Homes of Instagram!

I am truly honored to be featuring Abbie of @anaberdesign. Abbie is a San Diego-based interior designer and her home was recently featured in Domino and Apartment Therapy just to name a few. Yes, this interior designer is everywhere and it’s a name you will hear and see stamped on magazines in the future. I have no question about that.

Abbie’s California mid-century modern home feels artsy, comfortable and it has a story to tell… and she is sharing all of the details below.

“My husband, Malik and I bought in Spring of -2015 and closed on our wedding day! We were ecstatic about being able to afford a home in the area and knew that we’d have some work ahead in terms of updating the 1960’s original that we purchased. That was fine by us, as we both looked forward to renovating and making it a home that fit our style and taste.

I would say we were heavily influenced by mid century and a modern aesthetic from the start. We wanted our space to reflect Southern California lifestyle but without being too beachy. Tile and wallpaper of various patterns were used to add interest and our personal touch. Walls were kept crisp and white, which I’m a fan of. That to me, lends itself to versatility and the ability to switch things up in the future as well as allow for a clean palette.

In Spring of 2016, we added square footage to our home which included a breakfast nook and dining room. Previously, our outdoor space had been our dining area when we hosted for holidays. With the addition, we were able to entertain indoors yet still maintain and outdoor feel with our pocket door system. This addition came right in time for our daughter crawling. We used this dining space as a multipurpose space now. It’s perfect for her running around and chasing the dog. It’s amazing to see what 4 feet of space can do in the instance of the breakfast nook. By extending out 4 feet, we not only gained seating and a secondary eating area, but we also gained storage underneath the seating.

Our home has been a labor of love. We’ve customized it quite specifically to fit our lifestyle and design aesthetic. I would say that I’m a bit of a Style Mutt. My design aesthetic is influenced by modern, mid century, global, vintage, and bohemian styles. I feel that over time, my taste has evolved and merged. That can probably be credited to an over abundance of imagery readily available to us via social media. I also attribute it to an openness to not be so fixed on one specific style. I think you’ll find a lot of texture in our home. I love sticking with a neutral color palette and building layers of texture. I’m a bit shy of bold color pops, mainly because I worry about tiring of them.”

Beautiful Homes of Instagram: California Mid-century Modern

A new front door and a black and white cement tile, immediately updated the exterior of Abbie’s home.

Black Door Paint Color: Black Tie by Dunn Edwards.

Exterior Paint Color: White Picket Fence by Dunn Edwards.

Tile: Cle Tile – similar here.

Wind Chime: Anthropologie.

Home Size: 1,800 square feet.

Kitchen

Our kitchen cabinetry is a white gloss thermofoil. We love the sleek and modern aesthetic for this space. Because the cabinets are super modern, we wanted to add some texture with the backsplash. We went with a textured porcelain by Constentino. I think it adds warmth without adding a patterned tile that we could easily bore of in here. We wanted the space to be relatively neutral as it is part of an open floor plan and is situated in the same space as the living room.

Paint: “Carrara by Dunn Edwards”

Backsplash Tile: Porcelanosa; Diamond White – Other Beautiful Tiles: here & here.

Appliances: Cooktop: Ancona. Oven: Ancona. Hood: Ancona. Fridge: LG.

Jennifer Siegwart Photography.

Kitchen Island

We used a material called Dekton for the countertops. It’s super durable and has the look of a marble but definitely not the feel or etching potential. We absolutely love it as a marble or quartz alternative. The island itself is also made from the Dekton “Aura”. We stained walnut for the wood paneling. I think it gives it a warm contrast of color and texture.

As for lighting, we used West Elm pendants with both polished nickel and champagne bronze as finishes.

Countertops: Dekton by Constentino; Aura.

Runner: Thrift store- Other Beautiful Runners: here, here, here, here, here, here, here, here & here.

Kitchen Faucet: Delta in Champagne Bronze.

Flooring: CORETEC 1 – similar here.

Jessica Isaac Photography.

Hardware

The cabinet hardware is a satin brass by Richelieu.

Kitchen Cabinets: High Gloss, Kraftmaid.

Jessica Isaac Photography.

Counterstools

Barstools are Bertoia Chrome Wire stools – similar here (easy to clean – perfect for homes with kids.

)

Similar Vase: here & here.

Faux Silver Dollar Eucalyptus: here & here.

Jessica Isaac Photography.

Breakfast Nook

This space was part of our addition and adds so much in terms of functionality! We love sitting here and eating casual dinners. I also do a lot of my work in this space. I love the built in ledges on either side of the nook. They house a lot of greenery as well as fun vintage and global finds from the past few years.

Rug: West Elm

Table: Modway – similar here.

Lighting: Anthropologie.

White Ceramic Floor Planter: West Elm.

Pillows: Various- CB2, A Naber Design, The Garage Collective, Urban Outfitters.

Brass Wall Hanging: Vida and Luz.

Jessica Isaac Photography.

Hanging Planter

Hanging Planter: Urban Outfitters.

Mirror: Bohemian General.

Jessica Isaac Photography.

Dining Room

This space is the newest addition to our home. It was the best decision we could have made for additional square footage. Often times, “dining rooms” take on a stigma- think formal dining spaces of the 1980s’…. but this is certainly not the case with ours. We wanted the space to feel like a true indoor/outdoor room and not lose our view to the outside. It was our contractor’s idea to vault the ceiling so that the addition didn’t look like an addition but instead, part of the original home. We added wood planks and black metal brackets to modernize the ceiling. The windows are huge and truly bring the outdoors in.

Paint: “Carrara by Dunn Edwards”

Windows: Western Windows.

Macrame Table Runner (similar): here & here.

Jennifer Siegwart Photography.

Mural

One of the first ideas I had for this space was the wallpaper mural for the wall. Decorating a wall of this size can be pricey with multiple pieces of art. Instead, we opted for a watercolor like mural which again ties in the outdoors.

Wallpaper Mural: Anewall Décor – other beautiful wallpapers: here.

Hanging Planter: Jungalow – similar here.

Jessica Isaac Photography.

Built-ins

A must have item for this space was the bar. Ideally, my husband wanted a walk behind bar, but that wouldn’t work with our layout. We also added a ton of storage with our built in cabinetry.

Jennifer Siegwart Photography.

Dining Room Bar

Custom Built in Cabinetry: Kraftmaid.

Bar tile: Cle Tile – Other Similar Tiles: here, here, here, here & here (terracotta tile in white).

Jessica Isaac Photography.

Lighting

Lighting: Petite Lily Interiors – similar here, here, here & here.

Jessica Isaac Photography.

Dining Table & Chairs

Table: Restoration Hardware – Similar here – Others: here, here, here & here.

Side Chairs: Anthropologie.

Host Chairs: here – similar.

Jennifer Siegwart Photography.

Living Room

This room probably gets the most “wear and tear” in our home and is situated directly across from our kitchen. Prior to our addition, we had a 1960’s original wood paneled wall that acted as a cool accent wall. We sadly had to part once the addition was underway.

This space in our home is cozy, functional, yet also maintains a design forward aesthetic.

Couch: West Elm.

Jessica Isaac Photography.

Paint Color

I love to find unique items at the flea market and incorporate them into our spaces. You can find a lot of these pieces in our living area.

Paint: “Carrara by Dunn Edwards”

Rug:West Elm.

Painting:Pottery Barn.

Coffee Table: West Elm.

Jessica Isaac Photography.

Layers

I love layering textiles and patterns with the use of pillows and blankets as you can see here in the spaces.

Throws: Anthropologie & local store.

Side Table: West Elm.

Rattan Ottoman: here & here – similar.

Jessica Isaac Photography.

Home-Family-Home

This area is where our daughter spends a lot of time playing, so it also serves as a playroom of sorts.

Sideboard: CB2.

Jessica Isaac Photography.

Planters

These earthenware planters are from Bohemian General and Urban Outfitters – similar here.

Jessica Isaac Photography.

Inviting

I absolutely love seeing homes that reflect the homeowner’s personality and the more I see Abbie’s home, the more I feel that she’s a person of vision.

Rug: Vintage

Jessica Isaac Photography.

Guest Bedroom

This space has a tall ceiling with wonderful afternoon sunlight. I had the idea to utilize as much vertical space as possible and create a curated black and white gallery wall. I spent time searching for modern/abstract black and white art. The search was so much fun, and I discovered so many new artists along the way. I wanted the wall to flow yet still be eclectic and not too matchy-matchy. I decided to matte some of the art and not others. I also wanted a mix of frames.

Art: various: Blockshop Textiles, Mel Remmers, Sofia Shu, Heather Marie Art, Benjamin Ewing, Samba to the Sea, Whitney Winkler, Kim Knoll, Mary Gaspar – similar here.

Bed Frame: Wayfair.

Headboard: Norwegian Wood – Other Beautiful Headboards: here.

Fiddle Tree: here– similar

Blanket: The Apollo Box

Pillows: a. Naber Design.

Lighting: Schoolhouse Electric

Jessica Isaac Photography.

White Bedroom Paint Color

Paint color is “Carrara by Dunn Edwards”

Hanging Mirror: Anthropologie.

Jennifer Siegwart Photography.

Guest Bathroom

This space is such a mix of high and low. I knew I had to use the Dandelion tile from Marrakesh Design and base the rest of the room around this. Because this was a splurge, we used Ikea with the vanity and sink. I love the modern look of the Godmorgon model. This bathroom is tiny, but it packs a punch. Small spaces like this are great opportunities to splurge on a wallpaper or tile and be able to add a fun pattern without being too much.

Paint: “Carrara by Dunn Edwards”.

Tile: Marrakesh Design “Dandelion” – Similar: Starburst Hex Cement Tile.

Sink and Vanity: Ikea- Godmorgon model – similar here & here – This one is pricey, but I am loving it

: here.

Mirror: West Elm.

Lighting: Schoolhouse Electric.

Jessica Isaac Photography.

Nursery

When I was pregnant with my daughter, I knew I wanted to create a space that was not too pink and not too girly. I knew that I would be spending a lot of time at night in there, so I wanted the color palette to be soothing. I also wanted the space to be something that she could grow into!

Wallpaper: Ferm Living – similar here.

Rug: West Elm.

Crib: Babyletto.

Giraffe artwork: The Animal Print Shop.

Glider: Nurseryworks.

Toy Bin: Land of Nod.

Curtains: West Elm.

Jessica Isaac Photography.

Dresser

Dresser: Vintage

Jessica Isaac Photography.

Shelves

Shelves: Urban Outfitters.

Jessica Isaac Photography.

Master Bedroom

This space is light, bright, and due to the size, we keep things pretty simple in here. It’s a calming space for me and is ruled by white and blue tones like most of our house!

Paint: “Carrara by Dunn Edwards”

Dresser: West Elm.

Bed: West Elm.

Bedding: Wonderhome NYC and West Elm – (West Elm has one of my favorite bedding! Great quality & value).

Pillows: a. Naber Design.

Rug: Vintage.

Ottoman: Target.

Jessica Isaac Photography.

Master Bathroom

This could be my favorite space in our home. The space started with the idea of incorporating the Tulum tile. We were having a hard time finding a prefab vanity that we liked, so we searched on Etsy for a Mid Century credenza to convert. Staying mostly black and white allowed us to play with pattern and shapes. I think the wood vanity warms up the space.

Tile: Tulum – Cement Tile Shop – similar here.

Vanity: Etsy – one-of-a-kind.

Jennifer Siegwart Photography.

Bathroom Sources

Lighting:Schoolhouse Electric

Sink: Kohler Vox

Mirror: here – similar

Rug: June and Blue – similar here, here, here, here & here.

Jessica Isaac Photography.

Landscaping

The reality is, grass lawns are expensive and don’t make sense with the state of drought we are in. When we moved in, the grass lawn was a sorry sight. We knew that we needed to convert our exterior to a drought tolerant landscape. With a lot of Pinterest searching and a love for Palm Springs landscaping, we brainstormed to create a low maintenance outdoor space. I am by no means a landscape designer, but I was able to draw and create some imagery for our landscaper. We now have decomposed granite as our lawn!

Jennifer Siegwart Photography.

Outdoor Fireplace

One of my favorite pieces in our outdoor space would have to be the vintage Malm fireplace that we scored off of Craigslist. I had my eye on them for quite some time. This one popped up in our vicinity. With a bit of TLC, it was as good as new!

Outdoor Loveseat: here – similar

Outdoor Rug: Lulu and Georgia.

Outdoor side table: CB2.

Outdoor Fireplace: Malm Outdoor Fireplace, Craigslist.

Jessica Isaac Photography.

Patio Door

We love our pocket door system from Western Windows and Doors. The windows can fold back completely into the wall which is perfect for the summer time.

Jennifer Siegwart Photography.

Patio Tile

Patio Tile: Cle Tile: “Arc”.

Acapulco Style Chairs: similar here.

Jennifer Siegwart Photography.

Hello, Sunshine

Outdoor Hammock: Anthropologie.

Jessica Isaac Photography.

I profoundly thank Abbie for opening the doors of her beautiful home to us. Make sure to follow Abbie on Instagram and visit her website see more of her beautiful home and work!

Photo Credit: Jess Isaac and Jennifer Siegwart.

Home Bunch Favorites:

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Amazing End-of-Season Sales!

Thank you for shopping through Home Bunch. I would be happy to assist you if you have any questions or are looking for something in particular. Feel free to contact me and always make sure to check dimensions before ordering. Happy shopping!

Serena & Lily: Tent Sale Up to 70% off! – Enjoy an Extra 20% OFF. Use Code HOORAY

Wayfair: UP to 75% OFF – Huge Sales on Decor, Furniture & Rugs!!!

Joss & Main: Best Prices of 2018 – Up to 70% Off

Pottery Barn: Buy More, Save More – 20% Off Sidewide + Free shipping: use Code: HELLO19

One Kings Lane: Final Days to Save: Take an Extra 20% Off Markdowns with Code OKL20MORE.

West Elm: Big New Year Sale: 20% Off Your Entire Purchase! Use Code: NEWYEAR

Pier 1: Huge Sales – Up to 60% Off!

Horchow: High Quality Furniture and Decor. Up to 55% Off!!!

Anthropologie: Winter Tag Sale: All sales at an extra 40% Off! Amazing!

Build: Bathroom Renovation Sale – Save up to 65%

Posts of the Week:

2019 New Year Home Tour.

New Year, New Beautiful Homes of Instagram.

Before & After Home Renovation.

Newport Island Beach House.

Family-friendly Home Design.

Christmas Inspiration.

Interior Design Ideas.

Small Lot Modern Farmhouse.

Transitional Home Design.

Newlyweds Home Design.

Family Home Renovation with Casual Interiors.

2018 Norton Children’s Hospital Raffle Home.

Beautiful Homes of Instagram: California Beach House.

Neutral Home Interior Ideas.

You can follow my pins here: Pinterest/HomeBunch

See more Inspiring Interior Design Ideas in my Archives.

“Dear God,

If I am wrong, right me. If I am lost, guide me. If I start to give-up, keep me going.

Lead me in Light and Love”.

Have a wonderful day, my friends and we’ll talk again tomorrow.”

with Love,

Luciane from HomeBunch.com

Come Follow me on

Get Home Bunch Posts Via Email

Contact Luciane

“For your shopping convenience, this post might contain links to retailers where you can purchase the products (or similar) featured. I make a small commission if you use these links to make your purchase so thank you for your support!”

from Home http://www.homebunch.com/beautiful-homes-of-instagram-california-mid-century-modern/ via http://www.rssmix.com/

0 notes

dawnjeman · 6 years ago

Text

Beautiful Homes of Instagram: California Mid-century Modern

Do you like a home with character and personality? If so, you will love this new Beautiful Homes of Instagram!

Abbie’s California mid-century modern home feels artsy, comfortable and it has a story to tell… and she is sharing all of the details below.

Beautiful Homes of Instagram: California Mid-century Modern

A new front door and a black and white cement tile, immediately updated the exterior of Abbie’s home.

Black Door Paint Color: Black Tie by Dunn Edwards.

Exterior Paint Color: White Picket Fence by Dunn Edwards.

Tile: Cle Tile – similar here.

Wind Chime: Anthropologie.

Home Size: 1,800 square feet.

Kitchen

Paint: “Carrara by Dunn Edwards”

Backsplash Tile: Porcelanosa; Diamond White – Other Beautiful Tiles: here & here.

Appliances: Cooktop: Ancona. Oven: Ancona. Hood: Ancona. Fridge: LG.

Jennifer Siegwart Photography.

Kitchen Island

As for lighting, we used West Elm pendants with both polished nickel and champagne bronze as finishes.

Countertops: Dekton by Constentino; Aura.

Runner: Thrift store- Other Beautiful Runners: here, here, here, here, here, here, here, here & here.

Kitchen Faucet: Delta in Champagne Bronze.

Flooring: CORETEC 1 – similar here.

Jessica Isaac Photography.

Hardware

The cabinet hardware is a satin brass by Richelieu.

Kitchen Cabinets: High Gloss, Kraftmaid.

Jessica Isaac Photography.

Counterstools

Barstools are Bertoia Chrome Wire stools – similar here (easy to clean – perfect for homes with kids.

)

Similar Vase: here & here.

Faux Silver Dollar Eucalyptus: here & here.

Jessica Isaac Photography.

Breakfast Nook

Rug: West Elm

Table: Modway – similar here.

Lighting: Anthropologie.

White Ceramic Floor Planter: West Elm.

Pillows: Various- CB2, A Naber Design, The Garage Collective, Urban Outfitters.

Brass Wall Hanging: Vida and Luz.

Jessica Isaac Photography.

Hanging Planter

Hanging Planter: Urban Outfitters.

Mirror: Bohemian General.

Jessica Isaac Photography.

Dining Room

Paint: “Carrara by Dunn Edwards”

Windows: Western Windows.

Macrame Table Runner (similar): here & here.

Jennifer Siegwart Photography.

Mural

Wallpaper Mural: Anewall Décor – other beautiful wallpapers: here.

Hanging Planter: Jungalow – similar here.

Jessica Isaac Photography.

Built-ins

A must have item for this space was the bar. Ideally, my husband wanted a walk behind bar, but that wouldn’t work with our layout. We also added a ton of storage with our built in cabinetry.

Jennifer Siegwart Photography.

Dining Room Bar

Custom Built in Cabinetry: Kraftmaid.

Bar tile: Cle Tile – Other Similar Tiles: here, here, here, here & here (terracotta tile in white).

Jessica Isaac Photography.

Lighting

Lighting: Petite Lily Interiors – similar here, here, here & here.

Jessica Isaac Photography.

Dining Table & Chairs

Table: Restoration Hardware – Similar here – Others: here, here, here & here.

Side Chairs: Anthropologie.

Host Chairs: here – similar.

Jennifer Siegwart Photography.

Living Room

This space in our home is cozy, functional, yet also maintains a design forward aesthetic.

Couch: West Elm.

Jessica Isaac Photography.

Paint Color

I love to find unique items at the flea market and incorporate them into our spaces. You can find a lot of these pieces in our living area.

Paint: “Carrara by Dunn Edwards”

Rug:West Elm.

Painting:Pottery Barn.

Coffee Table: West Elm.

Jessica Isaac Photography.

Layers

I love layering textiles and patterns with the use of pillows and blankets as you can see here in the spaces.

Throws: Anthropologie & local store.

Side Table: West Elm.

Rattan Ottoman: here & here – similar.

Jessica Isaac Photography.

Home-Family-Home

This area is where our daughter spends a lot of time playing, so it also serves as a playroom of sorts.

Sideboard: CB2.

Jessica Isaac Photography.

Planters

These earthenware planters are from Bohemian General and Urban Outfitters – similar here.

Jessica Isaac Photography.

Inviting

I absolutely love seeing homes that reflect the homeowner’s personality and the more I see Abbie’s home, the more I feel that she’s a person of vision.

Rug: Vintage

Jessica Isaac Photography.

Guest Bedroom

Art: various: Blockshop Textiles, Mel Remmers, Sofia Shu, Heather Marie Art, Benjamin Ewing, Samba to the Sea, Whitney Winkler, Kim Knoll, Mary Gaspar – similar here.

Bed Frame: Wayfair.

Headboard: Norwegian Wood – Other Beautiful Headboards: here.

Fiddle Tree: here– similar

Blanket: The Apollo Box

Pillows: a. Naber Design.

Lighting: Schoolhouse Electric

Jessica Isaac Photography.

White Bedroom Paint Color

Paint color is “Carrara by Dunn Edwards”

Hanging Mirror: Anthropologie.

Jennifer Siegwart Photography.

Guest Bathroom

Paint: “Carrara by Dunn Edwards”.

Tile: Marrakesh Design “Dandelion” – Similar: Starburst Hex Cement Tile.

Sink and Vanity: Ikea- Godmorgon model – similar here & here – This one is pricey, but I am loving it

: here.

Mirror: West Elm.

Lighting: Schoolhouse Electric.

Jessica Isaac Photography.

Nursery

Wallpaper: Ferm Living – similar here.

Rug: West Elm.

Crib: Babyletto.

Giraffe artwork: The Animal Print Shop.

Glider: Nurseryworks.

Toy Bin: Land of Nod.

Curtains: West Elm.

Jessica Isaac Photography.

Dresser

Dresser: Vintage

Jessica Isaac Photography.

Shelves

Shelves: Urban Outfitters.

Jessica Isaac Photography.

Master Bedroom

This space is light, bright, and due to the size, we keep things pretty simple in here. It’s a calming space for me and is ruled by white and blue tones like most of our house!

Paint: “Carrara by Dunn Edwards”

Dresser: West Elm.

Bed: West Elm.

Bedding: Wonderhome NYC and West Elm – (West Elm has one of my favorite bedding! Great quality & value).

Pillows: a. Naber Design.

Rug: Vintage.

Ottoman: Target.

Jessica Isaac Photography.

Master Bathroom

Tile: Tulum – Cement Tile Shop – similar here.

Vanity: Etsy – one-of-a-kind.

Jennifer Siegwart Photography.

Bathroom Sources

Lighting:Schoolhouse Electric

Sink: Kohler Vox

Mirror: here – similar

Rug: June and Blue – similar here, here, here, here & here.

Jessica Isaac Photography.

Landscaping

Jennifer Siegwart Photography.

Outdoor Fireplace

Outdoor Loveseat: here – similar

Outdoor Rug: Lulu and Georgia.

Outdoor side table: CB2.

Outdoor Fireplace: Malm Outdoor Fireplace, Craigslist.

Jessica Isaac Photography.

Patio Door

We love our pocket door system from Western Windows and Doors. The windows can fold back completely into the wall which is perfect for the summer time.

Jennifer Siegwart Photography.

Patio Tile

Patio Tile: Cle Tile: “Arc”.

Acapulco Style Chairs: similar here.

Jennifer Siegwart Photography.

Hello, Sunshine

Outdoor Hammock: Anthropologie.

Jessica Isaac Photography.

I profoundly thank Abbie for opening the doors of her beautiful home to us. Make sure to follow Abbie on Instagram and visit her website see more of her beautiful home and work!

Photo Credit: Jess Isaac and Jennifer Siegwart.

Home Bunch Favorites:

JavaScript is currently disabled in this browser. Reactivate it to view this content.

Amazing End-of-Season Sales!

Serena & Lily: Tent Sale Up to 70% off! – Enjoy an Extra 20% OFF. Use Code HOORAY

Wayfair: UP to 75% OFF – Huge Sales on Decor, Furniture & Rugs!!!

Joss & Main: Best Prices of 2018 – Up to 70% Off

Pottery Barn: Buy More, Save More – 20% Off Sidewide + Free shipping: use Code: HELLO19

One Kings Lane: Final Days to Save: Take an Extra 20% Off Markdowns with Code OKL20MORE.

West Elm: Big New Year Sale: 20% Off Your Entire Purchase! Use Code: NEWYEAR

Pier 1: Huge Sales – Up to 60% Off!

Horchow: High Quality Furniture and Decor. Up to 55% Off!!!

Anthropologie: Winter Tag Sale: All sales at an extra 40% Off! Amazing!

Build: Bathroom Renovation Sale – Save up to 65%

Posts of the Week:

2019 New Year Home Tour.

New Year, New Beautiful Homes of Instagram.

Before & After Home Renovation.

Newport Island Beach House.

Family-friendly Home Design.

Christmas Inspiration.

Interior Design Ideas.

Small Lot Modern Farmhouse.

Transitional Home Design.

Newlyweds Home Design.

Family Home Renovation with Casual Interiors.

2018 Norton Children’s Hospital Raffle Home.

Beautiful Homes of Instagram: California Beach House.

Neutral Home Interior Ideas.

You can follow my pins here: Pinterest/HomeBunch

See more Inspiring Interior Design Ideas in my Archives.

“Dear God,

If I am wrong, right me. If I am lost, guide me. If I start to give-up, keep me going.

Lead me in Light and Love”.

Have a wonderful day, my friends and we’ll talk again tomorrow.”

with Love,

Luciane from HomeBunch.com

Come Follow me on

Get Home Bunch Posts Via Email

Contact Luciane

from Home http://www.homebunch.com/beautiful-homes-of-instagram-california-mid-century-modern/ via http://www.rssmix.com/

1 note · View note

blogueericdescarries · 6 years ago

Text

Mitsubishi Outlander PHEV GT, encore St-Eu et Fifi !

Le 25 juillet 2018

C’est l’été et le temps passe vite. Puis, il y a tellement à faire dans le monde de l’auto en été. Au travers tout cela, j’ai pris le temps de conduire quelques véhicules intéressants dont, ces jours-ci, le Mitsubishi Outlander PHEV. PHEV veut dire Plug-In Hybrid Electric Vehicle (Voiture Électrique Hybride Enfichable). Cela veut donc dire que ce Mitsubishi ne se fie pas qu’à un moteur à essence pour sa propulsion mais à une combinaison des deux, soit des moteurs électriques et thermiques. Sous le capot se cache un quatre cylindres de 2,0 litres de 117 chevaux et 137 li-pi de couple qui n’est pas nécessairement directement connecté (mécaniquement) aux roues. En effet, ce petit moteur sert, un peu à la façon de la Chevrolet Volt, de motivation à une génératrice de 70 kW qui envoie sa puissance autant aux batteries qu’aux moteurs électriques. En effet, ce sont deux moteurs électriques de 80 chevaux, l’un aux roues avant qui fait 101 li-pi de couple et l’autre à l’arrière qui en fait 144 qui servent de motricité aux quatre roues! À une certaine vitesse de croisière, si l’ordinateur de bord calcule qu’il en est efficace, un embrayage hydraulique s’engagera au moteur tout en travaillant avec un ou les deux moteurs. En fait, il est plutôt difficile de tout expliquer par écrit. Il vaut mieux consulter l’internet pour comprendre, par diagramme animé comment le système fonctionne. Ou encore observer sur l’écran du Outlander PHEV le dessin animé qui explique ce qui se passe sous les passagers. Car il s’en passe des opérations électroniques incluant la recharge des batteries par récupération grâce au freinage ou celle procurée par le moteur à essence lui-même. C’est presque de la magie. Mais en vérité, il vaut mieux charger les batteries elles-mêmes à bloc en branchant le véhicule à une borne électrique. Si c’est une prise de courant électrique ordinaire à 120 volts, il faudra alors une huitaine d’heures pour recharger les batteries. C’est ce que j’ai au bas de mon entrée de garage. Le hic, c’est qu’il m’a fallu reculer l’Outlander le plus près possible de cette prise parce que le cordon fourni par Mitsubishi…n’est pas très long (5 mètres)! Alors, si vous vivez sur le Plateau et que les prises sont hors de portée, oubliez cela (car aucun constructeur ne suggère d’ajouter une rallonge au cordon!).

Le tout nouveau Mitsubishi Outlander PHEV GT conserve la même carrosserie que ce VUS avait dès 2014. (Photo Éric Descarries)

De l’arrière, on voit que le style de l’Outlander commence à accuser de l’âge. (Photo Éric Descarries)

Néanmoins, j’ai réussi à recharger les batteries au maximum et durant la période de canicule montréalaise, j’ai aussi réussi de partir de Laval et de rouler jusqu’aux abords de la Rive Sud, soit près de l’autoroute 30 en passant par le Pont Champlain en pleine heure de circulation avant que le moteur thermique se mette de la partie pour atteindre Saint-Jean-sur-Richelieu. C’est plus d’une trentaine de kilomètres, cela. Alors, même si le moteur à explosion s’invite à la fête, il est recommandé de presser sur le bouton Charge au centre de la console pour que celui-ci participe à la recharge des batteries et que celles-ci se remettent de la partie une fois rendus à destination dans le patelin de la destination. Et tout cela se fait en toute transparence…à moins que vous vous mettiez à tout observer à l’écran ce qui fera de vous un conducteur distrait donc dangereux sur la route.

Tout cela est toujours difficile à expliquer. Il faut vraiment le vivre pour être convaincu de l’efficacité du système. Puis, la plupart des réactions sont décrites à partir d’essais estivaux. J’aurais bien aimé conduire cet Outlander en plein hiver alors qu’il fait un froid sibérien. De plus, il m’aura été plus facile de mesurer les capacités de la fameuse traction intégrale S-AWC combinée à ces moteurs électriques (une combinaison unique à l’Outlander). Notons que pour se déprendre d’une situation plutôt «extrême». Mitsubishi a aussi inclus la fonction 4X4 Lock qui verrouille le système pour un moment.

De l’extérieur, on reconnaîtra l’Outlander dont les lignes n’ont presque pas changé depuis plusieurs années. Dire que le design est moderne serait un peu osé. Mais les récentes retouches apportées à la calandre et aux ornementations de finition aident le petit véhicule à se distinguer des autres de sa catégorie. Semble-t-il que Mitsubishi n’a pas les moyens financiers de toujours revoir le dessin de ses produits vu sa taille dans l’industrie. Néanmoins, l’Outlander continue de plaire aux consommateurs ne serait-ce que par sa présentation modérée.

Le tableau de bord fait un peu vieillot mais il est efficace. (Photo Éric Descarries)

Les places arrière proposent quand même beaucoup d’espace pour les jambes des passagers. (Photo Éric Descarries)

L’intérieur de ce petit VUS est invitant mais on ne peut pas dire que le constructeur ait dépensé des trésors d’imagination pour le design du tableau de bord tout comme il ne l’a pas fait pour l’extérieur. Malgré tout, ce tableau de bord est agréable à l’œil mais surtout, la disposition de son instrumentation et de ses accessoires est facile à maîtriser. Évidemment, l’écran servant à la radio, la caméra de recul ou du système de navigation m’a paru un peu petit mais j’ai noté qu’il y est possible de brancher son téléphone pour les fonctions Apple CarPlay et Android. D’autres commandes se retrouvent au volant et à la console centrale mais encore une fois, tout est bien disposé et facilement repérable (j’ai appris que le chauffage y était par éléments électriques contrairement à celui par liquide de refroidissement comme sur les autos ordinaires…ce qui veut dire que l’intérieur se réchauffera rapidement en hiver). Les sièges en cuir offrent un support raisonnable mais j’aurais apprécié une ventilation des coussins lors des journées chaudes des canicules montréalaises. Ce que j’ai bien aimé, par contre, c’est l’espace pour les jambes des passagers d’arrière et surtout le coffre arrière très spacieux qui n’a pas été rogné par les batteries! Et si l’on rabat le dossier des sièges d’arrière, on obtient un espace caverneux qui excède les 2000 litres|

L’espace de chargement est vaste grâce à la disposition des batteries sous le plancher. (Photo Éric Descarries)

Un essai routier intéressant mais controversé

Conduire l’Outlander PHEV GT S-AWC n’est pas sorcier. Malgré ses percées technologiques intéressantes, le VUS se manipule comme toute autre auto. Une fois que l’on a pressé sur le bouton du «démarreur»…aucun bruit! Juste un témoin au tableau de bord qui indique «Ready» ! Il faut cependant s’habituer au passage en vitesses car le levier ne sert que de contact électrique à la boîte de vitesse à prise unique. Le conducteur peut choisir entre fonctionner avec le moteur électrique seulement ou avec l’appui du moteur à essence qui sert de génératrice. Dans ce cas, celui-ci recharge en même temps la batterie. J’ai testé les deux modes de fonctionnement. Si le trajet est un peu court, vaut mieux fonctionner qu’avec les batteries de 12,0 kW grâce à la commande EV à la console. Mais celles-ci peuvent s’essouffler assez vite. Incidemment, outre le fait qu’elles peuvent se recharger par la prise de courant domestique (si le cordon rejoint la prise) de 120 V qui demande de sept à huit heures ou par le chargeur rapide (il y a une deuxième prise à cet effet dans le portillon qui cache ces deux prises) de niveau 3, répétons que le moteur peut participer à cette fonction mais le prix à payer sera une consommation accrue. Autrement, pressez la commande Eco au tableau de bord et vous sentirez des performances atténuées mais vous y gagnerez au change. Mentionnons en même temps que le freinage aide à la recharge des batteries selon l’intensité que le conducteur aura choisie avec les palettes au volant. En passant, l’Outlander PHEV conserve sa capacité de remorquage de 1500 livres.

Le petit moteur à quatre cylindres sert de génératrice aux deux moteurs électriques. (Photo Éric Descarries)

Mon Outlander d’essai a été utilisé dans diverses conditions, que ce soit pour traverser la ville de Montréal plusieurs fois ou pour aller faire des courses hors de la ville. Donc, beaucoup de kilométrage pare-chocs à pare-chocs ou à vitesse de croisière. La consommation électrique a varié entre une trentaine à une quarantaine de kilomètres selon les situations. Toutefois, jamais n’a t-il été question de conduire l’Outlander PHEV pour essayer de battre des records d’économie de carburant. Ainsi, j’ai obtenu une moyenne de consommation de carburant de 8,2 l/100 km pour toute une semaine d’utilisation (ce qui n’est pas mauvais en soi pour un VUS de plus de 4000 livres!) Si ce Mitsubishi n’avait été conduit qu’en situation urbaine avec recharge entre chaque déplacement (court), je suis persuadé que cette moyenne aurait été beaucoup plus basse. Mais, mes besoins m’amenaient à des destinations lointaines avec peu de possibilités de recharge pour le retour (parce que je n’ai pas voulu utiliser des rallonges électriques!). Selon Mitsubishi, j’ai donc fait appel au mode hybride parallèle et ma consommation est meilleure que celle anticipée par le constructeur!

En ce qui a trait à la conduite, elle ressemble à ce que tout Outlander peut donner vu son poids élevé. Prendre les virages un peu trop rapidement provoque un certain roulis mais à une vitesse raisonnable, le petit camion est à la fois confortable et silencieux. La direction est relativement précise mais le freinage peut varier selon l’intensité de recharge qu’on aura pu leur demander. Au sujet de la position de conduite, elle est agréable et le conducteur jouit d’une bonne visibilité tout le tour. Côté performance, les accélérations ne sont certes pas foudroyantes, pas plus que les reprises non plus. Ce qui m’a le plus agacé, c’est cet affichage à l’écran du fonctionnement hybride animé qui capte l’attention (et qui distrait!). Mais, au-delà de 120 km/h, j’ai noté que le moteur à essence envoie directement sa puissance aux roues avant (mais le moteur électrique est là pour l’épauler).

Enfin, si le prix de base de cette camionnette se situe autour des 43 000 $, cette version PHEV GT S-AWC affichait un prix de 49 998 $ (auquel le gouvernement québécois participera à la hauteur de 4000 $). N’oublions pas la garantie de Mitsubishi qui peut aller jusqu’à dix ans ce qui est un argument de vente pour ce constructeur. J’ai plus de respect pour ce système électrique que pour les autos entièrement électriques parce qu’on peut se fier au moteur à essence en cas de décharge totale des batteries. Mais avec un réservoir d’essence de 45 litres, il ne faut pas s’attendre à une autonomie dépassant les 500 kilomètres.

Vu que ce véhicule avec son système existe depuis déjà quelques années sur le marché international, la question est celle-ci : pourquoi Mitsubishi a-t-il pris tant de temps à l’implanter sur le marché nord-américain? Le principe est tout simplement moderne et il est surtout utile pour des déplacements urbains ce qui correspond bien à l’usage que bien des consommateurs font des plus petits VUS (qui remplacent désormais les autos compactes…) Il ne reste plus à Mitsubishi que de moderniser l’apparence et le décor intérieur de l’Outlander pour en faire un véritable «hit» dans son créneau!

De retour à l’Autodrome Saint-Eustache…

On le sait tous maintenant, je préfère les courses NASCAR locales aux évènements à grand déploiement sur les grandes pistes à haute vitesses. Je me suis donc rendu samedi dernier à l’Autodrome Saint-Eustache (j’en profite tandis qu’il est encore en opération) pour assister à deux courses de 50 tours du championnat local NASCAR Lucas Oil. J’en ai eu pour mon argent, si je peux m’exprimer ainsi. En même temps, j’étais heureux d’être sur place pour le retour du vétéran Sylvain Lacombe au volant de sa légendaire Chevrolet numéro 3. Malheureusement, malgré de beaux efforts, il allait gâcher sa rentrée.

Le vétéran Sylvain Lacombe était de retour en piste pour la première fois cette saison. (Photo Éric Descarries)

Si la première course, toute excitante qu’elle fut, s’est déroulée dans un certain calme, la deuxième fut plus mouvementée provoquant des neutralisations sans fin qui commençaient à exaspérer les spectateurs. La dernière fut la plus significative alors que le vainqueur de la première épreuve, Joe Mayer au volant d’une voiture aux identifications de Cadillac se dirigeait vers un doublé. Poursuivi avec acharnement par Lacombe (qui avait terminé troisième lors de la première épreuve), Mayer fut légèrement frappé de l’arrière par la Chevrolet numéro 3 ce qui l’a fait déraper avec 10 tours à faire. Le directeur de course a alors décidé de renvoyer les deux pilotes à l’arrière du peloton (n’y a-t-il pas un règlement qui dit que le pilote qui frappe et fait déraper le meneur doit être renvoyé seul à l’arrière alors que le meneur conserve sa position?) ce qui a provoqué l’ire de Mayer et une certaine déception des spectateurs. Décidemment, malgré tout le respect que j’ai pour lui, je considère que Sylvain Lacombe a complètement raté son retour en piste. J’espère le revoir en meilleure position dans un avenir rapproché!

Joe Mayer (no 18) a su contenir les attaques de Sylvain Lacombe (no 3) jusqu’à ce qu’il y ait contact. (Photo Éric Descarries)

Un rendez-vous avec Fifi

D’autre part, plusieurs d’entre vous savez que j’adore l’aviation, surtout les avions plus anciens. Je me suis donc rendu avec mon ami mécano Giovanni à l’aéroport de Saint-Hubert samedi matin pour y voir le fameux bombardier Boeing B29 Superforteress de 1945 de passage à Montréal, un appareil semblable à celui que pilotait Paul Tibbets lors du largage de la bombe atomique sur Hiroshima en 1945. Si, dans le cas de l’appareil de Tibbets, on avait surnommé le Boeing «Enola Gay» (du nom de la mère de Tibbets), celui qui est venu nous rendre visite affichait le surnom de «Fifi».

«Fifi» dans toute sa splendeur. (Photo Éric Descarries)

Ce B29 n’a jamais vu la guerre. Ce fut le dernier sorti des usines de Boeing. Les B29 ont fait le bombardement massif du Japon durant les années quarante mais, utilisés de nouveau durant la Guerre de Corée au début des années cinquante, ils furent rapidement déclassés par les chasseurs à réaction. Nombre de B29 se sont écrasés mais, selon la documentation d’époque, ce serait plutôt dû à des incendies de moteurs. En effet, semble-t-il que les moteurs Wright Cyclone à neuf cylindres en disposition radiale avaient tendance à prendre feu (on blâme une conception trop hâtive et bâclée des avions à l’époque).

Chaque «moteur» du B29 est composé de deux neuf cylindres en disposition radiale de Wright placés l’un derrière l’autre. Quelque 2200 chevaux par unité. (Photo Éric Descarries)

«Fifi» est un appareil entièrement restauré dont le défaut a été corrigé. Depuis les quelques dernières années, «Fifi» a même été révisé au coût de 3 millions $ US. L’appareil fait maintenant des tournées en Amérique du Nord et il est possible de monter à bord pour une randonnée d’un peu plus d’une demi-heure. Je savais que le coût d’achat d’un billet était de quelques centaines de dollars (11 passagers par envolée) mais rendu sur place, j’y ai bien vu que le billet le moins cher était de 600 $ US (tous vendus) et les autres de 1400 et 1600 $ US. J’ai déclaré forfait mais j’en ai quand même profité pour examiner en détail l’appareil tout en y prenant quelques photos! Il n’y a eu «que» 3970 de ces appareils mais il n’en reste que 22 dont un seul, «Fifi» est en état de vol, un autre étant en voie de restauration.

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marcfarraspiera · 7 years ago

Text

Lutècia

1. La jubilada amb barret violeta que reia llegint l’últim Astèrix al metro.

2. La dona amb cabells egipcis i peto texà que portava una bola del món i mirava fotografies velles.

3. A París els filòsofs semblen estrelles del rock, i les estrelles del rock semblen filòsofs.

4. El confit d’ànec amb patates rostides del bistrot Aux Petits Oignons.

5. El cafè La Marine i el terra enrajolat com un tauler d’escacs i les làmpades esfèriques gegants de color ambre, amb vistes al Canal Saint Martin.

6. El passatge des Panoramas, amb els antiquaris i les llibreries de vell.

7. El rastre de Miró. Llum, formes i colors.

8. El Boulevard Pereire desert a les vuit del matí i ple de partits de futbol sense porteries els divendres a la tarda. Els rosers a mig florir i els dos vells rics que hi fan manetes com dos adúlters de quinze anys.

9. La terrassa del restaurant Moncœur, sobre el parc de Belleville i davant la ciutat grisa, immensa, indiferent.

10. La llibreria flotant L’eau et les rêves, al Canal de la Villette.

11. Helena o el mar del verano, de Julián Ayesta.

12. La logopeda de L’escafandre i la papallona, en sessió universitària de vespre al Desperado.

13. El taller de Pierre Bourdelle a Montparnasse.

14. El jardí del Museu de Montmartre, amb vistes a les vinyes i al cabaret rosa de Picasso.

15. El cuscús i el pollastre amb olives de l’algerià de La Goutte d’Or. I el te de menta amb molt de sucre.

16. El pastís de merenga de La Loire dans la Théière.

17. Els falàfels de la Rue des Roisiers. Els cambrers t’assetgen pel carrer però val la pena.

18. Els ulls tan grans de Nôtre-Dame.

19. La place Dauphine.

20. La línia 6 del metro de l’Étoile a Glacière. Brooklyn.

21. El grafit de Tintín i el Capità Haddock, vestits de vermell, acabats de casar.

22. La botifarra negra amb puré de patates de Le temps des cerises a la Butte aux Cailles.

23. Els petons furtius a la Square des Peupliers.

24. Moustaki i Gainsbourg.

25. La sala ovalada dels nenúfars a l’Orangerie.

26. L’estany platejat de les Tuileries.

27. La Victòria de Samotràcia.

28. Els vitralls modernistes i el tapís vermell del bistrot La Renaissance, on Tarantino va reunir Mélanie Laurent i Daniel Brühl.

29. Portar les visites a La Recyclerie.

30. Les nits a La Limite. Els flirtejos descarats dels macarres, les dones que ballen, i els panxuts amb jaqueta de cuir que s’ho miren i riuen des de la barra.

31. Descobrir de sobte l’església de la Val-de-Grâce i recordar les banyeres gegants de la Piazza Farnese.

32. La pluja imparable.

33. El te sota les carpes humides de la Mesquita i els hivernacles humits del Jardin des Plantes.

34. Les cases noucentistes de conte de fades de La Campaigne a Paris.

35. La plaça Édith Piaf, a Bagnolet, i la seva estàtua clamant al cel vandalitzada amb pintura vermella.

36. El Sacre Cœur des de la Place Dalida, pujant des de Lamarck. El nas de Dalida. Dalida cantant Bang Bang. Luigi Tenco i els barbitúrics. “Pardonnez-moi, la vie m’est insupportable.”

37. Les col·leccions privades impressionistes i els salons versallescos del Museu Jacquemart-André.

38. "París és a dues lletres del Paradís" (Jules Renard)

39. El panteó (que encara no he trobat) del fotògraf Francesc Boix, únic testimoni català contra els nazis a Nuremberg.

40. El mercat africà de Château Rouge. Túniques, mangos i peus de porc.

41. La fortor d’alcohol al metro a qualsevol hora.

42. Els campaments de refugiats i sense sostre als afores de París.

43. Els nens sirians descalços sobre l’asfalt. Dotzenes de nens sirians descalços sobre l’asfalt. Potser centenars.

44. La baguet del forn de la Plaça Saint Ferdinand, i els panets de xocolata de l’altre forn de la Plaça Saint Ferdinand.

45. La secció de làctics del supermercat.

46. Les crisis nacionals de mantega.

47. Les parisenques. Quin estil.

48. Esther Garrel.

49. Les arenes de Lutècia, el Coliseu de París.

50. La fruitera xinesa, que sempre em torna malament el canvi (a favor de la casa).

51. Una nit em van convidar a menjar pop. Vaig fer una excepció i vaig beure vi blanc.

52. La flauta màgica a l'Opera Comique.

53. Mateu Orfila, maonès insigne, pare de la toxicologia moderna, metge personal del rei de França.

54. Quan els francesos van arribar al Louvre per anunciar la conquesta de Menorca, el primer que va demanar el cardenal Richelieu a l’oficial de l’exèrcit era si les figues de l’illa eren tan bones com es deia. (Desconeixem la resposta de l’oficial).

55. Les rancheras dels músics del metro, a anys llum dels seus homòlegs de Londres.

56. Els partits del Barça que no he vist. Ja no m’importa.

57. Les visites multitudinàries a pisos de nou metres quadrats amb llit plegable i dutxa comunitària. 700 euros i en negre.

58. Veure nevar un dijous a la nit des de la bugaderia. La meva vida en un programa de cotó a 30°.

59. Els passatges de Bastille.

60. La dona trista que llegia el diari al Pure Cafè asseguda dalt d’un tamboret.

61. El magnat llegendari dels prostíbuls de Montmartre, ulleres negres i anells d’or, perruca i trajo blau impecables. Es feia el milhomes i necessita ajuda per pixar.

62. Vaig conèixer una logopeda pianista que viu davant el cafè de l’Amélie i que intercanvia confidències (i alguna cosa més) amb el capellà del barri.

63. Els francesos, igual que els italians i que els anglesos i que molts catalans i que quasi tots els espanyols, no entenen per què volem la independència.

64. Diuen que els gelats de la Maison Berthillon són els millors de París però en realitat són gel amb colorant i no valen res.

65. La solitud d’agost.

66. Em van regalar una planta preciosa i se m’ha mort.

67. He viscut nou mesos sense armari però amb un mirall picat que deu valer una fortuna.

68. El campanar de l’església de Saint Blaise des de la Plaça de la Magnòlia, seu del Partit Comunista.

69. La cuina provençal de Chez Janou.

70. El record inesborrable de Marsella i Dantès. La sal i el mistral.

71. La Plaça Marc Bloch i totes les obres de la Beckett de Gràcia. I encara no he anat a la nova seu del Poblenou.

72. El village Saint Paul, el meu oasi particular a Le Marais.

73. Les torres medievals de la Rue Charlemagne i la basca socialista de Chez Mademoiselle que ens ho va preguntar tot sobre els Procés. Ho vam intentar però no la vam convèncer.

74. L’arquitectura brutalista del barri xinès.

75. El mural de la Fada electricitat de Raoul Dufy al Museu d’Art Modern de París.

76. El luxe del Faubourg Saint Honoré i el trauma del fiscal Gérard de Villefort.

77. Vam empaperar les portes massisses de la seu de la Comissió Europea i ens en van fer fora. Hi havia més gendarmes que manifestants. Vam cantar els Segadors i ningú no se sabia la tercera estrofa.

78. Si mai tinc un pis hi penjaré pòsters de Tintín comprats als encants. Per començar, dubto entre Els Cigars del Faraó i El Lotus Blau.

79. La botiga L’Oiseau de Paradis del Boulevard Saint-Germain.

80. El pícnic nocturn al bosc de Vincennes.

81. Les albergínies fregides de Chez Alex, un xinès tan barat que no pot ser.

82. Una sidra a la sala interior de La Palette, a la Rue de Seine.

83. El Moulin Rouge, el Trocadéro, Truffaut i la Shakespeare & Co estan sobrevalorats.

84. Egon Schiele.

85. Si m’haguessin agafat al pis de la Rue Magenta hauria viscut amb una noia rossa que es deia Ofèlia. Una vegada vaig fer de Hamlet. Encara em sé la primera estrofa del monòleg.

86. Foix. “Sóc a París, i entre ermots, a Lladurs.”

87. Les vies del tren a La Chapelle, que esquarteren París.

88. París són floristeries, forns i formatgeries.

89. L’espina de peix de la Mouzaïa i tots els passatges laterals florits.

90. Algun dia viurem a la Villa Léandre.

91. El camino de Miguel Delibes.

92. Psique reanimada pel petó de Cupido, de Canova.

93. Els diumenges es dina pollastre a l’ast.

94. Per culpa d’un cafè a Le Méthode vam perdre un avió.

95. Els funcionaris de correus em posen nerviós. No ens entendrem mai.

96. La lliga francesa és un frau.

97. París fa somiar. La realitat et desperta.

98. Els parisencs fumen molt, van sempre amb gavardina i a mig pentinar i no cuinen mai.

99. L’aparador de la llibreria de Jourdain.

100. Els arbres grocs del Père Lachaise i les fulles grogues damunt les làpides.

101. El jutge Claude Frollo cantant desesperat davant la llar de foc.

102. Les heures de la façana de l’Hotel Le Pavillon de la Reine a la Place des Vosges.

103. El barri de Batignolles i els bistrots vermells de la Rue des Dames.

104. Les epifanies (forçades, però necessàries) al Pont Saint-Louis.

105. La tarda al Cafè Strada de Rue Monge. Una de les cambreres fa pastissos de coco i de xocolata al fons del local amb els auriculars posats.

106. Les cases de colors-pastel-Notting-Hill de la Rue Sainte-Marthe.

107. Arribar amb tren a la Gare du Nord. A l’entrada, hi ha una escultura terrorífica d’un ós vermell amb ales. A la ciutat de Rodin.

108. Els restaurants corsos. Les llonganisses corses. La cervesa corsa. Còrsega en general.

109. La versió de Roger Mas de Ma Solitude.

110. El Sena.

111. El meu barri, Gambetta.

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soshenko33 · 8 years ago

Photo

“We do not want our history to be erased”

Taras Kovach and Anna Sorokovaya about Soshenko 33 art studios The Book of Kyiv, 2015 / a project of The School of Kyiv, Kyiv Biennial 2015

«Ми не хочемо, щоби наша історія обнулялася». Тарас Ковач і Анна Сорокова про художні майстерні на Сошенка, 33. Київська книга, 2015

T This is not a place, it is a state of being. I remember coming here for the fist time very well: the sun going down, the silhouettes of trees moving all around, the building itself — bright and majestic. Amongst ourselves we call it a ship. It may sound romantic, but it is true.

A The building stands on a hill: you enter the yard through a gate, and then watch it emerge from behind the trees as you approach. There is a special dramaturgy to all this.

A When I began to study the history of this place, I discovered that all artists who’ve ever worked here - whether it was fifty years ago or only recently — felt very similarly about it. Such a persistence of feelings across generations, the foremost of which being the feeling of freedom, is something I find very remarkable. In the 1960s young graduates of the Kyiv Art Institute were working here. Art studios were given to them for several years, and the work that went on in there was not strictly supervised. Artists’ studios were officially controlled by Moscow, and inspection committees did not make it down here too often.This was time and space where artists could come into their own, before having to face the Soviet reality. This is where they could experiment in an informal atmosphere. Even now this place is not widely known to the general public. It is, naturally, very pleasant to exist in such a format, and it is exactly this lack of formal structure that makes this place so impressive.

T That was a normal spring day. Very sunny and beautiful. The art studios were full of people. And all of a sudden we saw construction equipment roll in towards our building through the garden. Some strange people came up to us and said: “We are putting a fence around your building and starting construction. You may continue working, but we

warn you right away - the construction will go on around the clock, 24/7.” They were going to build a complex of 25-story buildings, and even came up with a cynical name for it — “A Forest Palette.”

A All that started as an invasion: construction equipment under our windows, young muscular lads prancing around. They thought that artists were gentle creatures and would never have the heart to look into details, let alone get involved and show any resistance. But we proved them wrong. Also, we were lucky with our neighbors — the local community played the key role at this stage of resistance to illegal construction. We all got well organized: printed announcements, found lawyers, kept vigils at night. As soon as anyone heard anything suspicious, they called everyone, and all of the locals would go out onto the streets.

T The garden around our building was planted in the 1960s. Then there was a whole staff to look after this place. Even now you can find apples, pears, cherries and strawberries growing here. Anna and I planted a flowerbed, but when the fence was going up we had to move all of our flowers and bushes at night, by the light of a flashlight.

T There is a grave on the territory of the studios from the World War II days. A forest ranger’s hut used to stand there. The legend has it that during the occupation many children were brought there, and that’s where a bomb struck, killing over twenty people. According to the new construction site’s plan, the grave was to be replaced by an entrance into the parking garage. Although later they promised to build a chapel on that spot.

A The windows of the terrace are draped with white textiles - this was part of the exhibition that we held here last year. Some of the materials I bought at a flea market - they’re embroidered in a style called “Richelieu,” popular back in the day. It took a lot of work to make those pieces, but they are sold for pennies.The disproportion is incredible. It is very hard to find a place for works like these in our contemporary world. Just like with this building. This site has been preserved so far only because it remained at the periphery. There are people who insist that our studios are not needed and therefore should not exist anymore. We are constantly visited by developers, who come to us with such talk. But wait, we do not want our history to be erased.This building’s entire history is that of creativity and cultural heritage, it is the history of our society. It is about a very human experience, not about just walls.

«Ми не хочемо, щоби наша історія обнулялася» Тарас Ковач і Анна Сорокова про художні майстерні на Сошенка, 33

Т.: Це не місце, це стан. Дуже добре пам'ятаю, як прийшов сюди вперше. Були сутінки, навкруги силуети дерев. Сама споруда – світла, кремезна. Ми називаємо її між собою кораблем. Трохи романтично, але так і є.

А.: Будинок стоїть на пагорбі: спочатку ти через хвіртку потрапляєш у двір, а далі, серед дерев і зелені з'являється дім – навіть у тому, як ти наближаєшся до нього є своя драматургія.

А.: Коли я почала вивчати історію цього місця, виявилося, що у всіх художників, які тут працювали приблизно одні й ті самі відчуття – і 50 років тому, і зараз. Саме це мені й здалося цікавим, оця спадковість відчуттів, насамперед, відчуття свободи. У 1960-х тут працювали молоді випускники Київського художнього iнституту. Майстерні надавалися на кілька років і робота не так жорстко регламентувалася. Майстерні підпорядковувалися Москві, комісія навідувалася не надто часто. Це був час і простір, де художники могли усвідомити себе, перш ніж стикнутися із радянською реальністю. Поекспериментувати у неформальній атмосфері. Це місце й зараз відомо не дуже широкому загалу. У такому форматі, звісно, доволі приємно існувати, але саме це і робить його вразливим.

Т.: Це був звичайний весняний день. Дуже сонячний і красивий. У майстернях було багато людей. І раптом до садиби, крізь сад, дерева й квіти заїжджає будівельна техніка. До нас виходять якісь люди, кажуть: «Ми ставимо довкола вашого корпусу паркан – у нас починається будівництво. Ви можете працювати далі, але одразу попереджаємо: будівництво триватиме цілодобово». Вони збиралися побудувати комплекс 25-поверхівок, ще й назву підібрали цинічну – «Лісова палітра».

А.: Усе це починалося як вторгнення: будівельна техніка під вікнами, молодики спортивної статури. Вони вважали, що художники – це творчі особистості, не вникатимуть у деталі, не опиратимуться. Та виявилося інакше. До того ж нам пощастило із сусідами – місцевою громадою, яка відіграла ключову роль на цьому етапі боротьби. Ми всі дуже добре організувалися: друк оголошень, юристи, чергування вночі. Щойно хтось чув підозрілий звук, всіх обдзвонювали і на вулицю виходили місцеві жителі.

Т.: Сад довкола садиби висаджували у 1960-х. Тоді був цілий штат людей, які доглядали за цим місцем. Тут і досі ростуть яблука «білий налив», груші, вишні, полуниця. Ми з Ганною висадили клумбу, але коли зiбралися зводити будівельні паркан, довелося за ніч при світлі ліхтарика пересадити усі квіти й кущі в інше місце.

Т.: На території садиби є могила часів Другої світової. Колись тут був будиночок лісничого. За легендою, коли почалася окупація, сюди звозили дітей. Саме в це місце влучила бомба, загинуло понад 20 людей. У плані забудовника на місці могили був вхід у паркінг. Щоправда, вони обіцяли потім побудувати тут капличку.

А.: Я завісила вікна на веранді білим текстилем – це частина виставки, яку ми тут робили торік. Дещо з матеріалу я купувала на блошиному ринку, це популярна свого часу вишивка «Рішельє». У ці речі вкладено дуже багато праці, а продають їх за копійки – неймовірна диспропорція. У сучасному світі для них дуже важко знайти місце. Те саме і з цим будинком, зі світом, який зберігся завдяки тому, що лишався на периферії. Є люди, які стверджують, що йому немає місця, що він нікому не потрібен. До нас постійно приходять делегації від забудовників із такими розмовами. Але стривайте, ми не хочемо, щоби наша історія обнулялася. Уся історія цього будинку – це історія творчості, спадкоємності культури. Взагалі-то це історія нашого суспільства і його пріоритетів. Вона про дуже людські переживання, а не гіпсокартон.

А.К.

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