#Philippe Delin

[dijonbeaune]

Du fromage, du vin et du Delin : bienvenue au domaine Delin-Legou !

Restaurateur et hôtelier grâce aux hasards de la vie et du territoire, le fromager Philippe Delin est aussi devenu producteur de vin. À quelques semaines de l’ouverture de son magasin œnotouristique à Gilly-lès-Cîteaux, cette évolution prend tout son sens… Philippe Delin a toujours voulu faire du vin : il est désormais propriétaire du domaine Delin-Legou, à Gilly-lès-Cîteaux.…

[zorilleerrant]

Do you ever notice how when people are asked to describe who Batfam members are there’s always a specific way they answer the question, and it isn’t the same for any of them?

Bruce: Overview of his backstory compared across various canons, discussion of different personalities he’s given in various canons and fanons, explanation of costume variations.

Alfred: “He’s Bruce’s butler-dad.” Theories about how old he is and which war(s) he was in.

Dick: “He’s from the circus.” Loving description of that specific person’s favorite adventures that he’s been on and what his friendships mean to him. Slow slide into headcanon with no clear delineation on where that begins.

Kathy: “No, not the lesbian one. This one’s Bruce’s love interest.” Either calls her a BAMF MILF or complains about how nothing she does makes any sense and it just seems random.

Bette: A bunch of Dick jokes. Complaints about the representation of girls and women in comics for old Bette, narrative rundown for revamped Bette. Comments about Dick seeming gay.

Babs: Either discussion of computers and everything comics gets wrong/secret theories for how it all works OR digression into representations of disability in comics and why she’s a badass disabled character.

Helena: Description of her costume and weapons. “Wait the other Helena?” Awkward befuddlement over how to explain the various Helenas. Discussion of what her physical appearance/race should be.

Jason: “He died.” Long screed on why it is or isn’t okay to do/represent murder, long argument for/against the white streak in his hair, minor aside for/against an autopsy scar on his chest, vitriol against the Joker. “Oh, yeah, he’s the second Robin, the one that died.”

Carrie: “She’s the girl Robin. No, the first one.” Either praise for Frank Miller as a writer or complaints about Frank Miller as a person, possibly both. Attempting to describe how her timeline diverges. “And then DC wouldn’t bring her back, can you believe that?”

Tim: Explanation of the differences between Canon Tim and Fanon Tim and then that person’s personal headcanon about his personality and the driving forces behind his decisions/morality. Recently, philippic about his sexuality and opinions about Bernard. Crying over his hero name.

Steph: “Everyone skips her as Robin.” In depth rundown of her tragic backstory, and why her dad is the worst ever. Theories about her social position and how that impacts her view of the world, why they personally relate to that/her. Waffles.

Terry: Description of the world of Batman Beyond. Complaints about the world of Batman Beyond. Conspiracy theories about the world of Batman Beyond. How Batman Beyond would fit into main canon if it were rolled in more thoroughly. Possibly a complaint about Amanda Waller/retcons; “supposedly he’s Asian.” At no point any actual description of who Terry is.

Cass: Assertion that it’s important to have characters of color/woc specifically. Either a list of things they’ve assigned to her because they think Chinese culture is genetic, or more generic Asian stereotypes. Comments about how she’s very polite and demure and Bruce’s favorite. Sometimes complaints about her “evil mother” but rarely complaints about the world’s worst (white) dad. OR discussion of speech and sign in fiction.

Damian: “He’s a baby assassin.” Personal headcanons about his cultural background and how he feels about that. List of his pets. Description of his friendship with Jon-el and how much the speaker loves/hates that and loves/hates other people’s opinions on it. Discussion of his morality and why DC did him dirty. List of other pets he has that are only semi-canonical, and more pets he should have.

Kate: Discussion of the history of queer representation in comics, possibly with asides into retcons and how that impacts perception of later canonically queer characters, complaints about the TV show.

Maps: Unhinged declaration of why you need to love Maps. Sometimes something about ghosts or mysteries.

Duke: Long explanation of what his powers are a metaphor for. Theories about his relationships with the Batfam and Gotham, and then another extended metaphor about a different thing this time. Light puns.

Harper: “She’s bisexual and she has blue hair.” Positioning her as a protector and describing her tragic backstory.

Cullen: “He’s gay.”

[mrdirtybear]

'Portrait of a Bearded Man' painted in 1565 by Swiss/German painter Jost Amman. Jost Amman was celebrated chiefly for his woodcuts, done mainly for book illustrations. Little of his personal history is known beyond that he moved to Nuremberg in 1560, where he took on citizenship and continued to reside until his death in March 1591. He worked initially with Virgil Solis, then a leading producer of book illustrations. He as remarkably productive, it was said of him that the drawings he made during a period of four years would have filled a hay wagon. About 1,500 prints are attributed to him. He executed many of the woodcut illustrations for the Bible published at Frankfurt by Sigismund Feierabend, and for a topographical survey of Bavaria by Philipp Apian. Another serial work, the Panoplia Omnium Liberalium Mechanicarum et Seden-tariarum Artium Genera Continens, containing 115 plates, is of great value. Amman's drawing is correct and spirited, and his delineation of the details of costume is minute and accurate. Paintings in oil and on glass are attributed to him, but none have been identified. Amman died in Nuremberg, Bavaria, aged 51.

[perkwunos]

Silvia Federici has pointed out that alongside the rise of “capitalist technological innovation” there has been “the disaccumulation of our precapitalist knowledges and capacities”:

The capacity to read the elements, to discover the medical properties of plants and flowers, to gain sustenance from the earth, to live in woods and forests, to be guided by the stars and winds on the roads and the seas was and remains a source of ‘autonomy’ that had to be destroyed. The development of capitalist industrial technology has been built on that loss and has amplified it. (191)

This disaccumulation has had strong effects in our very relation to what knowledge is. There is no longer a living knowledge, something directly known. “Life” and “knowledge” become opposed elements: knowledge is value-free and objective where life is valuative and subjective. This is not just the inevitable result of further specialization, but is carried to its extreme limits by the disconnection at all times between the creation of our world and the means by which we do so. Knowledge about how to practice things outside of specific rote mechanical skills is a power and “autonomy” not suitable for the typical wage laborer. Because of this, the modern worldview has approached its knowledge in an alienated and fetishizing way. It accords special status to the end-product of the experiment detached from the purposive, creative activity of the experimenter: its theories and formulae are seen as insights into a value-free, objective nature, while experience, lived time, intentionality etc. are seen as illusory. The essential contradiction that reveals the perversity is that this “value-free” knowledge is acquired by valuing the types of life-activity that will produce it. As A.N. Whitehead put it, “Scientists animated by the purpose of proving that they are purposeless constitute an interesting subject for study.” His point here is literally true: the role of knowledge under capitalist conditions is an anthropological subject that will increasingly attract attention, as an example of these capitalist conditions’ depraved effects.

The American pragmatists, alongside Whitehead, argued against this dualism. The experimental method and the science that it produces is continuous with the rest of nature, having evolved out of it: it is an organic, meaningful process. The way the modern scientist learns is the same way that all lifeforms learn. Eduardo Kohn, following C.S. Peirce, proposed that all living things have a “scientific intelligence”, in that they are capable of learning by experience (77). The forest is teeming with this intelligence in its diverse manifestations, organisms interpreting their environment and producing further signs. It’s in signs that we think and gain knowledge, in the uncertain meanings by which we “read the elements”--and this is always done with some purpose: meanings are means to an end, expressions of an intentionality. As Kohn put it, “it is appropriate to consider telos—that future for the sake of which something in the present exists—as a real causal modality wherever there is life” (37). A living thing acts to achieve an aim, and in the course of doing so it not only conceptualizes and valuates its object of desire but interprets its environment, working according to meaning-structures through which it can interact with the potential future: this potential future is, after all, the location for the possible achievement of its desires. Insofar as the meaning-structures work, they reveal some knowledge: in this way all life produces its science.

There’s no nonarbitrary point at which we can claim a stop to the evolutionary continuity of this valuative activity, even if we find grades of complexity and various distinctions in its modes of being. Just as the boundary at which point one organism stops being one species and evolves into another cannot be given a fixed delineation, the point at which “life” itself begins cannot be defined, so that an absolute outside to it is not rationally conceivable. “Telos,” purpose, must be found everywhere. All becoming occurs according to what the interiority of the becoming thing conceptualizes or intends. However, this interiority in its becoming must relate to its given environment, take on material constraints and direct its intentions to what can be achieved in the given world. The material constraints in their determining capacity habituate desires to flow specific ways. Our technology is dependent not on any eternal laws or corresponding brute mechanisms, but on the habits strongly ingrained in the intentionality of various entities: most especially the entities most typically considered lifeless who seem to show a minimum of will-power, interpretation, or novelty. Modern scientific understanding approaches from the outside in its description of these processes and thus misses the fundamental concept of habit, of a general aim socially pursued in desire. As a consequence these notions--intentionality, desire, generality, value etc.--are rediscovered on the purely human level and given misleading form.

The 21st century has already seen a wealth of thinkers criticizing and attempting to move past this human exceptionalism and dualism, as evidenced in the “posthuman” focus of many thinkers in anthropology and related social sciences, from Eduardo Kohn to Bruno Latour and Donna Haraway. As Federici put it, there is “the emergence of another rationality not only opposed to social and economic injustice but reconnecting us with nature and reinventing what it means to be a human being” (196). But this will not just come about through academics creating new terminology and concepts. Rather, like the shift towards modern thought that accompanied capitalism’s onset, it will be happening within and through movements that change our material basis, i.e. the change in property relations and how they define our ability to work with one another and with our environment. That is to say, these philosophical and anthropological concepts concerning the supersedence of dualism, new understandings of subjectivity and meaning, etc. must be approached historically: their existence is not sustained by an individual consciousness interacting with a book but by the functioning of whole societies. Federici points to one important site for the further emergence of new modes of consciousness in “women’s struggles over reproductive work”:

… there is something unique about this work—whether it is subsistence farming, education, or childrearing—that makes it particularly apt to generate more cooperative social relations. Producing human beings or crops for our tables is in fact a qualitatively different experience than producing cars, as it requires a constant interaction with natural process whose modalities and timing we do not control. (195)

The reproductive labor that has been gendered as “women’s work” may indeed reveal a different logic from the typical view of industrial production that sees it as an instance of what Philippe Descola termed the “heroic model of creation”:

The idea of production as the imposition of form upon inert matter is simply an attenuated expression of the schema of action that rests upon two interdependent premises: the preponderance of an individualized intentional agent as the cause of the coming-tobe of beings and things, and the radical difference between the ontological status of the creator and that of whatever he produces. (323)

Under capitalist conditions the value of reproductive labor is often hidden from being socially recognized, isolated into the domestic sphere, while the dominant mode of socially recognizing the value of our activity occurs through wage-labor and commodification, i.e. through the value-form. The shift away from this bifurcating ordering of production could also mark a shift away from our bifurcation of reality into intentional subjects and brute objects--instead rediscovering a thoroughly intersubjective (and, indeed, interobjective) process.

There’s no question that where we are attempting to reinvent such fundamental categories, we are caught up in a metaphysical and speculative pursuit--and thoroughly metaphysical figures like Whitehead and Peirce have gained new life among recent thinkers--but we also shouldn’t take “metaphysical” thinking to mean an airy detachment. Following Whitehead, I see metaphysics and speculative philosophy as an historical endeavour: as he put it, it is like an airplane that must lift off from a specific moment, spend some time in imaginative construction and reconstruction, and touch back down. I would historicize Whitehead’s thought even further; not to fundamentally alter his methodology nor his scheme of thought, but to point to some differences in the location and situation it is in response to. For instance, Whitehead often overemphasizes the responsibility of Aristotelian philosophy and its notion of substance for modern philosophy’s focus on atomized individuals. We may instead see this as not some development occurring just in the world of philosophy, but rather as a reflection in these modern philosophers’ thoughts of the material development of capitalism, its alienation and atomization. Whitehead offered a radical and deep critique of this alienation in its higher-level ideological expressions, and in doing so passed on a crucial tool for our existential understanding, clearing blockages of long-accumulated modes of thought and shifting the momentum in our perspectives away from those reflecting bourgeois categories. But we must also recognize that these errors in thought are part and parcel of a wider social problem that has to be faced in more than reformulating categories, that the direction of our consciousness towards such reformulations find their drive in the wider struggles of our life.

Works cited:

Descola, Philippe. Beyond nature and culture. University of Chicago Press, 2013

Federici, Silvia. Re-enchanting the World: Feminism and the Politics of the Commons. PM Press, 2019.

Kohn, Eduardo. How Forests Think: toward an Anthropology beyond the Human. University of California Press, 2013.

[filmstruck]

7 Steps to the (Almost) Perfect French Prison Break According to LE TROU (’60) by Thomas Davant

Find your compadres and divvy up the roles. Since this is prison, it’s a situation of making the best with what you’ve got. You’ll need a fantastic crew behind you: a mastermind to devise a way out; a watchman at the door on lookout for guards; a muscleman to slam his way through the floor; a sweeper—someone to clean the dust off the ground and make it look as clean and tidy as it did before you started pulverizing the cement into pumice; and lastly, you’ll need a joker to keep the mood light. He’ll keep the ever-looming possibility of failure and its consequences out of everyone’s mind. Do this over a meal of cheese and meats sent from a sweetheart on the outside. The food will boost morale and get the energy levels up. 

2. Break through the floor. This step is going to take a hell of a long time. 

3. Descend into the unknown. Select the two most adventurous members of your crew to travel beneath the prison and map a way out. This will probably entail hairy run-ins with night guards and waves of disappointment as obstacle after obstacle presents itself. Don’t lose heart just yet. 

4. Create convincing dummies. Guards do hourly checks on prisoners. The last thing you want is a suspicious one opening your cell while your two tunnelers are working in the underneath. 

5. Devise a method of keeping time. There are no watches in prison. Find the best way to track how long you’ve been in the hole and how much longer until breakfast. 

6. Break through the last wall and clear the tunnel. The light from the street outside pours in. You’re nearly there, and then… 

7. Have Jacques Becker turn your story into a film.

Becker wore the look of one of his hardened and menacing characters. A long, sharp-jawed face with the confident etch of a mustache sitting atop broad shoulders, he seemed to emanate a steady energy. Assistant to Jean Renoir in the 1930s, Becker seized the opportunity to make his own films in the 1940s and began to deliver some of the greatest entries in French cinema, including CASQUE D’OR (’52) and TOUCHEZ PAS AU GRISBI (’54), both of which are available on FilmStruck/Criterion Channel and essential viewing. In a move that mirrors the Ozu/Imamura mentor-apprentice relationship, Becker’s work leaned the opposite of Renoir’s. Where the latter often dealt in the quiet, social drama of wartime and the bourgeoisie (even if it was to point fun at the latter), Becker gave his audiences a tight, hard-jawed look at the criminal world. Becker’s work was grimy and mud-stained, its texture that of tunnels carved with spoons and glimpsed through the steam of alleyways and cigarette smoke.

With LE TROU (’60) he created one of the great prison break films, a taut, it’s-all-in-the-details experiment in character and silence. It’s a film which has an enormous amount of dialogue yet is punctuated but long periods of harsh, nerve-grating sound: the clang of metal pounding stone and the madness-inducing drip of water in the sewers. A medium shot on a square section of the floor held for over three minutes finds the prisoners changing shifts as they give violent, desperate life to the hole of the movie’s title.

Its cousin might be Robert Bresson’s A MAN ESCAPED (’56), but what makes Becker’s film so damn fun is the delineation of his characters. While Bresson was famously known for his stripped down “models,” Becker’s men in the prison cell have detailed backstories, clearly defined personalities and tics that bring you ever closer to them during the film’s two hour running time (and with a film this exciting, it’s not a minute too long or short). The camera keeps you close and cramped, but the mood is often light thanks to the interplay between a talented cast, including the enormous Michel Constantin, cheeky Raymond Meunier and steely Philippe Leroy. An inspired bit of casting is that of Roland Barbat (stage name of Jean Keraudy), who was a prisoner at La Santé in central Paris and attempted an escape himself in the 1940s.

If you’re looking for an instantly nerve-grinding, take-your-breath-away film with a killer ending, let me make it easy for you: Step into LE TROU (’60).

[miroir-de-sports]

Du lait Delin pour dents de lait de 3500 footballeurs

Jeudi 25 novembre à Gilly les Citeaux, Daniel Durand, Président du District de la Côte d’or de Football et Philippe Delin, dirigeant de la fromagerie éponyme, ont donné  le coup d’envoi d'une convention de mise à disposition gratuite de 1750 litres de lait destinés aux besoins de l’opération «Du lait pour nos clubs». La finalité est d'offrir cet aliment naturel lors des goûters proposés à l’issue des plateaux d'animation du week-end ; soit sous forme de boisson chaude additionnée de chocolat,soit  sous forme de gaufres, crêpes ou autres usages ad libitum. Philippe Delin explique : « Quand Daniel  Durand m’a présenté le concept, j’ai dit banco. Pour les jeunes, je ferais n’importe quoi. Je n’y avais pas du tout pensé. Pour plusieurs associations sportives que je soutiens par ailleurs, on donne systématiquement du fromage. Du lait, là c’est simple et logistiquement c’est bien plus facile que de donner du fromage ». Le lait distribué est un lait éthique issu de producteurs de la région rémunérés  au juste prix. Collecté par la fromagerie, le lait est écrémé et préparé dans des sites du maître fromager ; conditionné dans des emballages mettant en avant des producteurs locaux, le lait Delin est facilement identifiable dans la plupart des enseignes commerciales du département. Les 48 clubs intéressés (la moitié des clubs de Côte d'Or) pourront bientôt récupérer leur dotation en se rapprochant de leurs référents respectifs du district. Cette convention inédite signe un trait d’union entre un produit nutritif porteur de l'identité de prairies bourguignonnes et francs-comtoises et 3500 footballeurs en herbe, des catégories classes biberon à ceux qui ont l’âge des dernières dents de lait (U13).

[architectnews]

German Houses: Residential Buildings

German Houses, Building, Germany Property Images, Architecture Photos, Designers

German House Designs

Residential Buildings Germany – New Property Designs Images

German Houses

15 Oct 2020 Germany’s first 3D-printed home

Germany’s first 3D-printed house is located in the North Rhine-Westphalian town of Beckum. The two-storey, 160 m2 single-family home is currently under construction.

The 3D printing process has already been applied to the walls of the house. A nozzle applies special concrete in layers. The print head moves over three axes on a fixed frame and is controlled by just two people.

It takes just five minutes to print one square meter of a double-shelled wall. This innovative technology saves more than time compared to conventional construction methods; it also significantly reduces resources and allows for greater freedom in building design.

Viessmann heating, cooling and ventilation products have been selected for this home by PERI GmbH, one of the world’s leading suppliers of formwork and scaffolding systems, as well as civil engineering solutions. When completed, the first home will be heated and cooled by a high-efficiency Vitocal 200-S air/water heat pump and ventilated by the Vitovent 300-W ventilation system.

The temperature will be perfectly regulated all year round. The heat pump is highly efficient with a COP (coefficient of performance) of up to 5.0 (EN 14511 at A7/W35°C) and has an energy efficiency rating of A++.

The new Vitoset heat pump-hybrid cylinder WPU 300/100L will be installed as a heating buffer and DHW cylinder. The hybrid cylinder solution saves a lot of space since it consists of one 300-litre enamel DHW cylinder and a 100-litre buffer cylinder. The cylinder is delivered in one piece and is completely insulated.

Fresh, clean, and especially germ-free ambient air is more important than ever in times of Covid-19, and so the Vitovent 300-W central home ventilation system will also be installed in Germany’s first 3D-printed house. This quiet ventilation system is particularly quiet and compact and recovers up to 92 per cent of the heat from extracted air during the cold weather, saving heating costs. In combination with the Vitocal 200-S heat pump, the ventilation can be conveniently controlled using the free ViCare app on a smartphone.

PERI GmbH expects 3D printing to gain in importance in the next few years, and additional residential projects are already in preparation.

With a turnover of EUR 1,685 million in 2019, PERI is one of the largest global manufacturers and suppliers of shuttering and scaffolding systems. With more than 9,500 employees, over 60 subsidiaries and more than 160 warehouses, the family business with its headquarters in Weißenhorn, Germany serves its customers with innovative system equipment and comprehensive services for shuttering and scaffolding technology.

Residential Property in Germany – latest additions to this page, arranged chronologically:

14 Oct 2020 Röhrig House, Sinzig, Rhineland-Palatinate Design: Studio Hertweck photo : Bildpark / Veit Landwehr, Cologne Röhrig House This contemporry German property is part of a series of hillside houses designed by Studio Hertweck in the German Rhine Valley. It is located on a steep slope on the edge of the buildable land of Sinzig-Westum, a municipality between Bonn and Koblenz.

1 July 2020 Multi-Family House, Aichwald, Baden-Württemberg, south west Germany Design: holzerarchitekten photo : Zooey Braun Multi-Family House Aichwald, Stuttgart This German home is located in Aichschiess, a small village just 30 minutes outside of Stuttgart an old farmhouse is the origin of the development of a multi-generational home right in the town centre.

19 June 2020 Ah´ Haus – Conversion of a holiday home in the Schorfheide, Brandenburg, (north west of Berlin) Design: ludwig heimbach architektur image Courtesy architecture office Ah´ Haus, Schorfheide Home, Brandenburg The small holiday home (“Datsche”) by a lake, originally intended for three people, will be converted into a more communal house with 11 sleeping places without altering the volume of the existing building.

6 May 2020 House Rheder, Brakel, Höxter, North Rhine-Westphalia Design: Falkenberg Innenarchitektur image Courtesy architecture office House Rheder in Brakel The house has become a place of retreat, a building that deliberately withdraws and allows the surrounding landscape to present itself to the full.

13 Mar 2018 Cradle to Cradle Project, Dusseldorf, North Rhine-Westphalia, North West Germany Design: HPP, architects image Courtesy architecture office Cradle-to-Cradle in Düsseldorf Düsseldorf’s first timber hybrid house will be distinguished at the MIPIM trade fair with the internationally-renowned MIPIM/The Architectural Review Future Project Award in the category Office. The building has a trend-setting circular economy concept.

19 Oct 2017 Villas Winterberg, Hochsauerland District, east of North Rhine-Westphalia Architects: Third Skin photograph : Steffi Rost Villas Winterberg in the Hochsauerland District It was intended to build a tourist development with about 20 villas and apartments in a modern contemporary style in the center of the village and with direct access to the ski slopes of the authentic village of Neuastenberg (in Winterberg).

German Houses Archive

New German Houses up to and including 2016

27 Dec 2016 House W, Oberhavel, Brandenburg, south of Berlin, eastern Germany Design: Peter Ruge Architekten photo © Li Yuanhao House in Brandenburg This is a new detached dacha for a German-Russian family of musicians.Located 75 km north of Berlin in the beautiful countryside of Brandenburg, it is surrounded by lakes and forests.

27 Dec 2016 Villa S, Schriesheim, Baden-Württemberg, south west Germany Design: Ian Shaw Architekten image Courtesy architecture office Villa S in Schriesheim in Germany From its elevated position, the building offers panoramic views of the surrounding countryside: to the south, the Black Forest; to the west, the Palatinate and the Rhine Valley; to the east, the Odenwald mountain range; and in the foreground, on a neighbouring hillside, the ruins of Strahlenburg Castle.

10 Oct 2016 Haussicht House, Erkheim, Bavaria, southern Germany Design: Alfredo Häberli Design Development photograph : Jonas Kuhn Haussicht in Erkheim

20 Nov 2015 Villa K in Thuringia, Thuringia, south east Germany Design: Paul de Ruiter Architects photography : Pieter Kers Contemporary Villa in Thuringia The first German project for Paul de Ruiter Architects. The realization of a sustainable villa, discrete and integrated in the natural environment, was the wish of the client. The result is a straightforward, but innovative residence built from only glass, steel and concrete.

8 Aug 2016 House am Oberen Berg, Stuttgart, south west Germany Architect: Alexander Brenner Architekten photograph : Zooey Braun, Stuttgart Contemporary Stuttgart House

6 Sep 2013 House Philipp, Waldenburg, southern Germany Design: Philipp Architekten photo : Victor Brigola House Philipp Another simple white-coloured residence, this time located on a small mountain ridge in Southern Germany. The architects say this, “There is a cube placed in this glass box as a key element, completely panelled with Elm Wood. It contains both the kitchen and staircase and at the same time it forms the static backbone for the attic placed on it”.

14 May 2013 Haus W, Frankfurt am Main, western Germany Design: Ian Shaw Architekten photo from architect House in Frankfurt am Main This well crafted cuboid generates spectacular light. The development, constructed out of prefabricated high insulation timber panels and energy-efficient glazing, is articulated as a classic modernist intervention: a box set into a traditional pitched roof atop a standard three-storey house.

4 Apr 2013 Villa W, Frankfurt, western Germany Design: Ian Shaw Architekten image from architect Villa W This white, monolithic housewill reside in a suburb of Frankfurt. From the street it will appear impenetrable, so delineating a clear demarcation between the public and private realms.The building’sfront elevation is articulated as a series of windowless blocks, its recessed entranceway the only glazed element of its north facing façade.

2 Apr 2013 New Stuttgart Property, south west Germany Design: J. MAYER H. Architects photograph : David Franck New Stuttgart House The new house is on a plot of land near Stuttgart, on a hillside with a generous view of the valley. The owners wanted a new home that would bring this view to life even inside of the building. The house is in a residential area with conventional developments, most of which date from the 1960s.

2 Apr 2013 Soft House, Hamburg, northern Germany Design: KVA Matx photo from architect IBA House Hamburg The IBA Hamburg opened to the public in March, 2013. Over 50,000 visitors each week are expected to visit the projects. The SOFT HOUSE is a set of live/work row house units which offer a new model for low carbon construction and an ecologically responsive lifestyle that can be personalized to meet homeowner needs.

18 Feb 2013 Penthouse Simon – Residence in Königstein im Taunus, Hesse, western Germany Design: Ian Shaw Architekten photo : Felix Krumbholz Residence in Königstein im Taunus The concept for this striking penthouse – developed within a late nineteenth century residence in Königstein – was to strip everything back to its essential quality. All existing interior walls were removed and a steel A-Frame introduced to achieve a 7m double height, column free space.

1 Feb 2013 SU House, Stuttgart, south west Germany Design: Alexander Brenner Architekten photo : Zooey Braun, Stuttgart SU House On a plot in a villa quarter at the edge of a forest in the south of Stuttgart, a villa thoroughly designed down to the smallest detail was build for an art lover and her family.

26 Oct 2012 Haus am Weinberg, Stuttgart, south west Germany Architect: UNStudio image © Iwan Baan Haus am Weinberg The Haus am Weinberg is located in a setting that is at one time rural, yet suburban. The location of the villa affords pastoral views of the stepped terraces of an ancient hillside vineyard on one side and cityscape vistas on the other. The inner circulation, organisation of the views and the programme distribution of the house are determined by a single gesture, ‘the twist’.

19 Oct 2012 House O, Potsdam-Mittelmark, near Berlin, north east Germany Design: Peter Ruge Architekten picture © Werner Huthmacher Haus Potsdam-Mittelmark The site lies upon a hill in a beautiful small village in the district Potsdam-Mittelmark in a fantastic scenic situation with breathtaking views over the nearby lake. The surroundings are dominated by a combination of historical and modern mansions. As many of the old large trees on the site should be kept as possible.

Recent German House Designs

13 Aug 2012 Haus Bavaria, Regensburg, southeast Germany Design: Carlo Berarducci Architecture photo : Herbert Stolz Haus Bavaria Above the ancient Roman walls of the city of Regensburg, in Bavaria (Germany), the project foresees the total demolition and reconstruction of an edifice which is part of a continuous “quint” dating back to the Middle Ages, overlooking the park on the outskirts of the city (Stadtpark) on the external side and facing the street on the internal side.

Haus N, Lake Wörthsee, Bavaria, southeast Germany Bembé Dellinger Architekten photo : Angelo Kaunat New German House

JustK, Tübingen, Baden-Württemberg architekten martenson und nagel · theissen photograph : Brigida González Tübingen House

Haus R, Schondorf, Lake Ammersee, Bavaria Bembé Dellinger Architekten photograph : Stefan Müller-Naumann Bavarian House

German Home Designs

Major Residential Architecture in Germany, alphabetical:

Dupli.Casa – House near Ludwigsburg 2008 J. MAYER H. Architects photograph : David Franck Photographie Ludwigsburg house

Hillside House, south west Germany 2010- 3deluxe in/exterior picture from 3deluxe in/exterior Hillside House

House F, Kronberg, Germany 2008 Meixner Schlüter Wendt Architekten photograph : Christoph Kraneburg Kronberg house

Hundertacht House, Bonn-Kessenich 2007 Uwe Schröder Architekten photograph : Stefan Müller, Berlin Hundertacht House

More German homes online soon

Location: Germany, Europe

Architecture in Germany

German Architecture

German Architecture Designs – chronological list

German Architecture News

German Buildings

New House Designs

German Architect

New Houses

French Houses

German museum building : Folkwang Museum, Essen

Comments / photos for the German Residential buildings – New Residences in Germany page welcome

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[cooperhewitt]

Well Marbled

The Palais Royal lies just on the other side of the rue de Rivoli in Paris, well within eyesight of the Louvre. Among other things, this former royal palace is now the seat of the Council of State (Conseil d’État) and the French Ministry of Culture (Ministère de la Culture). Despite its regal name, it was initially designed by the architect Jacques Lemercier in the 1630s as the residence of Cardinal Richelieu (the chief minister to Louis XIII). By the late seventeenth century, the then Palais-Cardinal became the residence for the members of the House of Orléans. During the Regency—a period between the death of the Sun King, Louis XIV, and the coronation of the young Louis XV—the Regent of France, Philippe II, Duc d’Orléans, moved into the Palais. Although his regency only lasted from 1715 to 1723, artistic and architectural commissions nonetheless followed this transition of authority. Of these, Philippe II’s chief architect Gilles-Marie Oppenord oversaw the remodeling of the interior of the Palais Royal, including the Salon d’Angle—the subject of this drawing.

Oppenord was a prolific draftsman, architect, and ornamaniste, who was later canonized as one of the fathers of the Rococo. In his proposed designs in 1719-20 for the Salon d’Angle, Oppenord’s decorative scheme is indebted instead to seventeenth-century Italianate Baroque. This drawing captures his recommendations for a salon à l’italienne to replace the previous design by Jules Hardouin-Mansart of Versailles fame.[1] At the top level, atlas figures (telamons) flank an arched window, and classical statues are on display in individual niches. One can further spot Oppenord’s proposal to carve allegorical trophies on the oblong top panels. In the lower level, Oppenord continues his allegorical mission by including military trophies with plumed helmets and Roman cuirasses, likely a reference to the Regent’s military exploits. In the center is a large arched mirror, its reflective surface captured by Oppenord’s masterful use of gray wash. Just below this is a fireplace, highlighted by the soft glow of light emitted by the Baroque candelabras attached on either end.

Oppenord’s rendering of the fireplace is undoubtedly the highlight of this sheet. The artist has used a deep auburn wash to delineate the veins of the marble. It is likely that the fireplace was to be realized by Nicolas I Dezègre, the marble sculptor to the Regent, in brèche violette, a type of brecciated marble originating from Seravezza in northern Tuscany. [2] Compared to other types of marble, brèche violette was largely used in interiors as its vibrant colors were liable to fade. An example of the polychrome vibrancy of this type of marble can be spotted in an eighteenth-century jardinière at the Getty.

Jardinière, French, 1785; Brèche violette with gilt bronze mounts and brass liners; 21 x 18.4 cm (8 1/4 x 7 1/4 in.); J. Paul Getty Museum, LA; inv. no. 88.DJ.121.1

The fireplace in the Salon d’Angle can also be compared to a drawing by Oppenord for the Aeneas Gallery in the Palais Royal (designed ca. 1713-18), now in Waddesdon Manor. The sheet below shows a fireplace to be designed in brecciated green marble, flanked by an elaborate candelabra with sinuous curves, reminiscent of the candelabras on the Cooper Hewitt drawing. Perhaps surprisingly, Oppenord’s drawings were both criticized and lauded in the eighteenth century. The French writer and collector Dézallier d’Argenville remarked that Oppenord’s seductive handling of pen and ink and his near-perfect rendering of ornament surpassed their physical realized counterparts.[3]

Drawing, Half Elevation of the Fireplace for the Aeneas gallery at the Palais-Royal, Designed by Gilles-Marie Oppenord, ca. 1714; Pen and brown and black ink with black chalk and brush and gray and green washes on laid paper; 540 x 358 mm, Waddesdon Manor, UK,  Inv. no. 2119

Oppenord’s masterful drawing offers a glimpse at how architectural expressions and ornamental details were mobilized in service of political legitimacy. Although the Salon d’Angle was demolished in 1784, it remains luminous and timeless on this page.

Cabelle Ahn was formerly an MA fellow in the Department of Drawings, Prints and Graphic Design at Cooper Hewitt, Smithsonian Design Museum. She is currently a Ph.D. candidate at Harvard University with a focus on eighteenth-century French drawings.

[1] Bedard, Jean-Francois, “Political renewal and architectural revival during the French regency: Oppenord’s Palais-Royal” (2009) Journal of the Society of Architectural Historians 68 no. 1 (2009): p. 33

[2] Ibid, p. 41

[3] Dézallier d’Argenville, Vies des Fameux Architectes depuis la Renaissance des Arts 1. (Paris: Debure, 1787), p. 438-9.

  from Cooper Hewitt, Smithsonian Design Museum http://ift.tt/2A3S0rV via IFTTT

[brothermarc7theatre]

"Disney's Aladdin" show #686

This past Sunday brought me to Agrabah to see what kind of street-rat mischief Aladdin was getting into. The iconic score by Alan Menken and Howard Ashman received some staging additions by Tim Rice and Chad Beguelin (both credited with additional lyrics, and Mr. Beguelin with the book). Now on tour, this Disney classic is providing San Francisco audiences with a joyous time at the theater for the holiday season. Adam Jacobs reprises the title role, a role he originated in the still-running Broadway production, for the tour at a great level of animated believability. While the burden of the plot doesn’t solely rest on Mr. Jacobs’ shoulders, it is in his enthusiasm, soft voice, and bouncy physicality that make him the rightful leader of this musical endeavor.

(Adam Jacobs (Aladdin); Photo credit: Cylla von Tiedemann)

The plot of the musical follows the majority of the plot of the film with only slight, insignificant deviations. What makes Disney's Aladdin: the Musical an appropriate choice for a stage adaptation is that the added songs don’t disrupt the established gems from the film’s score. While Mr. Beguelin’s and Mr. Rice’s lyrics serve more to emphasize their own creativity rather than the characters’ internal dialogue, Mr. Beguelin’s book nicely ties up within the context of the added songs and established story. Mr. Jacobs is flawless in his performance of the standards “One Jump Ahead” and “A Whole New World” while maintaining the boyish charm and energy needed to satisfy Aladdin fans of all ages. The added song (which was cut from the film), “Proud of Your Boy,” is gorgeous when delivered by Mr. Jacobs’ soothing voice and astute attention to the emotional detail Mr. Ashman’s original lyrics evoke. The multitude of reprises of “Proud of Your Boy” are welcomed fluff that allow more opportunities for the writers to remind us that he is, indeed, honoring the memory of Aladdin’s deceased mother. Opposite Mr. Jacobs is a wonderful performance by Isabelle McCalla as Princess Jasmine. Miss McCalla gives Jasmine a nice dose of modern spunk properly paired with an expected dose of sass from the princess who “is not a prize to be won.” With Miss McCalla’s performance comes a nice degree of truth behind what could be construed as just another Disney princess. Miss McCalla’s voice shines in a lamenting “These Palace Walls,” an added song that fits well with Jasmine’s desire to escape her palace dwelling. Miss McCalla does not disappoint when she is paired with Mr. Jacobs and sent flying on a magic carpet ride in “A Whole New World.” However, in the Act One set up duet, the two leading lovers sing a dynamite “A Million Miles Away,” a true first act musical highlight.

(Isabelle McCalla (Jasmine) and Adam Jacobs (Aladdin); Photo credit: Deen van Meer) 

JC Montgomery brings a gravitas to his Sultan, father of Jasmine, which serves as an effective delineation from the bumbling buffoon in the film. While I applaud Jonathan Weir’s commitment to his acting choices as Jafar, the film and play’s villain, his presence serves little in the way of being in any way commanding or villainous. His sidekick Iago (a human in the play rather than the Gilbert Godfried-voiced bird in the film) is played finely by Reggie De Leon. Zach Bencal (Babkak), Philippe Arroyo (Omar), and Mike Longo (Kassim) steal more than just riches, but the show itself, mostly in Act Two, with a fantastic song-and-dance performance “Somebody’s Got Your Back.” Their Act One “introductory” number, “Babkak, Omar, Aladdin, Kassim” is a fun romp for the four boys to show off some of Casey Nicholaw’s athletic, mostly impressive choreography.

(Cast member of Aladdin; Photo credit: Deen van Meer)

Speaking of choreography, though none of the numbers truly dazzle from start to finish, but rather impress at moments within the number, the almost agonizingly long “Friend Like Me” is a tap-tastic, costume-change rampant marathon for the hardworking ensemble, and was led mostly well by Korie Lee Blossey as the Genie. Mr. Blossey is credited as the Standby for the Genie and Sultan and, unfortunately, his performance was not up to snuff. The comedic timing and vocal chops didn’t consistently land in Mr. Blossey’s turn as the role that was voiced triumphantly by Robin Williams in the film and became a Tony-winning role for James Monroe Iglehart. Mr. Blossey certainly earns the applause for commitment and effort, and certainly knows how to turn a punchline into a bit, but doesn’t quite blossom in the way that is expected for the Genie.

(Anthony Murphy (Genie); Photo credit: Deen van Meer)

Remembering certain technical aspects from when I saw the original cast on Broadway several years ago, I am still impressed with how colorful and beautiful Gregg Barnes’ costumes are. Mr. Barnes’ design uniformly, properly paints the cast as peasants, royalty, commoners, and a slew of other character types. Bob Crowley’s excellent scenic design effectively transforms the Orpheum Theater stage into a palace, a marketplace, the Cave of Wonders, and the night sky. With all this under the direction of Mr. Nicholaw, the show finds its moments of wonder, magic, and overall warmth that the story of Aladdin and Jasmine imposes upon the audience. While it is rare for an iconic film to be adapted to the stage well, Disney's Aladdin is a case of the right people adapting a worthy piece of Disney magic to the stage. You won’t want to miss it.

The Details:

Aladdin runs through January 7, 2018

Orpheum Theater in San Francisco

www.shnsf.com

[bellamxriarty]

gvlvhad​:

🥊 Ainda estava um tanto sem graça por ter envergonhado a mais nova, não era claramente a sua intenção, mas ele não podia deixar de sentir-se culpado com a situação já que qualquer outra pessoa que pudesse aparecer ali, pensaria uma coisa errada – ele conhecia muito bem as pessoas – Imagine, senhorita Moriarty, jamais foi minha intenção deixá-la constrangida e muito menos deixar que alguém pensasse alguma tolice sobre a senhorita – diz calmamente, dando um sorriso gentil para ela enquanto ajeitava a camisa branca com todo o cuidado para que não ficasse amassada em lugares que não eram adequados. As bochechas coradas da mais nova eram a coisa mais adorável que Galahad já havia visto, mas na verdade, Arabella toda era adorável e não havia nem como negar uma coisa daquelas. O sorriso largo delineou os lábios masculinos quando ela aceitou que dessem uma volta e deixando que ela segurasse seu braço, ele começou a caminhar calmamente em direção aos jardins – Ainda não consegui, senhorita Moriarty, mas eu espero que consiga durante o baile. Ou talvez na apresentação, preciso saber o que Lou irá querer apresentar – comentou calmamente, virando o rosto para a olhar, com a expressão relaxada e um sorriso gentil no canto dos lábios. A pergunta seguinte o fez dar uma risada baixa antes de responder – Estou gostando bastante da estadia, eu gosto imensamente do campo. Inclusive, possuo uma casa no campo nos Estados Unidos e estava avaliando a possibilidade de comprar uma por aqui… gosto dos animais que posso ter no campo. E a senhorita, gosta da estadia no campo ou prefere a cidade? - indagou interessado, desviando os olhos do caminho que faziam para poder fitar a mais baixa.

Galahad era um verdadeiro cavalheiro, se importava com o que podiam pensar dela e parecia se preocupar com ela, o que já dizia muito sobre ele, um verdadeiro amigo. Sorriu mas tratou logo de tentar fazê-lo se sentir melhor, afinal não havia sido culpa dele ou dela. — Está tudo bem senhor Smith, não é como se eu pensasse que o senhor estava aqui nos jardins, sem camisa, apenas esperando que uma dama aparecesse para colocá-la em apuros. Muito menos eu estava a procura de algum cavalheiro sem camisa. - Ela falava sério apesar de seu tom divertido. — Foi apenas... O destino nos pregando iam peça? - Ela sugeriu meio incerta. Sorriu, afinal de contas não havia outra coisa a se fazer. Levar a situação com leveza era a melhor saída. — Ohh o senhor é o par de Louisa? - Arabella perguntou empolgada. — A conheci ontem, ela é adorável. - Disse sincera. — Encantadora. - Acrescentou pois era exatamente o que pensava da menina que gostava tanto dos animais. Louisa lhe dava a impressão de alguém que via a vida de forma simples, preto no branco mas com tons de cor de amarelo, como o sol iluminando uma noite escura. — Passei pouco tempo em sua presença e senti como se ela tivesse iluminado meu dia. - Riu da lembrança, que sendo sincera, não haviam feito nada demais, além de se sentarem no celeiro e brincarem com os pintinhos. — Então quer dizer que ainda não sabe o que irão fazer para a apresentação? - Ela perguntou curiosa. Soubera desde o primeiro instante o que ela é Philippe fariam, fora mais fácil do que o esperado. — Ohh sim, entendo. Cresci em Wessex, em uma propriedade símile ao dos Lightwood. Já não vamos para lá desde que fiz vinte e um e debutei pela primeira vez. - Ela contou com um brilho triste no olhar, ainda que sorriso educadamente. — Sinto falta do campo por isso posso afirmar que estou adotando a estadia aqui.

[dijonbeaune]

C'est quoi, l'Association des Entrepreneurs de l'Agroalimentaire (AEA) ?

L’Association des Entrepreneurs de l’Agroalimentaire (AEA) de Bourgogne-Franche-Comté tenait son assemblée générale, jeudi 14 juin, au Cellier de Clairvaux à Dijon. Philippe Delin, son président, revient sur la genèse de l’AEA et ses missions. Philippe Delin, vous faites parties des membres fondateurs de l’Association des Entrepreneurs de l’Agroalimentaire (AEA). Pouvez-vous revenir sur la…

[the-chomsky-hash]

MF: I know I’m taking this risk, but I do so with absolutely no second thoughts. These interviews, which you were kind enough to request, have been so enjoyable for me because I’m not trying to use them to explain myself better and at greater length about what I’ve said in my books. I don’t think that would be possible during these interviews, especially in this room, which I feel is already populated with

thousands of copies of the future book

thousands of faces that will read it

This third presence—the book and its future readers—is extraordinarily weighty.

I’m very pleased that we don’t know where we’re going. What we’re doing here is a kind of experiment. I’m trying to delineate

for the first time

in the first person

this neutral, objective discourse in which I’ve never stopped trying to erase myself when I write my books.

Consequently, the relationship you mentioned between

the disappearance of man

my experience of writing is obvious

People will make of that what they will. No doubt, they’ll

criticize the chimerical nature of what I’ve wanted to assert

find that what I’m telling you isn’t really sincere, but a projection of the more or less theoretical and ideological themes I’ve tried to formulate in my books

It doesn’t really matter how they read

this relationship

the book’s connection to me

mine to the book

In any case, I know that my books will be compromised by what I say, and me as well. So, let’s show that relationship, let’s show that communication.

– Michel Foucault, Speech Begins after Death, In Conversation with Claude Bonnefoy, 1968, edited by Philippe Artièred, translated by Robert Bononno

[theroomdowntown]

Other People’s Photographs

Other People’s Photographs

Over the years I’ve accumulated thousands of other people’s photographs. I began buying them in the early eighties, at flea markets and in junk shops. At first, I rarely paid more than a nickel or a dime. I was drawn to those that contained some aesthetic quality or bit of sociohistorical information, or ideally both at once. Often the selection was made rapidly, purely by intuition; only later would I be able to name the qualities that had caught my eye. The pictures were orphans, in several senses. Anonymous photographs had little commercial value. They were considered detritus, as inert as the grocery lists or medical records of the past. And they had all been released into the twilight marketplace by the death of their keepers and the apathy or absence of their heirs. That release often obliterated their context. If you bought two or more pictures out of the same box, it might not be evident that they had a common origin. You might not even recognize that the person in this photo was also the person in that photo, many years later. Found photographs are memories that have gone feral.

Imagine finding, in a rusted tin box stuffed with random and disconnected images (snapshots, postcards, funeral ex-votos, chocolate-bar premiums), the picture at the top of the page: a photobooth image of a European intellectual, to all appearances. But how hasty a supposition is this? We think he’s an intellectual because of the glasses, European because of the facial features, the mouth in particular. But he might be a bank clerk, perhaps an immigrant from northern Europe (he is blond), now living in Bayonne, New Jersey, where he takes pains to keep his heavy wool suit from the moths. Now imagine finding, in the same box, the photo immediately above: an American GI striding purposefully down the street of what is certainly a European city, to judge by the paving stones and the wicker café chairs. Would it occur to you that the pictures might show the same person, and, furthermore, could have been taken only three or four years apart? They are both photographs of my father, and neither is what it appears to be. The top picture, taken circa 1942, was in fact a fake, concocted to fit false identity papers. The glasses are plain glass, the hair is dyed, and he borrowed the maiden name of his Luxembourgeois grandmother to become “Philippe Werner,” in a successful effort to prevent his being deported to a forced-labor camp. Three or so years later, after the Allies crossed the Rhine, he joined the Belgian army. That force having been destroyed by the Germans in 1940, it had no equipment, no matériel, no uniforms, and so it had to borrow everything from the Americans. Half a century later, a copy of the photo, perhaps obtained from the photographer, was featured in a local shop-window homage to Our American Liberators.

    On the basis of the first two images, would you recognize this street urchin, his pants so cheap that you can delineate every knucklebone through the pockets? He seems to be wearing the same jacket as in the first picture, but you might not notice. Judging from his expression, his clothes, and the trash-strewn condition of the small park where he stands, the photograph was probably taken not long after the Liberation, which is to say at some point between the other two photos. There is a theme that runs through those snapshots from 1944 and 1945: everyone is beautiful, starved, ragged, and ecstatic. But without supplemental information, would you guess the time and the circumstances? The pictures seldom carry any helpful inscriptions on their reverse side. I barely know the stories myself. My father and mother are long dead, as are all aunts and uncles; I have no siblings or first cousins. My father told me selected stories from his past, but they tended to be the ones that could be neatly packaged as anecdotes, and he did not dwell on the war years. I always thought he had secrets, and imagined he would at length reveal them, perhaps on his deathbed; such was not to be.

    He again seems a different person in this picture, striding along the streets of the same city, this time with my mother during their courtship a few years later, both looking cosmopolitan in their matching blazers and pocket squares. (They both still live with their parents and work at entry-level jobs.) Like the GI photo, it was taken by a street photographer, and that, had you come across it in that rusted tin box, might be all you would register. Until about sixty years ago, street photographers could be found in every city, hanging around the center, sizing up prospects, snapping their picture and handing them a card with the address of the studio where a print could be purchased the next day. Like photobooth photos, the prints made by street photographers have an equalizing formal aspect; arrayed in rows, they could be stills from a single motion picture, no matter where they were taken.

If I look at my family photos hard enough I start to see them as types, distinguishable from the great mass of their anonymous kin only by a few threads of oral tradition, of which I am the custodian. They are nothing much as pictures, really, barely worth a pause while digging through the crate for the outliers and the beautiful accidents. If they were released from my hands, they would merge into the photographic sediment—the endless numbers of dull family snapshots, inert group scenes, pro forma portraits that flow sluggishly through the low-level secondary markets of the world. Each of those is a marker, the living trace of a human who may otherwise survive only as a census entry, or not even that. We cannot discern their accompanying stories, and we can’t do anything for them. They are specters. They live in the photographic sediment as in a bardo, suspended within the world, still visible but very gradually being absorbed into the dirt that constitutes our past.

  The post Other People’s Photographs appeared first on The Room Downtown.

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[lokis-mischievous-writer]

CAPELO & MNA design Watches of Switzerland SoHo Flagship in New York City with lighting design by Lighting Workshop

London-based design consultancy CAPELO and New York-based MNA have collaborated to design the new flagship store for Watches of Switzerland, at 60 Greene Street, in the heart of the fashionable SoHo district of New York City. Central to the project was the lighting solution, which was designed by CAPELO, MNA and Lighting Workshop.

Established in 1924, The Watches of Switzerland Group, is the largest luxury watch and jewellery retailer in the UK. The Greene Street store is the first Watches of Switzerland showroom in New York City, and the second in its new USA portfolio.

The brief given to the design team was to create a showroom synonymous with the luxury of premium watch brands, which would also reflect the character of the SoHo District and the fabric of the historic 1880s cast-iron building.

The store brings a welcome addition to the New York retail landscape by offering a shopping experience that includes timepieces from longstanding Watches of Switzerland brand partners along with vintage timepieces, an inhouse cocktail bar, a curated library of watch books and an evolving collection of photographic artwork.

With more than 8,300 square feet of retail space over two floors, the boutique has a stylish palette of materials including exposed brickwork and polished plaster walls, oak floors and tin tile ceilings. Together with a carefully considered lighting scheme, this creates an elegant backdrop for the products on display, while remaining sympathetic to the character of SoHo.

Linear LEDs highlight the 30ft wide street frontage, while track-mounted narrow beam LEDs located within an architectural pocket behind the façade provide accent light to the storefront window displays. Generous 12-foot ceilings house recessed twin narrow-beam LED adjustable spotlights which create a comfortable lighting backdrop. Original cast-iron columns, featuring decorative capitals, are lit by recessed narrow beam uplights which highlight the column detail.

The ground-floor retail space accommodates three branded in-store boutiques for Rolex, Patek Philippe and Cartier. Blackened steel-frame glazed partitioning delineates the individual spaces, while maintaining visibility and cohesiveness across the floor. Shop-in-shop units for Omega, Breitling, IWC Schaffhausen, Hublot and Jaeger-LeCoultre are positioned around the perimeter, while other leading watch brands are located within the multi-branded area surrounding the central staircase opening. Throughout the store, freestanding display cases feature stem- and arm-mounted continuous rectangular LED adjustable case lights, which add sparkle to the merchandise.

A feature digital, library and accessories wall draws attention to the blackened steel and oak staircase, encouraging the customer to venture down to the lower-ground level. A linear LED strip, surface mounted within the architectural detail, creates an unobtrusive lighting effect to the stairs, adding subtle visual interest.

Contrasting with the ground-floor retail space a cocktail bar, designed in partnership with Death & Co., one of New York City’s most influential cocktail lounges, provides the focal point to the lower-ground floor, its oak and marble counter, with brass and woven leather details, adding sophistication and complementing the high-end customer experience. Lee Broom pendant lamps and a decorative tin tile ceiling add to the period feel. Recessed pinhole dimmable LED downlights, with a narrow aperture, are located above the bar. These work with the decorative pendants to highlight the glasses, bottles and the bar counter. Windows behind the bar feature a linear LED grazing strip, which adds visual brightness, highlighting the translucence of the windows.

Intended as a respite for shoppers and a gathering place for enthusiasts and the local community, the WOS bar offers cocktails crafted exclusively for Watches of Switzerland clients. For the more literary-minded shopper, an intimate library/bookshop, curated by Esquire Fashion Director and noted watch enthusiast, Nick Sullivan, includes a range of books from biographies to anthologies to luxe coffee table favourites. Bookshelf display cases are framed by light from recessed adjustable linear LEDS, while the book shelves are lit by a surface-mounted linear LED strip.

Within the central section of the lower-ground floor, accent light is provided by track-mounted narrow-beam LEDs, while unobtrusive monopoint LEDs, with a black finish, are carefully positioned between the exposed beams, adding drama to the scene.

Positioned around the perimeter, shop-in-shop units for Tag Heuer and Tudor add to the brand line-up, while a dedicated service and repairs consultation area provides direct access to Watches of Switzerland’s expert watchmakers. Here, track mounted LEDs provide subtle, ambient light to ensure a comfortable environment.

“Our Watches of Switzerland SoHo flagship is a special achievement for us on many levels,” states Brian Duffy, CEO of The Watches of Switzerland Group. “From our choice of location, to the design and architectural detailing in the store, to our exceptional products, partners and the talented team we’ve assembled — all come together to make this an experience unlike any other in the watch industry today. This is an important first step in what promises to be an exciting journey as we expand into the US market.”

Lynda Murray, CAPELO comments: “With all needs catered for, the customer’s visit will benefit from carefully considered, luxury store design and the exceptional level of customer experience for which Watches of Switzerland is renowned.”

Team Client – Watches of Switzerland Architectural and interior design consultancy – CAPELO & MNA Lighting Designer: Lighting Workshop Lead consultant/project manager – Watershed Partners, Inc. Services Consultant – Rosini Engineering Main contractor – Shawmut Design & Construction Millwork contractor – Norclair

Photo credit – Peter Murdock

Product information

Recessed twin narrow-beam LED adjustable spotlights – Lucent

Recessed narrow beam uplights to column detail – MP Lighting

Stem- and arm-mounted case lights – XAL

Linear LED strip (stairs and cove) – Optic Arts

Pinhole LED downlights, above the bar – Lucent

Linear LED grazing strip to bar windows – Edge Lighting

Recessed adjustable linear LEDS to bookshelf display cases – XAL

Recessed twin LED spotlights in service and repairs area – Lucent

Linear LEDs to storefront – Optic Arts

Track-mounted narrow beam LEDs to storefront windows – Amerlux

Monopoint LED accent light with black finish – Amerlux

https://www.capelo.design/

[spectaculardistractions]

It is within this context that the release of Superstition in 1940 must be understood. Its making underscores once again the central role of moving images in delineating the Nazi hygienic imaginary. Throughout the interwar period, popular-scientific cinema continually thematized the figure of the charlatan as the charismatic yet dangerous purveyor of fringe science. As part of a medical enlightenment campaign, scientists and others used film to instruct the public on the fraudulence of mediumistic practices and of claims for special healing powers. Walter Ruttmann wove the figure of the medical swindler into several of his films, including Enemy in the Blood (1931) and A Film Against the Volkskrankheit Cancer (1941). At the same time, motion pictures were also implicated in this campaign: On the one hand, lay healers and clairvoyants sought to use film to document and publicize their esoteric practices; on the other, popular film continued to be seen by authorities as a medium whose formal properties and content gave it a strange power over audiences, “hypnotizing” or even “experimenting” on them. The specter of the charlatan became as such central to the moral economy of the hygienic enlightenment film. Both a danger to be combated and a continually evoked discursive presence, it formed part of the ambiguous dialectic that accompanied the process of legitimating new forms of scientific knowledge, specifically, as we shall see, in connection with racial hygiene. At the same time, the treatment of the phantasmal figure of the charlatan in a film like Superstition also functions as part of a reflection on its own mediality. In both senses, it figures as an important element within what Philipp Sarasin calls a strategy of “discursive immunization.”

Andreas Killen, Homo Cinematicus

[philipppleinoutletonline-blog]

Monitor Printing T-Shirts

With monitor printing t-shirts, you'll be able to either layout your own personal t-shirts or use one of the regular layouts offered by those corporations that specialize in t-shirt printing. However in order for you to style your very own t-shirt, you will find selected elements of screen printing you must comprehend, philipp plein outlet due to the fact they impression around the sort of structure you should use. To start with, a quick description of what's associated with monitor printing: Screen Printing T-Shirts: the method A - The Display screen At a single time this method was regarded as silk display screen printing, since the screens utilised had been made out of silk. It had been a well known printing strategy in China, for this reason the silk, but modern polymer fibres now empower us to use synthetic screens which might be significantly inexpensive. Even though the artwork is needed prior to the screens is usually built, an explanation of your system will likely be required to help you have an understanding of the limitations inside your structure. Initially, a mesh is required with holes significant enough to allow the ink being squeezed through it. A mean mesh will likely be one hundred ten (110 threads/inch), with lower for thicker inks and block visuals, and better for thinner inks and much more definition. The mesh is coated that has a light-sensitive emulsion, along with the artwork placed beneath it. Mild is exposed up by means of the display, and where by the sunshine hits the screen, the chemical solidifies and handles the mesh. The look place stops the light, so when the monitor is washed, the area on the design is evident of emulsion, although the remainder is strong. That is correct regardless of dsquared t shirt sale whether display screen printing t-shirts or almost every other product. B - The Printing The display screen is mounted within a box, as well as the garment is placed beneath the box. Ink is poured in the box as well as a instrument recognised to be a 'squeegee' is pulled across, forcing the ink through the mesh. The ink is then dried, leaving the impression about the t-shirt. When you can envision, this method is suited just for an individual colour per printing mainly because just one color may be poured within the mesh box or they might operate collectively. For more colours, the procedure must be recurring. Only delineated regions of person color may be printed, so it's not achievable to merge a single shade into another when display screen printing t-shirts. It should be clear that a fresh display is necessary for every various colour except if the pattern is precisely the same. This provides to your cost, and screen printing t-shirts is dear for person clothes. There is certainly a hard and fast set-up value after which you can yet another price for each color. The more t-shirts which are printed in a operate, then the more cost-effective it receives for every person garment. Other printing procedures, which include electronic printing, can print a number of colours with none increase in price. So why use display printing for t-shirts as opposed to just digital? You will find numerous causes: Benefits of Display philipp plein outlet online T-Shirt Printing Screen printing is beneficial should you style your individual t-shirt with large parts of block colour. Digital printing, and various procedures, can't print significant parts as effectively as display.