#design museum reception 23

[princesscatherinemiddleton]

The Princess of Wales’ Year in Review: November

November 1st - The Princess of Wales, Joint Patron of the Royal Foundation of The Prince and Princess of Wales, visited Dadvengers November 2nd - The Duke and Duchess of Rothesay visited Outfit Moray, Burghead Primary School. Afterwards, they visited Brodieshill Farm, before finally visiting Day1 at Inverness Kart Raceway November 8th - The Princess of Wales, Colonel-in-Chief of 1st The Queen's Dragoon Guards, visited the Regiment at Robertson Barracks November 11th - The Prince and Princess of Wales were present with the King and Queen at the Royal British Legion Festival of Remembrance at the Royal Albert Hall November 12th - The Princess of Wales joined members of the Royal Family at the cenotaph for the Remembrance Sunday service. During the 2023 Earthshot Prize ceremony, a video of the Prince and Princess of Wales snorkelling in the Bahamas with Coral Vita was released November 14th - The Princess of Wales, Joint Patron of the Royal Foundation, received Mr. Jack Shonkoff (Director of Center on the Developing Child at Harvard University) at Windsor Castle. That evening, Catherine attended a reception at the Design Museum. Afterwards, the Prince and Princess of Wales joined members of the Royal Family at a private birthday party for the King November 15th - The Princess of Wales, Joint Patron of the Royal Foundation, held a symposium on Early Childhood at the Design Museum November 16th - The Princess of Wales, Joint Patron of the Royal Foundation, held a meeting at Windsor Castle. The Royal Foundation of The Prince and Princess of Wales and Mayor of Greater Manchester announced £100,000 funding to support the work of the Manchester Peace Together Alliance to provide positive opportunities for young people and reduce youth violence November 17th - The Princess of Wales opened BBC's Children In Need with a message about the importance of childhood November 18th - A photo of the Princess of Wales decorating a christmas tree was released to announce her carol concert November 21st - The Prince and Princess of Wales welcomed The President of the Republic of Korea and Mrs Kim Keon Hee on behalf of The King at the Four Seasons Hotel. They then drove to Horse Guards and were met by The King and Queen. At Buckingham Palace, they viewed an exhibit of South Korean art from the Royal Collection. Finally, they attended a State Banquet at Buckingham Palace November 22nd - The Prince and Princess of Wales, Joint Patrons of the Royal Foundation of The Prince and Princess of Wales, held a reception at Windsor Castle November 24th - The Princess of Wales, Joint Patron of the Royal Foundation, visited Sebby's Corner November 30th - The Prince and Princess of Wales received Crown Princess Victoria and Prince Daniel of Sweden at Windsor Castle. That evening, the four royals attended the Royal Variety Performance in aid of the Royal Variety Charity at the Royal Albert Hall

[maddieonthemovee]

Independent Excursion #1: Studio Ghibli Museum and Park

On May 10, some friends and I went to the Studio Ghibli Museum, which is outside of Tokyo. We purchased reservation tickets a month ahead of time, so we showed up at our given time and waited in the queue. Once we entered the museum, we were not allowed to take any photos inside. We also received our ticket stub for the short film we would watch later. The main exhibition on the bottom floor of the museum is dedicated to the process of creating an animated film. There were sketches of Ghibli characters, stills and screen grabs of Ghibli films, and a variety of interactive ways to engage with the exhibit. My favorite ones involved rolling the film of a scene from “Spirited Away”; by adjusting your hand’s speed you could adjust the speed of the animation. On the second floor, there is a big Cat Bus for children to play on, and on the roof, there is a life size robot from “Castle in the Sky” that you can take pictures with. The rooftop is filled with lush greenery and vegetation. After getting souvenirs and gifts at the Mamma Aiuto Shop, we had some treats at the Straw Hat Café. We ended by going to the Saturn Theatre and watching a short, 13-minute film. It was a mini-sequel to “My Neighbor Totoro”. I enjoyed watching it with Japanese audio, but there were no English subtitles. I usually watch Ghibli movies with the English audio, so it was fun to try and follow along with the plot without any subtitles or audio I could understand.

On May 23, we went to Ghibli Park in Aichi. We arrived later to our reservation than expected, so we did not have enough time to visit all of the different areas surrounding the Ghibli Warehouse, where we spent the most time. We browsed the various shops, and a couple of my friends checked out their food options outside. I was able to see and take pictures in a recreation of Arrietty’s house from “The Secret World of Arrietty” as well as the garden, the entrance to her home. We walked by Children’s Town which replicates where Studio Ghibli is located in Tokyo. We also walked through the main exhibition which walks you through famous scenes in many of the Ghibli movies, and you can take pictures at each scene! Besides the Grand Warehouse, we were able to briefly visit the Valley of Witches. We were able to go into a replica of Kiki’s attic room from “Kiki’s Delivery Service” and see Howl’s Castle and Sophie’s hat shop from “Howl’s Moving Castle”.

Academic Reflection:

Something that stood out to me was the stark contrast between the museum and the park. The museum was more informational regarding the animation process, while the park was more of a photo op area to immerse oneself into various cinematic universes. At first, I felt the museum could use more engaging and interactive elements, but after reading “Anime tourism: discursive construction and reception of the Studio Ghibli Art Museum”, I realized how the park and museum are supposed to provide completely different experiences. The small nods to Ghibli in the design and decoration of the museum add a more subtle immersive element compared to outwardly blunt decoration elements and life size scenes at the Studio Ghibli Museum. I also learned through my reading that the museum was designed by Hayao Miyazaki with the goal of making the museum itself an exhibit.

Additionally, although it was a journey and a half to get to both the museum and the park, I believe that their geographic isolation from major cities like Tokyo and Kyoto serve to emphasize the strong connection between Studio Ghibli and the natural environment. Reading the following excerpt by Denison (550) furthered my belief: 

“The association between the park and the museum purposefully mirrors themes within many of Miyazaki and Takahata’s Ghibli films, which frequently entertain pro-environment motifs and plot lines (McCarthy 1999; Napier 2005). The landscape around the Art Museum therefore works not just as a marker of its distinctiveness as a place of anime tourism, it further marks the Art Museum as geographically separate from the urban norm of Tokyo. This in turn reinforces the importance of nature to the Ghibli brand of filmmaking, and the location of the museum in Mitaka helps to situate the Art Museum as a cultural geographic response to previous anime tourism sites located within the centre of Tokyo.”

[usafphantom2]

French Navy tests the new Rafale Marine standard F4.1

Fernando Valduga By Fernando Valduga 04/26/2023 - 13:00 in Military

The "Hunting" detachment of CEPA/10S (center of practical experiments and reception of naval aeronautics) of the French Navy has been conducting Rafale experiments for the new F4.1 standard since February 2023.

This new standard introduces "collaborative combat" through improvements to the SPECTRA self-protection system and the air-to-air firing control of the METEOR missile.

The F4.1 standard also brings many capacity gains, with emphasis on the arrival of the SCORPION helmet aim, the new 1,000kg AASM air-to-ground weaponry, the "NAVWAR" evolution of inertial units, as well as a new software version of the Talios pod laser designation.

CEPA/10S has already flown almost 100 hours on Rafale Marine F4.1. The experimental campaign began aboard the aircraft carrier Charles De Gaulle from March 21 to 30, mobilizing no less than 3 Rafale Marine for the F4.1 standard, a team of more than 60 airborne sailors, DGA experts and manufacturers of the Rafale program.

Almost 40 experimental flights of the new standard were carried out on board, to confirm its suitability for the environment on board, to ensure that the capabilities did not regress compared to the F3R standard and to test the many new features. These flights served in particular to evaluate the specificities inherent in air-to-sea missions: air/sea threats, aging of specific equipment for catapult launches In addition, the opportunities for interaction of the F4.1 standard with the on-board air group and the surface forces at sea allowed to evaluate this new standard in complex conditions representative of the operating conditions of the Rafale (radar jamming by a FREMM DA, GPS blocking by DGA/MI). These complex evaluations, in interaction with the operational units, are in full harmony with the desire to prepare for the high-intensity conflicts and threats present in contemporary theaters.

New SCORPION helmet designating a target by the orientation of the head. (Photo: Dassault Aviation / C.Cosmao)

This campaign aboard the Charles De Gaulle aircraft carrier was also an opportunity to test new features on the ground: reference alignment of the aircraft carrier, F4.1 version of the Harpagon information system (reading of malfunctions), evaluation of the SEFIAM electric cart for displaying all types of ammunition and weapons.

CEPA/10S is now working to finalize the work that will allow the next operational commissioning of the F4.1 standard in naval aeronautics.

Tags: Military AviationDassault Rafale MMarine Nationale / French Navy

Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in specialized aviation magazines in Brazil and abroad. Uses Canon equipment during his photographic work throughout the world of aviation.

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[risingpakistan1947]

Minar-e-Pakistan| History of Minar e Pakistan

Minar e Pakistan is a towering monument located in the heart of Greater Iqbal Park, one of the largest parks in Lahore. It is a magnificent national monument that symbolizes our nation’s pride and history. It was designed to commemorate the Pakistan Resolution passed on March 23, 1940, and marks the beginning of establishing an independent Muslim state. Minar-e-Pakistan is also a popular spot for political rallies and ceremonies. With its rich history and stunning architecture, Minar e Pakistan remains one of Lahore's must-see attractions for tourists and locals alike. If you're planning a visit to Minar-e-Pakistan, there are plenty of attractions worth checking out, such as the Badshahi Mosque, Musical Fountain, National History Museum the tomb of Hafeez Jalandhari, and Lahore Fort is situated in greater Iqbal Park Lahore. You may be interested in the top 10 places to visit in Lahore Pakistan

History of Minar-e-Pakistan

This towering structure stands 70 meters tall and was built to commemorate the historic event of the Lahore Resolution that took place on March 23, 1940. The resolution marked a pivotal moment in the history of Pakistan as it paved the way for the creation of an independent state. The construction of this iconic monument began in 1960 and was completed eight years later in 1968. Designed by renowned architect Nasreddin Murat-Khan, the Minar e Pakistan is a fusion of Mughal and modern architecture styles. Minar e Pakistan base is shaped like a flower, at night time, the towering structure is illuminated with colorful lights which add to its beauty and magnificence. It has become a popular tourist destination over time and attracts thousands of visitors each year who come to marvel at its stunning design while reflecting on its rich historical significance. 10 Essential Things to know while visiting Pakistan 

Significance of Minar e Pakistan

The significance of Minar e Pakistan lies not only in its historical importance but also in its architectural beauty. Its soaring height and commanding presence makes it a prominent feature of Lahore's skyline. At the base of the monument lies a spacious park where visitors can relax and enjoy the scenic view. One can climb up to the top of Minar-e-Pakistan through an elevator or staircase to witness panoramic views of Lahore city. Today, Minar e Pakistan serves as a symbol of national pride for Pakistanis around the world. As such, tourists frequently visit it to learn about Pakistani history or simply admire its grandeur firsthand. From its humble beginnings as a commemorative monument to becoming one of the country's most recognizable landmarks, Minar e Pakistan remains an enduring testament to the strength and resilience of the Pakistani people. In addition to being a historical landmark, Minar-e-Pakistan also serves as a popular tourist attraction. Every year, thousands of tourists visit this site from around the world to discover Pakistan's rich culture and heritage firsthand. This iconic structure symbolizes Pakistani independence and unity among its people while serving as an excellent example of architectural excellence at great heights. 10 most beautiful places to visit in Pakistan

Reception and Popularity

It is a physical representation of our nation's sovereignty, cultural heritage, and identity. As such, it holds great significance in promoting national unity and cohesion. The reception to Minar e Pakistan has been overwhelmingly positive since its construction. The monument's historical significance and cultural value have made it an important landmark in Pakistan's history. It serves as a reminder of the sacrifices made by our founding fathers who fought tirelessly to secure independence for our country. Due to its popularity, Minar-e-Pakistan has become a significant location for various political gatherings and celebrations. Many people visit this site on Independence Day and other national holidays to celebrate their patriotism and pay tribute to their ancestors who fought for their freedom. In conclusion, Minar e Pakistan is not only an architectural masterpiece but also a symbol of strength and resilience that will continue to inspire generations to come. We must continue to cherish and preserve this important national monument as it remains an enduring symbol of our nation's resilience, strength, and commitment to progress. Its preservation will ensure that future generations can appreciate its historical significance while remaining proud of their Pakistani heritage. Read the full article

[stylesnews]

HARRY STYLES wore a dress. You may well know that already even if you don’t follow fashion or music closely. Photos of the British singer in the custom Gucci frock—snapped for the cover of Vogue—swarmed the internet a few weeks ago, sending his brigade of fans into a tizzy. Scads of tweets and online articles recycled the images. And while most of the coverage lauded Mr. Styles for his beguiling, gender-bending outfit, some conservative pundits including Candace Owens predictably wrung their hands, interpreting the hubbub as a death knell for the so-called “manly man.” The cover itself was a landmark: Mr. Styles is the first man to grace the cover of Vogue solo. Think of the instantly collectible issue as a coronation of sorts, confirming that the 26-year-old singer is now officially style-royalty.

Mr. Styles, who rose to fame as a member of the boy band One Direction before going solo, has been a fashion provocateur for several years now. A muse to Gucci creative director Alessandro Michele, he consistently wears the label’s rather unisex wares such as tapestry print trousers, lithe loafers and pussy-bow blouses. (Representatives for the artist did not respond to a request for comment for this story and, through a representative, his stylist Harry Lambert declined to comment.)

On Instagram, feverish fan accounts like @Hsfashionarchive (which has over 100,000 followers) vie to identify whatever Mr. Styles is photographed wearing, from whimsically wide floral pants by British designer Steven Stokey Daley to a candy-colored necklace by New York jewelers Eliou. This year Mr. Styles topped the “Power Dressers” list on Lyst, a fashion-focused search platform, reflecting the strong correlation between his clothing choices and what online shoppers seek. Camilla Clarkson, communications director at Lyst, noted that Mr. Styles’s “non-binary style” helps drive his popularity, particularly with a younger generation that liberally shops across gender lines.

Some older observers, however, regard Mr. Styles’s fashion choices through a “been there, seen that” lens. “It’s kind of like this year’s version of rock-star packaging or something,” said Vincent Boucher, 67, a lecturer at Parsons School of Design in New York. As precursors, Mr. Boucher pointed to Kurt Cobain, Mick Jagger and David Bowie, all of whom donned dresses decades ago, nimbly crossing gender lines. (I’d add to that list the lesser-known, openly gay disco singer Sylvester, who frequently vacillated between men’s and women’s clothing—see the video for his 1978 number-one hit, “You Make Me Feel (Mighty Real).”)

Mr. Styles’s Vogue cover elicited little more than “a shrug” from Andrew Groves, 52, a fashion professor at Westminster University in London. As Prof. Groves pointed out, when Bowie wore a dress in the early ‘70s, it was “really provocative because it was outside society’s norms.”

Even if Prof. Groves considers Mr. Styles’s floor-length dress unworthy of controversy, it did cause a several-day stir here in America that broke down largely along partisan lines. Alarmed conservative pundits tweeted lengthy screeds including Candace Owens, 31, a conservative voice who decried the “steady feminization of our men.”

Meanwhile, on her Instagram a few days later, Rep. Alexandria Ocasio-Cortez called Mr. Styles’s Vogue shoot “wonderful” and confronted the criticisms: “Perhaps for some people it provokes some anger or insecurity around masculinity/femininity/etc. If it does, then maybe that’s part of the point. Sit with that reaction and think about it, examine it, explore it, engage it, and grow with it.”

Most male stars still avoid the risks associated with dressing too fashionably. Days after Mr. Styles’s Vogue cover was released, George Clooney graced the cover of GQ Magazine. The ensuing social-media conversation focused not on his (strategically inoffensive) clothes but on the affable star’s anecdotes. Mr. Clooney, in his immaculate knit polo and Ray-Ban sunglasses, surely looked great to many men of a certain age. But his look was hardly innovative, unlike those embraced by Mr. Styles and other dynamic, contemporary style icons like A$AP Rocky, Tyler the Creator and Jaden Smith.

Thanks in part to the internet and social media, which have given him an arguably wider sphere of influence than earlier gender-bending-fashion icons like Bowie or Cobain, Mr. Styles is turning receptive fans onto novel ways of dressing. “He’s a pioneer, really,” said Jordan O’Brien, 28, of Penngrove, Calif. Mr. O’Brien creates men’s-fashion videos, one of which, titled, “Recreating Harry Styles Iconic Outfits,” has been viewed over 123,000 times on YouTube. It shows Mr. O’Brien loosely following in his idol’s footsteps by wearing outfits like a lavender suit with a mesh-shirt.

Mr. O’Brien and other admirers I spoke with can’t afford the big-ticket Gucci and Bode clothes Mr. Styles endorses. Nor are they really interested in adopting his most avant-garde outfits. Instead, they attempt to channel the essence of his style and his flexible attitude. “I love how he breaks the boundaries,” of men’s fashion and shows that “people can wear whatever they want,” said Mr. O’Brien.

Kyle Jordan, 23, a barista in Barrington, N.J., studies Pinterest pages dedicated to Mr. Styles’s outfits. He’s adopted the singer’s penchant for broader pants and boxy button-ups and now has his eye on a pearl necklace which has for years been Mr. Styles’s signature. Lyst’s Ms. Clarkson noted that whenever Mr. Styles wears a given item—be it pearls, or a blue suit, or a yellow bucket hat—her site registers a jump in search inquiries for comparable items.

A rainbow-patchworked J.W. Anderson cardigan that Mr. Styles wore on the “Today” show in February is probably the item his fans have tried most zealously to duplicate. The technicolor sweater became an internet sensation, shared particularly widely on TikTok. But at $1,560 it was well outside most fans’ budgets, its idiosyncrasy extreme enough that good facsimiles were hard to find. So, in a rare instance in which a luxury fashion label bowed to the masses, J.W. Anderson released the pattern online so fans could knit their own version; cardiganed Styles copycats began posting their homemade iterations en masse. As for the original sweater? It’s heading to the Victoria & Albert Museum in London—acknowledged as a piece of fashion history.

[writemarcus]

Jun. 23: Jason Robert Brown, Savion Glover, Priscilla López, Susan Stroman, Marisha Wallace, and Christopher Wheeldon Join I’M STILL HERE: A Virtual Benefit for the Billy Rose Theatre Division Honoring George C. Wolfe and the Late Harold Prince and Celebrating 90 Years of the New York Public Library for the Performing Arts; Tickets for the In-Person Viewing Party are Available Now

Jason Robert Brown, Savion Glover, Priscilla López, Susan Stroman, Marisha Wallace, and Christopher Wheeldon join the cavalcade of stars participating in The New York Public Library for the Performing Arts’ I’m Still Here: A Virtual Benefit for the Billy Rose Theatre Division, airing June 23, 2021 on Broadway On Demand at 8pm EST and 8pm PST. The fundraiser will help raise critical funds for the Library for the Performing Arts’ beloved Theatre Division as it celebrates its 90th anniversary this year.

Tickets to the online fundraiser will be donate-what-you-can, with a recommendation of at least $19.31 in honor of the year the division was founded. To purchase tickets to the one-time-only virtual event, visit StillHereAt90.com.

An in-person viewing party at the Library for the Performing Arts in Lincoln Center for donors has also just been announced, including a pre-screening reception and performance featuring Pulitzer Prize winner Michael R. Jackson (A Strange Loop), and GRAMMY and two-time Tony Award winner Duncan Sheik (Spring Awakening). For details and ticket prices for this limited capacity in- person event, please contact tickets@stillhereat90.com.

An incredibly special aspect of I’m Still Here is that it will feature clips of Broadway productions from the Theatre Division’s Theatre on Film and Tape Archive (TOFT), shown especially for this occasion with special permission from The Coalition of Broadway Unions and Guilds and the respective talent, creative teams and rights holders of each production. These archival recordings are typically only available to view onsite at the Library for the Performing Arts. The recordings shown will include the original Broadway cast of In the Heights; Angela Bassett and Samuel L. Jackson in The Mountaintop; Brian Stokes Mitchell in Ragtime; Glenn Close in Sunset Boulevard; Kelli O’Hara and Paulo Szot in South Pacific; Craig Bierko and Rebecca Luker in The Music Man; Meryl Streep, Marcia Gay Harden and Larry Pine in The Seagull; Savion Glover, Jimmy Tate, Choclattjared and Raymond King in Bring in ‘da Noise, Bring in ‘da Funk; Bette Midler in I’ll Eat You Last; Christian Borle and Tim Curry in Spamalot; and more.

I’m Still Here will also include interviews with Broadway legends and emerging creatives; and reconceived performances of musical theatre songs, including Stephanie J. Block performing “A Trip to the Library,” André De Shields performing “I’m Still Here,” original Company cast members from 1970-to-present performing “Another Hundred People,” “Wheels of a Dream,” “Love Will Find a Way,” and more. The evening’s honorees are Harold Prince and George C. Wolfe.

Featuring new performances and appearances by Troy Anthony (The River Is Me), Annaleigh Ashford (Sunday in the Park with George), Major Attaway (Aladdin), Alexander Bello (Caroline, or Change), Laura Benanti (She Loves Me), Malik Bilbrew, Susan Birkenhead (Jelly’s Last Jam), Shay Bland, Stephanie J. Block (The Cher Show), Alex Brightman (Beetlejuice), Matthew Broderick (Plaza Suite), Jason Robert Brown (The Last 5 Years), Krystal Joy Brown (Hamilton), David Burtka (“A Series of Unfortunate Events”), Sammi Cannold (Endlings), Ayodele Casel (Chasing Magic), Kirsten Childs (Bella), Antonio Cipriano (Mean Girls), Victoria Clark (The Light in the Piazza), Max Clayton (Moulin Rouge!), Calvin L. Cooper (Mrs. Doubtfire), Trip Cullman (Choir Boy), Taeler Elyse Cyrus (Hello, Dolly!), Quentin Earl Darrington (Once on This Island), André De Shields (Hadestown), Frank DiLella (NY1), Derek Ege, Amina Faye, Harvey Fierstein (La Cage aux Folles), Leslie Donna Flesner (Tootsie), Chelsea P. Freeman, Savion Glover (Bring in ‘da Noise, Bring in ‘da Funk), Joel Grey (Cabaret), Ryan J. Haddad (“The Politician”),James Harkness (Ain’t Too Proud), Sheldon Harnick (Fiddler on the Roof), Marcy Harriell (Company), Mark Harris (“Mike Nichols: A Life”), Neil Patrick Harris (Hedwig and the Angry Inch), David Henry Hwang (M. Butterfly), Arica Jackson (Caroline, or Change), Michael R. Jackson (A Strange Loop), Cassondra James (Once on This Island), Marcus Paul James (Rent), Taylor Iman Jones (Hamilton), Maya Kazzaz, Tom Kirdahy (The Inheritance), Leslie Kritzer (Beetlejuice), Michael John LaChiusa (The Wild Party), Norman Lear (Good Times), Baayork Lee (A Chorus Line), L. Morgan Lee (A Strange Loop), Robert Lee (Takeaway), Sondra Lee (Hello, Dolly!), Telly Leung (Aladdin), Priscilla Lopez (A Chorus Line),Ashley Loren (Moulin Rouge!), Allen René Louis (“Jimmy Kimmel Live!”), Brittney Mack (Six), Morgan Marcell (Hamilton), Aaron Marcellus (“American Idol”), Joan Marcus, Michael Mayer (Spring Awakening), Annie McGreevey (Company), Sarah Meahl (Kiss Me, Kate), Joanna Merlin (Fiddler on the Roof), Ruthie Ann Miles (Sunday in the Park with George), Bonnie Milligan (Head Over Heels), Rita Moreno (West Side Story), Madeline Myers (Double Helix), Pamela Myers (Company),Leilani Patao (Garden Girl), Nova Payton (Dreamgirls), Joel Perez (Kiss My Aztec), Bernadette Peters (Into the Woods), Tonya Pinkins (Jelly’s Last Jam), Jacoby Pruitt, Sam Quinn, Phylicia Rashad (A Raisin in the Sun), Jelani Remy (Ain’t Too Proud), George Salazar (Be More Chill), Marilyn Saunders (Company), Marcus Scott (Fidelio), Rashidra Scott (Company), Rona Siddiqui (Tales of a Halfghan), Ahmad Simmons (West Side Story), Susan Stroman (The Producers), Rebecca Taichman (Indecent), Jeanine Tesori (Fun Home), Bobby Conte Thornton (Company), Sergio Trujillo (On Your Feet), Kei Tsuruharatani (Jagged Little Pill), Ben Vereen (Pippin), Jack Viertel, Christopher Vo (The Cher Show), Nik Walker (Ain’t Too Proud), Marisha Wallace (Dreamgirls), Shannon Fiona Weir, Christopher Wheeldon (MJ: The Musical),Helen Marla White (Ain’t Misbehavin’), Natasha Yvette Williams (“Orange is the New Black”), and Kumiko Yoshii (Prince of Broadway).

Click here to watch New York Public Library’s Doug Reside on Backstage LIVE with Richard Ridge.

The virtual benefit is produced and conceived by co-founder of the upcoming Museum of Broadway and four-time Tony nominee Julie Boardman (Company) and Co-Executive Producer of Broadway For Biden Nolan Doran (Head Over Heels), featuring direction by Steve Broadnax (Thoughts Of A Colored Man), Sammi Cannold (Endlings), Nick Corley (Plaza Suite), GRAMMY Award Winner Ty Defoe (Straight White Men), Drama Desk winner Lorin Latarro (Waitress), Mia Walker (Jagged Little Pill) and Tony Award winnerJason Michael Webb (Choir Boy), choreography by Ayodele Casel (Chasing Magic),Lorin Latarro and Ray Mercer (The Lion King), with new music arranged by ASCAP Award winner Rachel Dean (Medusa) and Annastasia Victory (A Wonderful World), with arrangements and orchestrations by Brian Usifer (Frozen). Casting is by Peter Van Dam at Tara Rubin Casting.

Tony Marx is the president of The New York Public Library, William Kelly is the Andrew W. Mellon Director of the Research Libraries,Jennifer Schantz is the Barbara G. and Lawrence A. Fleischman Executive Director of the Library for the Performing Arts, and Doug Reside is the Lewis and Dorothy Cullman Curator of the Billy Rose Theatre Division. Patrick Hoffman is the curator of the Theatre on Film and Tape Archive. Henry Tisch serves as Associate Producer and Travis Waldschmidt is Associate Choreographer. Animation and Motion Graphics by Kate Freer, Graphic Design by Caitlin Whittington, Sean MacLaughlin is Director of Photography and Ian Johnston is B Camera Operator. Dylan Tashjian is Onsite Coordinator with COVID compliance by Lauren Class Schneider.

HOST COMMITTEE: Ted & Mary Jo Shen, Barbara Fleischman, Agnes Gund, Fiona & Eric Rudin, Lizzie & Jon Tisch, Kate Cannova, Joan Marcus, Daisy Prince, Gayfryd Steinberg, Van Horn Group

LIBRARY FOR THE PERFORMING ARTS THEATRE COMMITTEE: Emily Altman, Margot Astrachan, Ken Billington, Julie Boardman, Ted Chapin, Bonnie Comley, Van Dean, Kurt Deutsch, Scott Farthing, Barbara Fleischman, Freddie Gershon, Louise Hirschfeld, Joan Marcus, Elliott Masie, Arthur Pober, Ed Schloss, Morwin Schmookler, Jenna Segal, Ted Shen, Kara Unterberg, Abbie Van Nostrand, Kumiko Yoshii

THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS DOROTHY AND LEWIS B. CULLMAN CENTER houses one of the world’s most extensive combinations of circulating, reference, and rare archival collections in the field of dance, theatre, music and recorded sound. These materials are available free of charge, along with a wide range of special programs, including exhibitions, seminars, and performances. An essential resource for everyone with an interest in the arts — whether professional or amateur — the Library is known particularly for its prodigious collections of non-book materials such as historic recordings, videotapes, autograph manuscripts, correspondence, sheet music, stage designs, press clippings, programs, posters and photographs. The Library is part of The New York Public Library system, which has locations in the Bronx, Manhattan and Staten Island, and is a lead provider of free education for all.

BROADWAY ON DEMAND is the industry-leading livestream platform housing performance & theatre education programming, & the preferred choice of top Broadway artists, producers, educators & professionals. Broadway On Demand has streamed 2,500 events & live productions—from Broadway shows to concert series, performance venues to individual artists, & original content—in 82 countries to over 300,000 viewers. Thanks to a unique licensing interface, ShowShare, approved middle school, high school, college, community & professional theatre productions utilize the platform to stream to their audiences. Broadway on Demand is available on the web, mobile, Apple and Android app store, AppleTV, Roku, Chromecast, and Amazon Fire TV. For access to the complete and ever-expanding Broadway on Demand library, subscribe at BroadwayOnDemand.com.

[architectnews]

The Dime South Williamsburg, Brooklyn, NY

The Dime South Williamsburg Building, Brooklyn Architecture Photos, New York City

The Dime in South Williamsburg, Brooklyn, NY

Apr 30, 2021

The Dime: Architecture & Interior Design By Fogarty Finger

Design: Fogarty Finger

Brooklyn, NY – Located in South Williamsburg, just off of the Williamsburg Bridge when one crosses from Manhattan, The Dime is a new, 23-story terracotta and glass building architecturally linked to the landmarked 1908 Dime Savings Bank and designed by Fogarty Finger.

With its cohesive design language across its architecture and interiors of its multi-use areas—encompassing offices, retail and rental apartments—the building is an exciting debut, elevating the standards for buildings of similar use in the city. The 345,000 square foot mixed-use building encompasses 177 residential units, 105,000 square feet of office space, as well as 50,000 square feet of retail space.

The façade is composed of terracotta panels that reference the historic bank structure’s regal columns alongside glass with black mullions. The building’s rounded corners, floor-to-ceiling glass windows, and striking height distinguish it from the surrounding neighborhood and present unobstructed views of both Manhattan and Brooklyn.

The structure’s curved corners provide a visual link connecting the different facades of the building, as well as providing aesthetic interest. The lower floors pinwheel off the central tower, each connecting to the four streets of the block. Bordering South 5th Street, the residential lobby and commercial lobby sit next to each other. The residential entrance is surrounded by terracotta panels with bronze highlights and juts out to the street-line. The commercial entrance, which is pulled back, features black steel and metal with a revolving door. Overhead, an elongated canopy connects the two entrances.

Inside the commercial lobby, a concrete wall is outfitted with a stained-glass and metal work by the artist Tom Fruin that has its starting point in found detritus of New York City. Fruin is well known for his stained-glass works throughout the borough including his iconic stained-glass New York water towers.

Opposite this wall is a dark scalloped wood wall that leads you to the elevator lobby; that wood is repeated at the reception desk. Similar to the new building’s façade, the scalloping references the columns of the historic bank structure in form and texture. The air-conditioning units and sprinklers are hidden in grills along the side wall, allowing the ceiling to have a clean, uncomplicated look. Underfoot is a polished concrete floor. The offices, which are housed on floors two through five, each feature massive outdoor terraces.

The residential lobby honors the exterior through its extension of the terracotta curvature seen in its scalloped walls which feature carved-out bookshelves. Minimalist, elegant furnishings, soft lighting, and a work by the artist Swoon—who also completed a mural on the building’s façade—combine to create a welcoming, fresh, and warm environment. The mail room on the first floor features a playful nod to the original bank with its coin crest pattern wall covering.

The building’s fifth floor houses an array of amenities, including an expansive terrace, a community garden, yoga studio, fitness center, two lounge areas, and a half basketball court featuring a graphic guilloche-patterned wall covering that borrows from currency—another bank reference. The south lounge is a co-working space and looks out onto lush gardens framing a great lawn, while the north lounge employs a bar concept.

Another amenity space is on the 22nd floor, the penthouse level, where a vintage-style speakeasy lounge looks out over the city. The interiors take inspiration from the iconic Havemeyer family, who collected art and enriched the architectural and cultural life of Brooklyn and beyond. The palette of the lounge—in rich and dark tones—pulls from the family’s artwork collection now housed in the Metropolitan Museum of Art. Custom millwork lines the walls, while warm library lighting and artworks accentuate the space, which directly connects to an outdoor terrace.

Apartments are comprised of studio through three-bedroom units, crowned by two striking penthouses. Penthouses and select residences feature expansive private terraces. Curved, picture-height windows afford incredible views of the surrounding city and fill the apartments with light.

The Dime in South Williamsburg, NY – Building Information

Fogarty Finger Scope: Architecture and Interior Design Fogarty Finger Leads: Chris Fogarty, Robert Finger Fogarty Finger Team: Harshad Pillai, Jacob Sandmann, Bhumika Desai, Julie Molloy, Alejandra Rojas, Ayaka Hales, Iman Johnson (Architecture); Candace Rimes (Interiors) Owner: Charney Companies & Tavros Holdings Website: www.thedime.comSocial media handles: @thedimebk; @fogartyfinger

About Fogarty Finger

Fogarty Finger is an interdisciplinary design studio of over 100 architects and designers dedicated to placemaking within the urban built environment. The forward-thinking New York City-based design firm is responsible for many prominent residential and commercial projects throughout the US in locations including New York City, Boston and Atlanta.

Each project designed by the studio is informed by strong contextual references distinguished by a layered sense of materiality and refinement. The practice’s most recent landmark projects include the redevelopment of the former Dime Savings Bank of Williamsburg – The Dime, 141 Willoughby in Downtown Brooklyn, and Dock 72 at Brooklyn Navy Yard. Founded in 2003, the firm is led by Chris Fogarty (AIA) and Robert Finger (AIA) who are industry leaders in full-service commercial architecture and interior design. For more information, visit www.fogartyfinger.co

The Dime South Williamsburg building images / information from Fogarty Finger

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74Wythe In New York City image courtesy of architect 74Wythe Williamsburg

Brooklyn Bridge Competition Entry Design: Daniel Gillen image courtesy of architect Brooklyn Bridge Competition Entry

Apple Store, 247 Bedford Avenue, Williamsburg Design: Bohlin Cywinski Jackson Architects photo : Nick Lehoux Williamsburg Apple Store Brooklyn

Williamsburg Hotel, Brooklyn, NY Architects: Oppenheim Architecture+Design render from architects Williamsburg Hotel Brooklyn

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432 Park Avenue Skyscraper Design: Rafael Viñoly Architects image �� dbox for CIM Group & Macklowe Properties 432 Park Avenue Tower New York

Comments for the The Dime South Williamsburg, New York City page welcome

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[rajaraul]

Artist Olivier Mourao

Olivier Mourao (born 10 September 1945) is a British-Brazilian visual artist known for his paintings, collage and sculptures. He is known for his visual arts primarily based on light and rejuvenating colors.

Mourão has been known for his paintings since the early 1960s. He commenced painting when he was eight. At the age of twelve his portrait was published in a renowned newspaper of Brazil.During the same year, he was invited by the wife of then President João Goulart, Tereza Goulart, to portray the couple's children.At the age of 23, he traveled to Europe. At first he went to sculpt Carrara in Rome and had done lithography in Paris where he met with Pablo Picaso and Salvador Dalí. Then he moved to London, where he met with Francis Bacon. In London, Mourao studied art history. After completing his studies, he moved to New York where he created jewellery and tapestry utilizing natural elements from Brazilian flora and fauna. At New York, he had an exhibition titled 'From portraits of the monumental paintings'. He returned to England from New York and have finally settled in Ibiza in the year 1976. His private villa at Ibiza is considered as an artistic interest and curiosity.He is also considered to be an important personality in the cultural circle of Ibiza, Spain, where he is known spend the summer of the year while rest of the year he stays at London, England. English rock bands Led Zepplin and The Rolling Stones were known to have close associations with Mourao. Mourão had studied fine arts at the Guignard School of Art, Belo Horizonte, Minas Gerais, Brazil. In the year 1965, at age of nineteen, he had held his first exhibition of drawings and portraits at the L’Atelier d’Art. In the year 1966, he hold his second Exhibition at Salon Art Museum. In the same year he also had held exhibition at Salon Ouro Preto. He was known to be appointed to paint murals and frescos for the Church of Saint Francis at Minas Gerais. His paintings are on display in the Dona Beja Museum, Araxa, Mina Gerais, Brazil. His paintings, designs and sculptures have appeared in more than 700 publications, books and 74 exhibitions. His works are famous for being collected by art enthusiasts, connoisseurs and celebrities and are displayed in private and public collections around the world. He is also known to be collaborating with fashion studios and boutique hotels for interior artistic designing and painting.

Works of Mourão are said to have influences of Goya, Matisse and bacon.The reception of artistic view of Mourão has been often labelled as 'minimal maximalist' as described by Fabio Christ. In his paintings and visual creations, usage of lights are reckoned as a key element of manipulation and thereby having a significant impact.

Major solo exhibitions

2020 – Mount Gallery, Mayfair, London, UK

2019 – Pavillon of St. Eulalia, Ibiza, Spain

2018 – Diario de Ibiza, Ibiza, Spain

2017 – Moving Figures, B12 Gallery, Ibiza, Spain

2016 – Moving Figures, Museu Inimà de Paula, Minas Gerais, Brazil

2014 -15 – The Lloyds Club, London, UK

2013 – B12 Gallery, Ibiza, Spain

2011 – Retrospective, Museum Inimà de Paula, Minas Gerais, Brazil

2007-10 – K.5 Galerìa, Ibiza, Spain

2006 – Edden Gallery, Arosa, Switzerland

2005 – K.5 Galerìa, Ibiza, Spain

2004 –Pool Party K.5, Ibiza, Spain

2004 – Global Room Pacha, Ibiza, Spain

2000-2003 – K.5 Galerìa, Ibiza, Spain

1987 – The Center Gallery, Mayfair, London, UK

1987 – The Holland Gallery, London, UK

1967 – Palácio dos Leilões, Minas Gerais, Brazil

1967 – Amato Lanza Studio Art Gallery, New York, USA

1965 – L’atelier d’Art, Minas Gerais, Brazil

Sources:

Cool Spots Majorca/Ibiza, by Eva Raventos, Roger Casas, 2006, Page 112 Ibiza, A Mediterranean Lifestyle, by Fritzi (Marchioness of Northampton.), Luis Domènech Girbau, Lluís Domènech, 1999, ISBN 9783829022262, Page 154 Ann Getty Interior Style by Diane Dorrans Saeks, Ann Getty, 2012, ISBN 9780847837915 Cottages, Cabins & Chalets by Laurie Coulter, Paula Chabanais, 1997, ISBN 9780385256186 Architectural Digest: Edition May 2012, Page 172 Ibiza Heute, August 2013, Page: 75-78 Ibiza Style,Edition: Page:152-159 Ibiza Art Guide, Edition: 8, 2017 -18 Pacha Magazine, Edition: The Water Issue, Page: 56-60 Ibiza Guia De Tourismo, Edition: 25th Anniversary Oliver Mourao's London hideaway, British Vogue, June 1984 Hello Magazine, Number 969, May 2007

[gagosiangallery]

Birth Machine Baby at Gagosian Park & 75, New York

November 2, 2019

BIRTH MACHINE BABY H. R. Giger and Mark Prent Curated by Harmony Korine Opening reception: Tuesday, November 5, 6–8pm November 5–December 21, 2019 Park & 75, 821 Park Avenue, New York __________ H. R. Giger and Mark Prent are both masters of navigating beauty, horror, science fiction, and fantasy. I've admired their works for a while; they both defy genre in a way that is difficult to articulate. They create and inhabit their own worlds, populating them with classic nods to both film and sculptural tradition. Giger and Prent's works are dense and powerful, filled with shocking characters and strange magic. The time seems right to see these two great artists together in one room. —Harmony Korine Gagosian is pleased to present Birth Machine Baby, an exhibition curated by Harmony Korine, featuring works by H. R. Giger and Mark Prent. In this exhibition, Korine pairs eerie humanoid figures by Giger—whose name has been cemented in Hollywood history for his visual effects and design work on the Alien film franchise—with sculptures by Prent, a Canadian artist whose grotesque and provocative depictions of the human body were greatly admired by Giger himself. Despite the divergences in Giger’s and Prent’s chosen styles and mediums, both artists’ interests lie in coaxing out latent fantastical forms from the contours of the human body.

Depicting subject matter gleaned from the depths of his psychic anxieties, Giger’s stylized sculptures merge writhing, skeletal organisms with elegant metallic features, coalescing in his signature “biomechanical” style. Although Giger was best known for designing the iconic extraterrestrial Xenomorph from Alien (1979), his other works display the full range of his artistic influences, which span from ancient Egyptian statuary to twentieth-century artists such as Salvador Dalí and Francis Bacon. Displaying a mastery of hyperrealistic sculptural techniques, Prent’s uncanny fiberglass and resin sculptures simultaneously shock and enthrall. His art—which has remained fundamentally grounded in the human form since the 1970s—melds familiar anatomies with bizarre, animalistic limbs and features, provoking a visceral process of recognition and emotional connection in the beholder. Prent’s work challenges our understanding of the body as we know it, creating haunting, chimerical hybrids that elicit innovative visual dialogues when juxtaposed with Giger’s biomechanical creations. Korine’s cult films of the past twenty years—from the surreal Gummo (1997) to the contemporary “beach noir” Spring Breakers (2012)—merge reality with fiction and handheld camerawork with precise montage. This same heady mix of the unplanned, the seductive, and the outlandish crystallizes in his highly tactile paintings, whose strange, otherworldly motifs revel in the realm of magical realism. Korine’s own art often engages with the film industry; for his BLOCKBUSTER (2018) series, he salvaged a number of VHS tapes from a shuttered Blockbuster video store, augmenting their covers with paint and assembling them into patchwork grids of pop cultural references. Harmony Korine was born in in Bolinas, California, and lives and works in Nashville, Tennessee, and Miami, Florida. Exhibitions include S.M.A.K., Ghent, Belgium (2000); Whitney Biennial, New York (2000); 50th Biennale di Venezia (2003); Pigxote, Fine Arts Gallery, Vanderbilt University, Nashville, TN (2009); Shadows and Loops, Frist Art Museum, Nashville, TN (2016–17); and Centre Pompidou, Paris (2017). Korine’s films include Kids (1995, written by Korine, directed by Larry Clark); Gummo (1997, written and directed by Korine); Julien Donkey-Boy (1999, written and directed by Korine); Ken Park (2002, written by Korine, directed by Larry Clark and Ed Lachman); Mister Lonely (2007, written by Korine, codirected with Avi Korine); Trash Humpers (2009, written and directed by Korine); Spring Breakers (2012, written and directed by Korine); and The Beach Bum (2019, written and directed by Korine). _____ H. R. Giger, Birth Machine Baby, 1998 (detail of two from an edition of 23), aluminum, each: 20 7/8 × 8 3/4 × 8 3/4 inches (53 × 22 × 22 cm) © H. R. Giger Museum, Gruyèers, Switzerland

[princesscatherinemiddleton]

The Princess of Wales attended a Shaping Us National Symposium Reception at the Design Museum | November 14 2023

[megancreations]

A project I worked on at my job is going to be in the Cooper-Hewitt (Smithsonian Design Museum) and I was invited to the opening reception/preview.

My museum career has peaked at the ripe age of 23.

[craymagazine]

The Work of Junko Mizuno, Mayuka Yamamoto, and Travis Lampe 

The group show opens  Saturday, February 23  from  7pm - 11pm  in  Gallery 2. The reception is open to the public and the exhibit will be on view through  Saturday, March 30. The space is open Tuesday - Saturday, 12pm - 6pm. Corey Helford Gallery is located at 571 S. Anderson St. Los Angeles, CA 90033. About Junko Mizuno: Having grown up in Tokyo, Mizuno is a self-taught artist recognized for her unique visual iconography of powerful and often sexy women. Although her art refuses to be categorized, much of it is based on Japanese pop culture from the '70s and '80s, with the source of her inspiration stemming from fetish art, folk art, religious art, psychedelic art, pin-up art, advertising art, vintage toys, fashion, comic, food, nature, movies, TV shows, video games…almost everything that surrounds her. Currently residing in San Francisco, she’s constantly working on new comics, paintings, illustrations, and product designs ranging from toy figures to T-shirts. Her work has been featured in stores, museums, and fine art galleries around the world. About Mayuka Yamamoto:Born in 1964 in Okayama, Japan, Yamamoto received her master’s degree at Tokyo’s Masashino Art University in 1990 and joined the Japanese Government Overseas Study Program for Artist to continue her studies in London until 1999. Her works have been shown in several solo shows held by Japan’s Gallery Tsubaki and her 2007 solo show, titled  Deer Boy and Other infants, was hosted by Canvas International Arts gallery in Amsterdam. She also participated in group shows at the Korean International Art Fair (2004–2007) and Young Japanese Painting (2007, Amsterdam). Yamamoto is known for her oil paintings portraying children in animal suits or possessing animal features, to reveal their inner world. Like a protective armor in response to their emotions and psychological state, they seem to instinctively hide behind a second skin in the form of animal costumes or some other defensive physical animalistic features. In some of the pieces, Yamamoto paints settings inspired by nature, further enhancing the contemplative space into which the subject seems to find solace in the dreamlike natural habitat. About Travis Lampe: Lampe grew up in a small town in Kansas. After earning a degree in Graphic Design, he took a job in advertising as an art director in Chicago. While making ads for breakfast cereals and well-known purveyors of inexpensive furniture over a period of several years, he secretly began “developing his illustration style,” which is not the same thing as “procrastinating.” Finally, when he felt the world was ready, he began his slow explosion onto the art and illustration scene, as it were. He currently lives and works in Chicago.

[usafphantom2]

Benjamin Donnelly

McDonnell Douglas F-4D Phantom II

Though the F-4C Phantom II had proven very successful in USAF service in Vietnam, it was still basically a US Navy aircraft, designed for fleet defense rather than the multirole fighter the USAF was using it for. In Vietnam, the F-4C was shown to be a good fighter, but only fair at dropping bombs. Even before the United States got more involved in the Vietnam War, the USAF had commissioned McDonnell Douglas to build a Phantom variant to USAF standards in 1964 as the F-4D.

Though externally similar to the F-4C, retaining the undernose infrared sensor housing (though the sensor itself was removed) and folding wings, the F-4D was meant more for ground attack than dogfighting. This was reflected in the APQ-109A radar, which was smaller and optimized for air-to-ground missions. The avionics were also different, including a ASQ-91 weapons delivery system, capability to drop precision guided munitions and their various designators, and improved electronic countermeasures. The USAF did make a few changes to the F-4D for the air-to-air role, with a much improved gunsight, and the deletion of AIM-9 Sidewinder capability on the inboard missile rails in favor of the AIM-4 Falcon—unlike the Sidewinder, the Falcon was wholly a USAF weapon. The first F-4D flew in December 1965 and entered service in March 1966.

Reception of the F-4D in Vietnam was mixed. Though pilots liked the improved gunsight and ground troops appreciated that bomb accuracy was much improved, it was not the dogfighter that USAF pilots wanted—especially Colonel Robin Olds, whose 8th Tactical Fighter Wing received the first F-4Ds in Southeast Asia. It still lacked an internal gun, and mounting a SUU-23 20mm gunpod on the centerline was only a partial solution. The loss of full Sidewinder capability in favor of the near-worthless Falcon was thoroughly disliked, which led to a rewiring that gave the F-4D the same Sidewinder capacity of the F-4C. Nonetheless, though not truly designed for air combat, the F-4D was to give a superb accounting for itself, shooting down at least 43 enemy aircraft from 1967 to the end of the war, and was flown by not only Olds, but also all three of the USAF aces—Steve Ritchie, Charles deBellevue, and Jeffrey Feinstein. F-4Ds were also modified to use the Pave Spike and Pave Knife laser designators, which proved highly effective during the Linebacker offensive of 1972.

After the end of the Vietnam War, the F-4D had already replaced most of the F-4Cs in service. It remained in service with frontline USAF units, but the F-4E in turn replaced many F-4Ds in the 1970s. By the early 1980s, the remaining F-4Ds in USAF service were relegated to USAF Reserve and Air National Guard units, primarily in the interceptor role in the latter. Reserve units only operated F-4Ds until 1989, but it was to persist in ANG units until 1992, replaced by both F-15s and F-16s. The F-4D was also exported to Iran and South Korea; in Iranian service, F-4Ds were used during the Iran-Iraq War as fighter-bombers. It is known that a few F-4Ds remain operational in Iran, though operational capability is low due to a lack of spare parts. South Korea’s F-4Ds operated until 2008, when they began to be replaced by F-15K Slam Eagles. Of 793 F-4Ds built that do not remain in service, nine are on display in museums, with one flyable example.

Dad got this picture of 65-0694 at Ramstein air base, just before the 1978 airshow. The USAF was in transition in markings at the time, and while this aircraft carries the standard Southeast Asia camouflage of the time, it still retains white tailcodes rather than subdued. 65-0694 was apparently newly assigned to the 401st TFW, stationed at Torrejon, Spain; it had served with the 81st TFW at RAF Bentwaters, which was reequipping with A-10 Thunderbolt IIs at the time. It returned stateside some time after this, and eventually ended up with first the 194th FIS (California Air National Guard) and finally with the 171st FIS (Michigan ANG). 65-0694 was retired in 1993 and was scrapped in 2015.

[thegaytraveler]

Autumn is Provincetown’s secret season

Those who love Provincetown's incredible beaches, alfresco restaurants, art galleries, boutiques, and legendary LGBTQ+ openness know that summer doesn’t end on Labor Day. P-town has a secret season, a second summer that extends through October. Insiders consider it the very best time of the year to visit. They come for the warm sands, glorious Cape Cod weather, vibrant queer life celebrations, and a bevy of art, literary, and food festivals. 

Tennessee Williams Weekend, September 22-25, 2022

The 17th season of this festival features a lineup of plays written by Tennessee Williams. Entitled “Tutti Frutti Tennessee Williams,” which translated to all the flavors of Williams, it’s the first all-Williams festival since 2006, ranging from the 1930s to the 1980s. They range from his Broadway hits like “Cat on a Hot Tin Roof” to more radical works such as “One Arm.” As Williams would have put it, the selection includes “the strange, the crazed, the queer.”

Mates Leather Weekend XXV, September 29 - October 3, 2022  

The 25th edition of Mates Leather Weekend promises a kick-back, have a good time, and meet some new friends kind of weekend. It’s aimed at those who want to hang out, socialize, relax or party with other like-minded people in leather and rubber gear and uniforms.

ArtProvincetown Festival, October 7-9, 2022

The second annual ArtProvincetown Festival will include museums, galleries, studios, and a marketplace for artists and artisans. The festival welcomes artists, collectors, designers, and art fans of all forms, and it will feature exhibitions, receptions, and parties. The mission of the ArtProvincetown Festival is to highlight the diverse and beautiful art that Ptown has to offer.

Washashore Music & Arts Festival, October 7-9, 2022

The Washashore Music & Arts Festival takes place the same weekend as ArtsProvincetown and is an annual gathering celebrating live music, queer artists, beer, and the singularity of Provincetown. Calling itself “A 3 Day, Town-Wide, Genre-Bending Queer Music Festival,” the event is presented by Provincetown Brewing Co., Crown & Anchor, and Tangle-Made Productions.

Women’s Week October 10-16, 2022

Women’s Week is the ultimate festival in the US to celebrate women. There are more than 150 events scheduled for the week. The highlights include shows, film screenings, dance parties, music, comedy, dune tours, sailing excursions, food events, and sports events. Women’s Week brings thousands of women together—singles and couples alike. As an added attraction, Fox Fest will run October 14-16.

Single Women’s Weekend October 12-15, 2022

The annual Single Women’s Weekend has emerged as a fast, fun way for single lesbians to meet other single lesbians – live and in person, and it’s now a vital part of Woman’s Week.

Fantasia Fair, October 16-23, 2022

Launched in 1975, Fantasia Fair (a.k.a. Fan Fair) is the original transgender event. It offers anyone who identifies as trans (as well as those who don’t) a place to gather. Daily keynote speakers and workshops are features of the busy week-long schedule, filled with fashion shows, formal banquets, lunches, and a cabaret/talent show. It’s an immersive event, considered the longest-running transgender event in the world.

Spooky Bear Halloween Weekend, October 28-30, 2022

Spooky Bear Weekend features parties, dances, a haunted house, a costume ball, and shows. It ushers in the town-wide celebration of Halloween, which may well rank as the most festive and colorful night of the year on Commercial Street.

Provincetown Food & Wine Festival, November 2-6, 2022

The second annual Provincetown Food & Wine Festival has “Celebrate Portugal” as its theme, acknowledging the origins of the town's Portuguese fishermen and their families. Yet it also salutes the varied tastes and wines found on the entire Iberian Peninsula. Many restaurants will be offering specials and prix fixe menus. Events include an Uncorked Opening Reception, a Gallery Sip & Stroll, Across the Pyrenees Fine Wine Tasting, Spanish Wine Dinner at Tin Pan Alley, Iberian Fine Wine Dinner at Strangers & Saints, The Grand Tasting, and the Cava & Sangria Drag Brunch. The festival also includes a daily Tea Dance at The Boatslip and the welcome news that the ferries from Boston will be running that weekend. Details at Provincetown Food & Wine Festival.

[atlanticcanada]

N.S. announces "near full-lockdown measures" for Halifax area as COVID-19 cases continue to climb

As Nova Scotia reports 38 new cases of COVID-19 – the largest single-day case increase in nearly one year – the province's premier announced tighter restrictions in the Halifax area and some surrounding communities in order to help curb the spread of the virus.

During a news conference on Thursday, Premier Iain Rankin said effective 8 a.m. on Thursday, tightened measures will be put into place, which apply to the Halifax Regional Municipality, as well as the communities of Hubbards, Milford, Lantz, Elmsdale, Enfield, South Uniacke, Ecum Secum, and Trafalgar.

"We are using these restrictions as a circuit breaker to prevent our case count from increasing," said Premier Rankin. "We are taking quick action to limit the opportunity for the virus to spread any further in local communities."

The new restrictions include: 

the gathering limit is five, both indoors and outdoors

no social events, special events, festivals, arts/cultural events, sports events, faith gatherings, wedding receptions, or funeral visitation or receptions

wedding and funeral ceremonies hosted by a recognized business or organization can have five people, plus officiants

no meetings or training except mental health and addictions support groups, which can have 25 people with physical distancing and masks

no sports practices, training, games, competitions or tournaments

no arts and culture rehearsals or in-person performances

virtual gatherings and performances can be held with a maximum of five people in one location

restaurants and licensed establishments are closed to seated service

licensed and unlicensed establishments cannot host activities such as darts, cards, pool and bowling

retail businesses and malls can operate at 25 per cent capacity and must follow other public health measures

personal services such as hair salons, barber shops and spas are closed

unregulated health professions such as massage therapy and other complementary or alternative medicine providers are closed, with the exception of continuing care workers, home-care workers, ocularists and podiatrists

indoor fitness facilities like gyms and yoga studios and sport and recreation facilities like pools, arenas, tennis courts and large multipurpose recreation facilities are closed

outdoor fitness and recreation businesses can operate with 25 people and physical distancing

businesses and organizations offering a wide variety of indoor recreation activities are closed, such as indoor play areas, arcades, climbing facilities, dance classes and music lessons

museums, libraries and the Art Gallery of Nova Scotia are closed, but libraries can offer pick-up and drop-off of books and other materials Nova Scotia Art Gallery are closed, but libraries can offer pick-up and drop-off of books and other materials

there will be no visitors or volunteers allowed inside long-term care facilities but designated care providers can continue to provide normal service and outdoor visits can be arranged

all homes licensed by the Department of Community Service under the Homes for Special Care Act cannot have visitors and residents cannot have community access

all adult day programs for persons with disabilities funded by the Department of Community Services will be closed except for scheduled vaccine clinics at three of these programs

all adult day programs for seniors remain closed provincewide

in private indoor workplaces such as offices or warehouses, masks are mandatory effective April 23 in all common areas, places where there is interaction with the public, areas with poor ventilation, and areas where distance cannot be maintained

This is a developing story. More to come.

from CTV News - Atlantic https://ift.tt/3tKmNmf

[architectnews]

The Story of Gardening Museum, Somerset

The Story of Gardening Museum, English Real Estate Development, Architecture Images

The Story of Gardening Museum in England

23 Dec 2021

Architects: Stonewood Design

Location: Somerset, UK

The Story of Gardening Museum

The Story of Gardening Museum has been awarded a RIBA National Award 2021, a RIBA South West Sustainability Award 2021, and the Newt in Somerset have received the RIBA South West Client of the Year 2021.

The Story of Gardening is located on the edge of a well-established small woodland area within the wider visitor attraction at The Newt in Somerset, near to Bruton. See https://ift.tt/30LFYT9

The Estate includes gardens, cider production, visitor facilities, hotel and a restaurant. The Story of Gardening is intended to encourage visitors to explore further afield than the nucleus of visitor facilities around the historic walled garden.

The Story of Gardening is set underground with a long glazed elevation opening onto the adjacent woodland. The roof of the museum is grassed and is inhabited by the Estate deer herd. This ensures that the Museum has as low a visual impact as possible as one approaches it.

The experience of approaching the The Story of Gardening is dramatic. The woodland floor descends from the museum forming a dell at a lower level. This topography provides the setting for a tree-top walkway. The walkway, called “The Viper”, starts its journey at the museum roof level and winds its way down through the trees. The visitor approaches it at the northern end of the museum and walks through the tree canopies towards the museum entrance. As one wonders through the trees, immersed in the flora and fauna of the woodland, views of the museum are glimpsed through the leaves and branches at canopy level.

“Distracted as you are by the treetops themselves, the revealing of the glazed facade of museum out of the side of the dell is all the more surprising for the fact that it’s done by degrees, a twist on the traditional Ha-Ha. The glazing, close to the woods, behaves like an invisibility cloak, the building’s principal elevation reflecting the treescape and stealthily hiding what is effectively a concrete bunker.” RIBA Journalist Jan-Carlos Kucharek

On arrival at the museum entrance the walkway splays out to form a terrace and the museum reveals itself. Full height glazing to the front elevation is minimal and elegant. During the day-time the woodland is reflected in the glazing. 5m high glazed sliding doors open to present the visitor reception and cafe.

The drama of arrival at the The Story of Gardening is set up by the juxtaposition of a civic public space which is located in a secluded woodland setting.

The permanent exhibition at the museum operates as an integral facet of The Newt in Somerset garden visit. It offers the opportunity to engage in a deeper exploration of the central theme of the estate, the garden. The exhibition considers the history of gardening from biblical Eden through to today’s popular culture of gardening. It explores the microscopic world of botany and showcases the technology of gardening and the tools and techniques that have been developed through centuries to the present day.

All the while, whilst enjoying the exhibition and the museum, the visitor can look back outside through the glazed elevation to the woodland right outside.

The interior of the museum is a simple in-situ concrete shell. The cafe and restroom areas display a continental style “civic-ness” through the use of moulded ceramic tiles. This is complemented by a playfulness in metal coat pegs which are handcrafted by local blacksmiths in a natural waxed finish to the theme of garden tools, flowers and insects.

The southern wall of the museum, and the base to the glazed elevation are expressed inside and outside by the use of local Hadspen stone aggregate concrete. This material is being used elsewhere on the Estate and grounds the museum in its context.

The contents of the museum can exist in a robust environment. The internal environment of the museum is therefore more about sufficient fresh air and correct temperature for visitors than a perfectly controlled atmosphere more akin to other museums and galleries. This allows the cafe space to be an “in-between”environment where staff and visitors may decide to keep their coats on.

The environmental design of the museum utilises thermal mass from the in-situ concrete which lessons the cooling and heating load. A ground source heat pump with a horizontal ground array primarily feeds underfloor heating. A mechanical vent heat recovering system minimises the energy required to heat and cool air.

The Story of Gardening Museum in south west England – Building Information

Architect: Stonewood Design

Project size: 1000 sqm Completion date: 2019 Building levels: 1

Lead Consultant / Architect: Stonewood Design Structural, Civil and Fire Engineers: Hydrock Services Engineer: E3 Planning Consultant: AZ Urban Studio Exhibition Designer: Kossmann de Jong Glazing Consultant: Glass Light and Special Structures Cost Consultant: Synergy Main Contractor: Beard Construction “Viper” Architect: Mark Thomas Architects and Henry Fagan and Partners

Photographer: Craig Auckland

The Story of Gardening Museum images / information received 231221

Location: Somerset, UK

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Website: Somerset

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