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orthodoxydaily · 5 years

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Saints&Reading: Wed., Mar.18, 2020

St Cyril Archbishop of Jerusalem

Saint Cyril, Archbishop of Jerusalem, was born in Jerusalem in the year 315 and was raised in strict Christian piety. Upon reaching the age of maturity, he became a monk, and in the year 346 he became a presbyter. In the year 350, upon the death of Archbishop Maximus, he succeeded him on the episcopal throne of Jerusalem.

As Patriarch of Jerusalem, Saint Cyril zealously fought against the heresies of Arius and Macedonius. In so doing, he aroused the animosity of the Arian bishops, who sought to have him deposed and banished from Jerusalem.

There was a miraculous portent in 351 at Jerusalem: at the third hour of the day on the Feast of Pentecost, the Holy Cross appeared in the heavens, shining with a radiant light. It stretched from Golgotha above the Mount of Olives. Saint Cyril reported this portent to the Arian emperor Constantius (351-363), hoping to convert him to Orthodoxy.

The heretic Acacius, deposed by the Council of Sardica, was formerly the Metropolitan of Caesarea, and he collaborated with the emperor to have Saint Cyril removed. An intense famine struck Jerusalem, and Saint Cyril expended all his wealth in charity. But since the famine did not abate, the saint pawned church utensils, and used the money to buy wheat for the starving. The saint’s enemies spread a scandalous rumor that they had seen a woman in the city dancing around in clerical garb. Taking advantage of this rumor, the heretics forcibly expelled the saint...keep reading Source: Orthodox Church of America

St Nikolai, Bishop of Zhicha

Saint Nikolai of Zhicha, “the Serbian Chrysostom,” was born in Lelich in western Serbia on January 4, 1881 (December 23, 1880 O.S.). His parents were Dragomir and Katherine Velimirovich, who lived on a farm where they raised a large family. His pious mother was a major influence on his spiritual development, teaching him by word and especially by example. As a small child, Nikolai often walked three miles to the Chelije Monastery with his mother to attend services there.

Sickly as a child, Nikolai was not physically strong as an adult. He failed his physical requirements when he applied to the military academy, but his excellent academic qualifications allowed him to enter the Saint Sava Seminary in Belgrade, even before he finished preparatory school.

After graduating from the seminary in 1905, he earned doctoral degrees from the University of Berne in 1908, and from King’s College, Oxford in 1909. When he returned home, he fell ill with dysentery. Vowing to serve God for the rest of his life if he recovered, he was tonsured at the Rakovica Monastery on December 20, 1909 and was also ordained to the holy priesthood.

In 1910 he went to study in Russia to prepare himself for a teaching position at the seminary in Belgrade. At the Theological Academy in Saint Petersburg, the Provost asked him why he had come. He replied, “I wanted to be a shepherd. As a child, I tended my father’s sheep. Now that I am a man, I wish to tend the rational flock of my heavenly Father. I believe that is the way that has been shown to me.” The Provost smiled, pleased by this response, then showed the young man to his quarters...keep reading Source

Genesis 7:6-9 NKJV

6 Noah was six hundred years old when the floodwaters were on the earth. 7 So Noah, with his sons, his wife, and his sons' wives, went into the ark because of the waters of the flood. 8 Of clean animals, of animals that are unclean, of birds, and of everything that creeps on the earth, 9 two by two they went into the ark to Noah, male and female, as God had commanded Noah.

Proverbs 9:12-18 NKJV

12 If you are wise, you are wise for yourself, And if you scoff, you will bear it alone." 13 A foolish woman is clamorous; She is simple, and knows nothing. 14 For she sits at the door of her house, On a seat by the highest places of the city, 15 To call to those who pass by, Who go straight on their way: 16 "Whoever is simple, let him turn in here"; And as for him who lacks understanding, she says to him, 17 "Stolen water is sweet, And bread eaten in secret is pleasant." 18 But he does not know that the dead are there, That her guests are in the depths of hell.

#orthodoxy #spirituality #firstchristian #gospel #bible #mysticalchristianity

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sharonvu · 3 years

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#uncleleongseafood #chyesim #BabyKailan #meegoreng sumptuous #streetfood #wokcooking #zhichar #zichar #zhicha #fooddelivery #foodtakeaway #foodpickup https://www.instagram.com/p/CQEdj7cnHx7/?utm_medium=tumblr

#uncleleongseafood #chyesim #babykailan #meegoreng #streetfood #wokcooking #zhichar #zichar #zhicha #fooddelivery #foodtakeaway #foodpickup

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nofomoartworld · 7 years

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The 150,000 Square Foot '14th Factory' Is Bigger Than Its Kubrick Room

In a world where nothing is promised and everything hurts, Simon Birch takes his duty as an artist more seriously than ever. Though he speaks of the epic interdisciplinary exhibition he is currently presenting in Los Angeles in lofty mythological terms relating to a singular heroic journey, it is the sweep of humanity's collective historical experience that truly animates The 14th Factory.

Actually, it is both. A labyrinth of successive and simultaneous installations involving painting, drawing, sculpture, video, photography, performance, sound, music, and living land all inhabit the inherent visual spectacle of the adaptive reuse of a three-acre vintage industrial bakery complex on the fringe of Downtown. For Birch and his collaborators, the harrowing process of creation has been as heroic as the results themselves. But for Birch it is, above all, despite its high public profile, intensely personal.

Garlands. Simon Birch, Lily Kwang, and KplusK associates. All Photos Courtesy of The 14th Factory unless noted.

British by birth, he had been living in Hong Kong when he formulated the specific idea that became The 14th Factory about five years ago, but the truth is he'd been working towards it for closer to 20, a painter who increasingly found himself going sculptural, cinematic and environmental. He almost died once, of cancer, and since then he's gotten more ambitious and impatient. "It's about the body, punk rock, and civilization," Birch says. "Borders and borderlessness—it's an uncomfortable way of living. The bodies thrashing around in my paintings, they seem to me to be moving," which moved him inevitably to explore video. In fact, two of the most beautiful works in the exhibition are the videos This Brutal House, which features an achingly slow-motion hip-hop dance move executed in large-scale hi-def sound-drenched single-channel projection, and The Inhumans, which is a dark room hosting a multi-screen choreographed martial arts fight scene evoking Raft of the Medusa and Blade Runner at the same time.

Garlands. Installation view with photographs by Li Wei.

While it's the Instagram-breaking Barmecide Feast—glowing Kubrick room—and Crusher—hanging pitchforks—installations that grab all the social media headlines, the sprawling industrial bakery complex has a dozen more meaningful, quieter, nuanced, and monumental experiences to offer. Aside from the above-mentioned films there are several other immersive, dramatic video works, including an infamous one wherein Birch wrecks his own Ferrari on purpose, sacrificing it along with all the rest of his earthly wealth to this undertaking. But there are also quieter, more contemplative elements, such as a whispering chapel of folded ceramic flags, and the beguiling, witty, eccentric, fairytale vault of scores of crowns, appearing near the end as a heavenly promise of attainment. The whole property is linked together by an atmospheric, operatic soundtrack that is a work of art unto itself.

Jubilee. Paintings by Simon Birch.

An outdoor reflecting pool sprouts a dense vertical array of airplane wings in the multifaceted installation, Clean Air Turbulence, referencing the obscure origins of the Chinese aviation industry and its ties to the LA region, as well as the futility of attempting to outdistance your fate. An interior grass-covered rolling hillock encourages a moment of shoes-off nostalgia. A great interior arcade displays a series of hypnotic, visceral, chromatic, distressed portrait paintings by Birch—which, for him, is the literal and allegorical heart of the entire matter. There's an immense meteoric sculpture, a sort of crashed shell which enshrouds the Kubrick room, and it is built of shapes culled from his paintings; laser-cut shards that migrated from paint to digital to tangible, piece by piece. "It is all interconnected in a borderless utopia," remarks Birch, "a conceptual environment moving from violence and threat, to hope and growth. Myself as an artist, I'm about taking enormous action, about thinking anything is possible, like creating a whole world." He keeps his private painting studio on site, and it's magical to think he's always in there somewhere, hidden away, painting, even now.

The Inhumans. Wing Shya and Simon Birch. Editing by Jennifer Russell. Choreography by Hao Yibo. 6-channel video. Photo by Shana Nys Dambrot

"When I drew it out," says Birch, "my studio was a crazy map of arrows and strings," that sounded like the lair of an obsessive detective; and essentially The 14th Factory is a 150,000 square foot version of what's inside his head at all times. When it came to assembling a team, he basically called everyone he'd ever met, and talked about what they could do. "Like making a movie, it was a 14-part progression, very much like a script that needed all these different skills to become realized. I issued a reckless call to adventure with no guarantee of acknowledgement or reward," and everyone was all in. The results are inclusive, as people come up to Birch and thank him, cry, hug, and tell him he's changed their lives. He hardly knows what to make of it. "Regular people say this made them want to do something with their lives! It's powerful though of course that's a different conversation than talk of the critics or the market. But maybe the true reward is this—the gift I've been able to pass on to others."

Standard II. Sara Tse and anothermountainman.

The Meteor. Concept by Simon Birch. Designed by Taylor Philips Hungerford and KplusK associates.

The Inevitable. Eric Hu and Simon Birch. Editing asst by Touches. 6-channel video.

Clear Air Turbulence. Simon Birch.

The 14th Factory just announced it will extend its LA appearance through August 1. Follow the project on Instagram for updates and inspiration.

The complete list of collaborators, which forms a global community of interdisciplinary artists from China, Hong Kong, the United States, the United Kingdom and Canada, include: Simon Birch, Cang Xin, Devin Liston, Dominique Fung, Doug Foster, Eric Hu, Gary Gunn, Gloria Yu, Li Wei, Lily Kwong, Movana Chen, Paul Kember, Penny Rimbaud, Peter Yuill, Prodip Leung, Sara Tse, Scott Carthy, Scott Sporleder, Stanley Wong, Wing Shya, Yang Zhicha, and Hong Kong‐based design firm KplusK, with Paul Kember as lead architect.

Moment Factory Turns Nature Installation Into Vibrant, Multi-Sensory Arena

Take a Tour of Nick Cave's Colossal Playground of an Art Installation

Moment Factory Create A Massive Interactive Art Installation For LAX

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#IFTTT #creators

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mirandajfriedman · 7 years

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Art: LILY KWONG, CANG XIN, DOMINIQUE FUNG, SARA TSE, DOUG FOSTER, ERIC HU, GARY GUNN, GLORIA YU, PAUL KEMBER, LI WEI, MOVANA CHEN, SIMON BIRCH, PRODIP LEUNG, SCOTT CARTHY, SCOTT SPORLEDER, STANLEY WONG, WING SHYA, YANG ZHICHA; Sound: D.R.A.M., DONNIE TRUMPET, JOY WILLIAMS; Food: EL MILAGRO @the14thfactory @simonbirch @movanachen @dominiquefung @bigbabydram @sjcarthy @prodipleung @wingshya @liweiart @babygmadeacrown @paul.kember (at 14th Factory)

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orthodoxia-co · 7 years

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Translation of the relics of St. Nicholas (Velimirovich)

[ad_1] by Orthodoxy Cognate PAGE on May 3, 2017 in News Church of Serbia – 3/5/17 On Wednesday May 3rd (April 20th) we commemorate Translation of the relics (1991) of St. Nicholas (Velimirovich) of Ochrid and Zhicha (1956) from America to Serbia. Before us is a book about a theologian, minister, missionary, writer, poet, apostle, saint, and a man of dialogue: this book is about St. Nikolai…

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jeniferdlanceau · 8 years

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Pleated shutters enclose cylindrical enamelware museum and cultural centre by Wutopia Lab

Perforated-aluminium screens zigzag around the walls of this cylindrical arts museum in Shanghai, which was designed by Wutopia Lab and features a 1970s-style rockery.

Local architecture studio Wutopia Lab was asked to create the museum for the former manager of an enamelware factory, who wanted a space to showcase Chinese craft products – including metalware decorated with elaborate enamel patterns.

In response, the architects proposed creating a gallery space for the products accompanied by a coffee shop, a bed and breakfast, restaurant and other activity areas including a study and chess-playing rooms.

To create the cultural centre named Eight Tenths Garden, the studio renovated a four-storey cylindrical hall attached to a two-storey-high building formerly used as a sales centre.

The perforated plates of white aluminium cladding the circular building, which the architects folded like the pleats of a fan, are intended to block views from the tranquil garden to the interior.

"We use perforated aluminium plates folded in a fan-style to create a veil on the facade," said the architects.

"This veil is not the climate border, it has a glass curtain wall, a yard as well as a balcony behind," they added. "We created a blur between the facade and the climate border."

Another two buildings on the site enclose a triangular garden in the centre, which the architects landscaped to include a pool, small rockeries and stone bridges that emulate a 1970s park in the city.

"We hoped to build a garden that pays tribute to the Shanghai street park from the 1970s, as well as to the local garden history," said the architects.

A double-height gallery space occupies the first two levels of the circular-planned building. Here, enamelware objects including cups, plates, basins and a bathtub are arranged around the outskirts of the space.

Offices placed on the third floor are occupied by the client's son, who has started a contemporary brand for enamel products.

The bed and breakfast bedrooms are located on the fourth floor, each with access to a private courtyard and a vegetable garden occupying the roof.

Eight Tenths Gardens is one of a number of recently completed buildings featuring perforated metal facades. Other examples include a skinny Taiwanese townhouse, a commercial building in Japan and social housing in France.

Kengo Kuma dresses Shanghai tower in pleated aluminium for Soho China

Photography is by CreatAR.

Project credits:

Chief architect: Yu Ting Project architect: Ge Jun Design team: Dai Xinyang Construction drawings: Zhou Yi Lian, Chen Guohua, Yang Xueting, Ma Xinyu Interior: Fan Riqiao, Zhang Zhe Landscape: Guo Wen, Ni Zhicha, Baoyu Interior and landscape design consultant: Yu Ting Design Firm: Wutopia Lab LDI: Shanghai DuJuan Engineering Design and Consultants Limited Interior Design: ShangRuiYuan Building Design Consultants Limited Landscape design: Atelier VISION

The post Pleated shutters enclose cylindrical enamelware museum and cultural centre by Wutopia Lab appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/03/24/eight-tenths-garden-wutopia-lab-shanghai-china-arts-crafts-museum/

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juliandmouton30 · 8 years