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I got the little vintage rabbit for my birthday
made by Walter Bosse in the 1950
- the brown one is from Gobel
German postcard by Ross Verlag, no. 9574/1, 1935-1936. Photo: Ufa.
Actor, presenter and journalist Peter Bosse (1931) was a popular child star of the German cinema in the 1930s. The boy with his cheeky face made 28 films.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Design: Hertha Hoffmann. #5456. H: 8,5 cm. Sketch #799.
Hertha Hoffmann (1907 - 1999) designed many figures for Metzler and Ortloff between 1927 and 1930 while studying at the Royal School of Arts and Crafts in Munich. In 1935 she married the ceramist Otto Hufnagel and they both worked for Max Roesler, Bad Rodach.
Swedish postcard by Förlag Nordisk Konst, Stockholm, no. 1057. Photo: A.B. Svenska Biografteatern, Stockholm.
Harriet Bosse (1878-1961) was a Norwegian-Swedish singer and actor.
Harriet Sofie Bosse [Bå'sse] was born 19 February 1878 in Christiania (Oslo) from a German father, the publisher Heinrich Bosse, and a Danish mother, Anne-Marie Lehmann. Bosse studied at the Royal Conservatory of Music in Stockholm. In the spring of 1897, after three years of study, she graduated with special grades in singing. Bosse debuted in 1896 on stage in Romeo and Juliet at the Tivoli Theater in Christiania, in a setting by her sister Alma and under direction of the latter's husband Johan Fahlström. In the winter of 1898, she got the opportunity to follow lessons at the conservatory of the Comédie Française in Paris, and, subsequently in 1899, she was engaged at the Royal Dramatic Theatre in Stockholm. Since she had difficulties with the Swedish language, she took lessons with a speech therapist to get rid of her Norwegian accent. At the ‘Dramaten’ she played e.g. Hero in Shakespeare’s Much Ado About Nothing (1902) and Nennele in Giacosa’s Come le foglie (1903).
In these years she met the renowned playwright August Strindberg. He was 51, she 22. Strindberg liked her combination of a strong, modern and independent woman with delicate looks, so he wooed her and wrote plays especially for her, such as To Damascus, Easter, Crimes and Crimes, Swan White, Queen Christina, and A Dreamplay. She felt intimidated and not yet up to his heavy roles but accepted to play Elena in Easter, which was a big breakthrough for her in 1901. Harriet Bosse has himself told how her engagement with Strindberg began: "Strindberg put his hands on my shoulders and looked deeply and sincerely at me and asked: - Would you like to have a small child with me, Miss Bosse? I curtsied and answered quite hypnotic: Yes, thank you. And then we were engaged." They would be married in 1901-1904 and had a daughter Anne-Marie (1902-2007). However, as modern as he was in his plays, as old-fashioned Strindberg was in his interior decoration, refusing to alter anything from his late 19th century style. Moreover, because of his agoraphobia he cancelled their honeymoon and gave her a Baedeker instead to do the virtual version. He was also an extremely jealous person, while she disliked her ‘imprisonment’. Not even the birth of their daughter in 1902 could save the marriage. As of 1902 they lived apart and they divorced in 1904.
In 1906 Bosse was engaged by Albert Ranft to the Swedish Theatre in Stockholm and became the theater's big star in plays less conventional than at the Dramaten. Though her marriage with Strindberg was over and she remarried with actor Gunnar Wingård in 1908 – with whom she had a son – Bosse played in 1907 in two Strindberg plays at the ‘Svenska Teatern’: Ett drömspel (A Dream Play) and Kronbruden (The Bridal Crown). With A Dream Play she wrote theatre history. She also kept up a relationship with Strindberg, leaving her daughter with him when on tour to e.g. Helsinki, until she remarried. In addition she also acted in plays by e.g. Gorki (The Petty Bourgeois), Maeterlink (Pelléas et Mélisande), Shaw (Man and Superman), Sudermann (Johannes), Somerset Maugham (Mrs Dot), Lagerlöf (Gösta Berlings saga), and others. She was engaged again at the Royal Dramatic Theatre in 1911 with the promise of playing heavier roles. In 1911 she also divorced Wingård for his infidelity or his spendthrift (versions vary). In 1912 Bosse was confronted with a series of disasters: Strindberg died, her second ex-husband killed himself, her sister’s son drowned with the Titanic, and Strindberg’s daughter Greta was killed in a train crash. Fans of Wingård threatened Bosse for having caused his suicide.
In 1919 Victor Sjöström directed Bosse in what was thought to be her breakthrough in cinema, and what still goes as a milestone in the Swedish naturalist cinema: Ingmarssönerna (Sons of Ingmar, 1919). It co-starred Sjöström as a rich farmer’s son, Lill Ingmar [Little Ingmar], who because of his stern mother has caused his fiancée, the poor farmer woman Brita, trouble by postponing his marriage. So Brita gives birth to a baby out of wedlock, kills it out of despair and spends time in jail. In the end, after a discussion with the ghost of his forefather, Lill Ingmar repents, marries Brita and the two leave the bigot villagers. It was based on the first part of Sjöström’s adaptation of Selma Lagerlöf's novel Jerusalem, originally published 1901-1902. In 1920 Sjöström would direct, and star in, the sequel Karin Ingmarsdotter, in which Bosse’s part in the previous film would only be referred to; instead the female lead was for Tora Teje.
Though Ingmarssönerna was hailed by critics, and afterwards director Ingmar Bergman confessed to have been deepy impressed by it, it didn’t mean a filmic breakthrough for Bosse, despite he fact she had been the star of the film. Only 17 years after she would act in Bombi Bitt and I (1936), based on Fritiof Nilsson Piraten's popular first novel with the same title and directed by Gösta Rodin. Even if Bombi Bitt was successful, it was rather a lightweight production and with a smaller role for Bosse. Bosse also played supporting parts in Anna Lans (Rune Carlsten, 1943), starring Viveca Lindfors as the title character, and Appassionata (Olof Molander 1944), again starring Lindfors.
In 1919-21 Bosse played during the spring season at the "Intimate theater". In addition, she did guest performances in the provinces, as well as in Göteborg, Oslo and Helsingfors. In 1927 Bosse married for the third time, with popular actor Edvin Adolphson (until 1932). Her last ten years she acted at the Royal Dramatic Theatre 1933-1943. These she described herself as a calvary when she found it increasingly difficult to get interesting roles. In May 1943, she went into retirement and in 1955 she moved to Norway, where her daughter lived with the family. She regretted her move though, dearly missing Stockholm. Harriet Bosse died November 2, 1961 in Oslo.
Sources: English and Swedish Wikipedia, Svensk Filmdatabas, IMDB.
Et ouais moi quand je bosse au salon de coiffure, je fais des photos! Normal non? 8D
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30 seconds
f/22
ISO 100
Once I knew we had to get an architecture shot, this was it. It was actually a little more difficult than I thought to get because it was just dark in this room. pretty pleased with the result!
Série 12 photos
En préparation pour une autre escapade en VR, pas beaucoup de temps sur les réseaux
un petit partage photo de trois belles semaines en camping aux Bergeronnes avec les amis (es), encore beaucoup de photos, oiseaux, baleines, etc...
Au grand plaisir, les baleines a bosse, mes préférés des baleines sont venus nous visiter
Et ouais moi quand je bosse au salon de coiffure, je fais des photos! Normal non? 8D
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International architectural think tank, LAVA, go green at Customs House.
Summary:
Summary:
Chris Bosse, Tobias Wallisser and Alexander Rieck’s LAVA (Laboratory for Visionary Architecture) launched the ‘Green Void’, a spectacular sculptural installation suspended in the central atrium of Sydney Customs House.
LAVA designed the ‘Green Void’ installation specifically for the Customs House central atrium which spans through all five levels. Suspended from the top level Café Sydney restaurant, a vertical distance of almost 20m, the sculpture provides an intense visual contrast to the beautifully restored heritage interior of Customs House. GREEN VOID is a digital design, derived from nature, realized in lightweight fabric, using the latest digital fabrication and engineering techniques, to create more with less. Comprised of 3000 cubic meters of space is enclosed within a minimal surface area of 300 square meters and uses only 40 kg of lightweight material.
The Customs House ‘Media Wall’ displays content across 11 video screens detailing the process of design, engineering, fabrication and installation of the sculpture along with recent international design projects completed by the LAVA team.
3D works by multimedia artist Peter Murphy creating 3d immersive imagery can be viewed without shutter glasses displayed over the new 3D screen technology.
The entire installation is immersed in a soundscape by sound artist David Chesworth, who created a “digital rainforest”.
Graphic design by emerging graphic designers TOKO, featuring a 3dimensionally layered catalogue, a wireframed mediawall, and projections onto the building.
Tensile Membrane Company Mak Max, the engineers and fabricators of the sculpture have developed a unique workflow from digital design to Digital Fabrication of complex shapes.
The exhibition is part of the continuous multidisciplinary program developed by Jennifer Kwok, the Manager of Customs House, to activate the public space with a focus on featuring contemporary architecture, photography and multimedia exhibitions.
Background:
The installation is inspired by the relationship between man, nature and technology. SENSUAL, GREEN and DIGITAL, the installation captures some of the key visions of the design team, which has over the past 12 months established offices in Sydney, Abu Dhabi and Stuttgart.
The project caps off a spectacular year for the trio and follows LAVA’s successful launch of the Michael Schumacher World Champion Tower (MSWCT) an ultra-luxury residential tower in October in Abu Dhabi, and the November launch of the future hotel Showcase suite in Germany.
The team also managed to pick up Best International Interior and the Sustainability Grant at the 2008 Interior Design Awards.
Chris’s work on the Watercube Swimming Centre for Beijing 2008 received the prestigious Atmosphere Award at the 9th Annual Venice Biennale and Chris was recently recognized as an emerging architect on the world stage by the RIBA London.
Tobias was instrumental in the emergence of the recent Stuttgart Mercedes-Benz Museum between 2002 and 2007 which has attracted worldwide attention for its innovative spatial concept.
concept
The installation is a ‘Minimal Surface’ that consists of a tensioned Lycra material, digitally patterned and custom-tailored for the space. The Five “funnels” of the sculpture reach out to connect the various levels and carefully hover just off the main interior atrium of the Customs House above the model of the city.
LAVA Asia Pacific Director Chris Bosse explains:
“The shape of the installation is not explicitly designed; it is rather the result of the most efficient connection of different boundaries in three-dimensional space, which can be found in nature in things like plants and corals. We only determined the connection points within the space and the rest is a mathematical formula, a minimal surface.
the concept was achieved with a flexible material that follows the forces of gravity, tension and growth, similar to a spider web or a coral reef. We are interested in the geometries in nature that create both, efficiency and beauty”
The lightweight fabric design follows the natural lines, contours and surface-tension of the fabric.
While appearing solid, the structure is soft and flexible and creates highly unusual spaces within customs house, which come to life with projection and lighting.
Since the 1970’s, with Frei Otto’s soap-bubble experiments for the Munich Olympic Stadium, naturally evolving systems have been an intriguing area of design research; something that hasn’t been lost on the team and their fascination with new building typologies and naturally developed structures.
Lava sought for advise and inspiration from American artist Alexandra Kasuba, who since Woodstock 1972 has created imaginative membrane sculptures around the world, followed by international artists such as Amish Kapoor and Ernesto Neto.
“We wanted to see how far we could take the idea of creating more space with less material, filling 3000 cubic meters, the equivalent of 8 million cola cans, with a minimal surface of 300 square meters weighting only 40 kg.”, emphasises Tobias Wallisser Director of LAVA Europe and professor of Digital Design at the State Academy of Fine Arts Stuttgart.
Rising up to the top level restaurant, a vertical distance of almost 20m, the sculpture provides an intense visual contrast to the beautifully restored heritage interior of Customs House.
The Customs House ‘Media Wall’ is also activated with content detailing the process of design, engineering, fabrication and installation of the sculpture along with recent design projects completed by LAVA across 12 video screens.
The whole installation is immersed in a soundscape by sound artist David Chesworth, who created a “digital rainforest”.
Graphic design by emerging graphic designers TOKO, featuring a 3dimensionally layered catalogue, a wireframed mediawall, and projections onto the building.
3D works by visual artist Peter Murphy creating 3d immersive imagery that can be viewed without shutter glasses thanks to a new technology.
Catalogue Essay by Matteo Cainer , Architecture Critic, London.
Key data:
Building Materials: Specially treated high-tech Nylon and light
Dimensions: approx. 21x8x12m
Surface Area:300 m2
Volume/space: 3000 m3
Weight: 40 kg
Construction/manufacturing time: 5 weeks
Green Void Credits:
Chris Bosse, Tobias Wallisser, Alexander Rieck
Jarrod Lamshed, Esan Rahmani, Kim Ngoc Nguyen, Anh Dao Trinh, Erik Escalante Mendoza, Pascal Tures, Mi Jin Chun, Andrea Dorici.
Contact:
Chris Bosse
Architect | Director
LAVA
Laboratory for Visionary Architecture
72 Campbell Street
Surry Hills
Sydney NSW 2010
Australia
Phone: +61 2 92801475
Fax: +61 2 92818125
Mobile OZ: +61 (0)410773260
Mobile UAE: +971(0)501514386
Mail: bosse@l-a-v-a.net
Press inquiries for LAVA:
Jane Silversmith
jane_silversmith@mac.com
M + 61 [0] 408 029 118
LAVA
directors@L-a-v-a.net
Mak max:
Kobi Tollitt
KobiT@tmcshade.com
Daniel Cook
DanielC@tmcshade.com
Suite 420 185 Elizabeth Street
Sydney NSW 2000
Freecall: 1800 777 727
Customs house:
Jennifer Kwok
JKWOK@CITYOFSYDNEY.NSW.GOV.AU
JENNIFER KWOK | MANAGER CUSTOMS HOUSE
LEVEL 2 31 ALFRED STREET CIRCULAR QUAY NSW 2000
TELEPHONE 02 9242 8591 | MOBILE 0419 205 086
Green Void Features
Digital Workflow
The project renounces on the application of a structure in the traditional sense. Instead, the space is filled with a 3-dimensional lightweight-sculpture, solely based on minimal surface tension, freely stretching between wall and ceiling and floor.
The design and fabrication procedure uses state-of-the-art digital workflow; beginning with 3D computer modelling, that is engineered structurally before undergoing a process of computer controlled (CNC) material cutting and mechanical re-seaming.
The computer-model, based on the simulation of complexity in naturally evolving systems, feeds directly into a production-line of sail-making-software and digital manufacturing.
The product shows a new way of digital workflow, enabling the generation of space out of a lightweight material that requires minimal adjustments onsite to achieve a complete installation in an extremely short time.
Sustainability
LAVA’s process of optimized minimal surface design and CNC (computer numeric code) fabrication technology allows the sculpture to reveal a new dimension in sustainable design practice.
Fulfilling the sustainable agenda of the venue, the work succeeds in its quest for optimum efficiency in material usage, construction weight, fabrication and installation time, while at the same time achieving maximum visual impact in the large atrium space.
The pavilion is easily transportable to any place in the world; can be quickly installed, and is fully reusable.
Fabrication
The sculpture materials consist of a double stretch, 2 way woven fabric that is mechanically attached to specially designed aluminium track profiles. Each profile is suspended from above, and to the side, on 2mm stainless steel cabling.
LAVA BACKGROUND
At the vanguard of a nonconformist and inventive new generation in architecture,
LAVA bridges the gap between the dream and the real world.
LAVA operates as a unique think tank with branches placed strategically worldwide. It has been formed by some of the most experienced and forward thinking architects from around the globe.
LAVA was founded by Chris Bosse and Tobias Wallisser in 2007. During its first year, the office has completed a wide range of projects in Germany, Australia and the U.A.E.
Chris Bosse is the director of LAVA Asia Pacific, based in Sydney, Australia. Chris is Adjunct Professor and Innovation fellow at the University of Technology, Sydney and lectures worldwide.
Educated in Germany and Switzerland, Chris worked with several high-profile European Architects before moving to Sydney. For a number of years Chris was
Associate Architect at PTW Architects in Sydney, completing many projects in China, Vietnam, the Middle-East and Japan.
Chris’s work on the Watercube Swimming Centre in Beijing received the prestigious Atmosphere Award at the 9th Annual Venice Biennale and Chris was recently recognized as an emerging architect on the world stage by the RIBA London.
Tobias Wallisser and Alexander Rieck are the directors of LAVA Europe and are based in Stuttgart, Germany. Tobias is Professor of Innovative Construction and Spatial concepts at the State Academy of Fine Arts Stuttgart.
After studying architecture in Berlin, Stuttgart and New York, Tobias worked in the United States, Netherlands and Germany. For 10 years Tobias was Associate Architect at UNStudio in Amsterdam, completing a series of high Profile projects and master plans including the World Trade Centre project in New York and the Arnhem Interchange.
Tobias was instrumental in the emergence of the recent Stuttgart Mercedes-Benz Museum which has attracted worldwide attention for its innovative spatial
concept.
Alexander works as a senior researcher at the renowned Fraunhofer Institute in Stuttgart. He studied architecture in Stuttgart and Phoenix and worked for a number of high-profile architects in Germany before joining the field of research. He started his research career in the Virtual Reality environment.
Alexander has led many of the Office 21 research projects that produced groundbreaking work in the field of future office organisation. He is a expert
on innovations in the fields of office, hotel, living and future construction, and an author of many publications about working environments and building processes of the future.
Research and Design Focus
LAVA’s research and design focus allows the evolution of architectural and urban design outcomes inaccessible through traditional methodologies.
Our process continually evolves; responding to global and market forces to deliver high quality, technologically advanced and sustainable projects that inspire a new generation.
LAVA Sydney and Stuttgart already have become hotspots and breeding grounds for a new generation of architectural talent.
Network Practice
LAVA works as a network practice, providing Visionary Architectural and Urban design services worldwide.
The LAVA network provides clients with access to an extensive team of leading design consultants and offers a comprehensive list of Architectural Design, Urban Design, Development Feasibility, Marketing and Master planning services.
Our collaboration with the Fraunhofer Institute enhances our work; we can call on cutting-edge research in the field of virtual environments, revolutionary office configurations, new materials and future scenarios.
Our longstanding collaboration with the architectural office WENZEL+WENZEL allows us to provide continuous services and to execute and coordinate individual projects from the beginning to the end.
Collaborations:
ARUP Advanced Geometry Unit | London
Fraunhofer Institute of Industrial Engineering | Stuttgart
Fraunhofer Institute of Solar Energy Systems | Freiburg
PNYG: COMPANY | Dubai
Werner Sobek Ingenieure | Stuttgart
Teuffel Engineering Consultants | Stuttgart
Transsolar Energietechnik | Stuttgart
Wenzel+Wenzel Architects | Stuttgart - Abu Dhabi
Recent Projects
Within the last year, we have worked on the following projects:
Sports Resort | U.A.E.
Architonic Lounge | Cologne
Office Tower | Abu Dhabi
Guest House Al Otaiba | U.A.E.
LBBW Headquarters | Stuttgart
Boutique Hotel Study | U.A.E.
Branded Tower Concept
Branded Tower | Abu Dhabi
Education City Sports Facilities | Doha
Pol Oxygen Pavilion | Sydney
Mixed use Tower | Stuttgart
Master plan Fuxin | China
Future Hotel Showcase | Duisburg
Hotel Jaegerstrasse | Stuttgart
Armstrong Pavilion | Munich
Zero Energy Houses | Saudi Arabia
Bosse Concert, GladHouse Cottbus, Germany 19.02.2012
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This shot was taken at Bosse Field, located in Evansville, Indiana. Some filming of the movie "A League Of Their Own" took place here. In between innings when the Evansville Otters play, they have short games for the kids.
Camera: Vivitar V50 (Minolta X-300 clone)
Lens: Minolta MD Zoom 70-210mm
Film: Lucky SHD100 B&W 35mm
Shooting Program: Manual
Aperture: F/8
Shutter Speed: 1/60 sec.
Date: September 13th, 2016, 6.46 p.m.
Location: Evansville, Indiana, U.S.A.
Developing chemicals
Adox Adonal stand developing
1:150 - 1 1/2 hour
Water Rinse: 1 min.
Ilford Ilfostop Stopbath: 1 min.
Water Rinse: 1 min.
Ilford Hypam Fixer: 7 1/2 mins.
Water Rinse: 4 mins.
Kodak PhotoFlo 200: 1 min.
Vivitar V50 Lucky 100 17ff
Bosse, Glad-House Cottbus
Please press L for lightbox view
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German Postcard by Ross Verlag, no. A 1276/1, 1937-1938. Photo: Dührkoop.
Actor, presenter and journalist Peter Bosse (1931) was a popular child star of the German cinema in the 1930s. The boy with his cheeky face made 28 films.
Peter Bosse was the son of silent film actress Hilde Maroff. After some performances on the radio, he entered the film business. He made his debut as the son of the great opera singer Beniamino Gigli in Vergiß mein nicht (1935, Augusto Genina). The next year he became a popular child star with Schloß Vogelöd (1936, Max Obal) and as the small Peter in Schlußakkord (1936, Detlev Sierck/Douglas Sirk) with Willy Birgel and Lil Dagover. Another popular film was Das Gäßchen zum Paradies (1936, Martin Fric) with Hans Moser, in which Peter won the hearts of the public as a little orphan. Till the outbreak of the war followed many more films, including Solo per te (1937, Carmine Gallone) with opera singers Beniamino Gigli and Michael Bohnen, Frauenliebe - Frauenleid (1937) with Magda Schneider, Mutterlied (1938, Carmine Gallone) - again as the son of Beniamino Gigli, Asszony a valszuton / Die Frau am Scheidewege (1938, Josef von Báky) with Ewald Balser and Magda Schneider and Robert und Bertram (1939, Hans H. Zerlett).
Peter Bosse’s film career ended when WWII started. The Nazis didn’t permit him to act in films anymore on account of racial and ideological reasons. After the war, he followed acting classes and started to work as a stage actor in Berlin. Later he switched to the radio. He acted in many radio plays and worked also as a presenter. He played a few small roles in East German films like Der Prozeß wird vertagt (1958, Herbert Ballmann) and Der Traum des Hauptmann Loy (1961, Kurt Maetzig). Later he worked for television in the DDR as a child show host. In the 1990’s he founded the radio station 50 Plus (now Spreeradio), for which he was a presenter and the programme director.
Sources: Thomas Staedeli, Filmportal.de, Wikipedia and IMDb.