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While not my favourite combination of film and developer, that doesn't mean TMax Developer does a good job, it does, it just doesn't make Tri-X look like the Tri-X I know and enjoy. But if it's all you have, it won't do a terrible job.
You can read the full review online
www.alexluyckx.com/blog/index.php/2018/04/24/ccrfrb-revie...
Nikon F5 - AF Nikkor 50mm 1:1.4D - Kodak Tri-X 400 @ ASA-320
Kodak TMax Developer (1+4) 7:15 @ 20C
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
www.kljdevelopers.com - KLJ Developers Pvt. Ltd. is one of the best real estate companies in Faridabad, Haryana. KLJ Developers Pvt. Ltd. has launched many projects in Faridabad like KLJ Greens, KLJ Platinum Plus and others.
Animations in IOS developer offer functional context to users and provide developers with a simple way to bring designs to life. While Apple provides two common methods for animations, CAAnimations , they either sacrifice flexibility or create a lot of boilerplate code. That’s why at Savvy Apps we advocate learning the components and concepts of animations. This approach allows developers the freedom to find new ways to do animations. In this post, we define the components of an animation, as well as provide tips for creating and experimenting with interactive animations.
Dissecting an Animation
To understand how animations work you need to know the components of an IOS developer. These are the basic steps that you will need to take to create your own animation system.
Establish the Purpose of the Animation
This CatoAudio animation suggests there's more content users can interact with under the player overlay.
The first step in creating any animation is determining what it is you're looking to accomplish with your animation. Your animation can serve one or a number of purposes. Do you want it to make a certain flow or part of the app feel more natural? Do you want that little extra touch to provide delight for users? Animations can also serve a functional role in your app by providing important context for users. Arguably the most effective animations clue users in on what's happening in the app and what to do next.Take this audio player animation we created in CatoAudio for The Cato Institute. The animation of the player expanding up from the bottom to fill the screen helps the user understand that the player is the topmost view of the IOS developer. The animation suggests that the user can close the view and access additional content by dragging the player down to its previous position. This focus on providing contextual functionality with animations informed many of our navigation decisions in CatoAudio.
Ribbit's Crick Anderson talks the magic of a 70/30 (developer/Ribbit) rev share at the Ribbit Spawn. Sunday, March 16, 2008 - developer.ribbit.com
Considering today's market scenario, the best strategy to choose Mobile Application Development Company in India is by having a clear cut idea on your resources and requirements, business challenges and market needs. Aforementioned factors are not the ultimate answer to your quest yet can be relied upon partially, if only you satisfied rest of the entities.
Shot with Tri-X on a GR-1, but the developer we used had expired. Here are some of the gloomy results.
OYO rooms are a largest collection of the hotels that can be booked through your Smartphone devices.
If you are having this kind of business idea, then consult FuGenX Technologies, the leading mobile apps development company in India. The brilliant app developers of FuGenX can help you in developing the smart applications for any kind of business.
F16 1/100 sec - Former Marury Elementary School, George St, Fredericksburg VA
Zeiss Ikonta Taxona 35mm Camera 1952
This camera makes square pictures on 35mm film
24mm X 24mm size negative
Novonar Anastigmat 3.5/35 lens
Svema FN64 film
Developed with Cinestill Film Df96 Monobath Developer
75 degrees 4 minutes
20180810ZIT-002
'Late Developer' by Alex Frost, artwork on show at the end of year in City & Guilds of London Art School
The Art School’s Architectural Heritage
City & Guilds of London Art School occupies nos. 114-124 Kennington Park Road, a terrace of late 18th century houses, and 19th and 20th century studios built over the gardens behind. The terrace is Grade II listed and stands in the Kennington Conservation Area. The Art School has been on this site since 1879.
The houses at nos. 114-124 Kennington Park Road were built in 1788, as part of the first wave of urbanisation in this area. They were designed as one half of a gateway development to a planned grand square by the builder Michael Searles. The projected plans were never fully realised, and the development of the square was carried out on a much-reduced scale, becoming what is now Cleaver Square. Although originally designed as a middle-class street, the growth of London in the Victorian era and the flight of prosperous families to suburbs such as Clapham and Brixton led to a decline in the area. While the 19th-century occupants of the Georgian houses are unknown, it seems quite possible that they were lower middle or working class.
In 1879, the South London Technical Art College (City & Guilds of London Art School since 1937) moved into nos. 122-124. Its predecessor, the Lambeth School of Art, had been founded nearby specifically to be close to the Doulton potteries, in order to provide art education to local workers (and mainly women). The first studio sheds, located behind nos. 122-124, were built shortly after 1879. These structures, shown on the Ordnance Survey map of 1894, had timber truss roofs. Later on, between 1918 and 1939, the Art School expanded into nos. 118-120, and new studios with steel frame trusses were constructed in the gardens behind. No. 116 Kennington Park Road was purchased by the Art School in 1974, while the final property of the six, no. 114, was acquired in the late 1980s, allowing the stone yard area to be developed.
21st-Century Developments
Since 2010, the Art School has embarked on an ambitious programme of renovations and enhancements on its Kennington site. The Masterplan for the project, established under the direction of Alan Higgs Architects, is based on a three-phase delivery:
Phase 1 (2010-2014)
Completed over five consecutive summers, Phase 1 consisted of the renovation and upgrade of the six terrace buildings, including refurbishing some 35 studios, creating the expanded Sackler Library, and improving circulation throughout. In 2012, the Foundation Department relocated to the adjacent 1930s Old Vauxhall Telephone Exchange building.
Phase 2 (2015-2016)
This phase involves the creation of a new entrance for the Art School by inserting a glazed steel canopy structure forming an atrium in the space between the Georgian terrace and the studio buildings. Following ground level works in 2015, summer of 2016 saw continued developments with the installation of the new roof structure.
Phase 3
The final phase will focus on a partial re-development and refurbishment of the studio buildings at the rear of the site, which increase the work spaces for creative practice while protecting the special character and the legacy embodied in its buildings.
[Open House London]
See the "What is an API?" video
live.pirillo.com/ - API stands for Application Programming Interface. It allows developers share information between their programs. It's a standard method where developers can access a program (or website) and build a program around it.Wikipedia has this to say:An application programming interface (API) is a source code interface that a computer system or program library provides to support requests for services to be made of it by a computer program. An API differs from an application binary interface in that it is specified in terms of a programming language that can be compiled when an application is built, rather than an explicit low level description of how data are laid out in memory. Recently there has been a debate over MySpace shutting down widgets that are not officially sanctioned by MySpace. Facebook, a competitor to MySpce, has opened its API which allows programmers to develop programs and widgets around the Facebook service.What do you think about the F
acebook/MySpace debate?Want to embed our API video in your blog? Use this code:http://live.pirillo.com/ / http://chris.pirillo.com/media/This video was originally shared on blip.tv by l0ckergn0me with a Creative Commons Attribution-NonCommercial-NoDerivs license.
Charles Freedman, Director of Developer Platform, tells 'em what he's gonna tell 'em - Sunday, March 16, 2008
I had always wanted to try this homemade developer but didn’t want to waste a roll of something from a trip. So, I took a tool of Kentmere (inexpensive B&W film), went and bought the three ingredients I didn’t have and set out some items to shoot. The ingredients are, Washing Soda Powder (Sodium Carbonate) I bought at Home Depot, Vitamin C Powder I bought at Whole Foods and Instant Caffeinated Coffee that I bought at Trader Joe’s, and the iodized salt I had. For a 1000ml solution use 40 grams of instant coffee, 16 grams of washing soda, 8 grams of vitamin C powder and 1 gram of iodized salt (optional and not needed if using distilled or filtered water). Mix the coffee in 800 grams of water, mix in the washing soda, mix in the vitamin c (there will be a slight reaction because of the washing soda, then add the salt if needed. Bring the temperature of the solution to 68 degrees F or 20 C. For developing time used the Stand Process. The photos lost much of the shadow details and I think this was because I agitated at the beginning and again at the halfway mark of 30 minutes. Next time I will only agitate for 1 minute initially and end the process at 45 minutes.
Camera: Leica R6
Lens: Leitz/Leica Elmarit-R 28mm
Film: Eastman Double-X 5222, EI 400
Developer: Diafine
Dilution & Time: Part A 4 Min, Part B 4 Min
Other Notes:
This analog film photograph was digitized by photographing the negative using a Canon R6 camera, Schneider Componon S 50mm f/2.8 enlarging lens mounted to a Canon FL Bellows, and a Nikon slide copying adapter ES-1 attached to the front of the lens. Illumination of the negative was by a Canon 600 EX Speedlite. Digital image imported to Lightroom, adjusted, and then exported as a JPEG file.
First of all, you should do an internet search for the market’s best App Developer Singapore companies (or developer). This search will give you thousands of results. Some of these results will be paid advertisements from renowned companies. Likewise, you can browse through websites like craiglist to know more about hobbyists and students (limited experience) who are prepared to design Mobile App Developer Singapore . In most cases, freelances charge for every project or on an hourly basis.
When compared against freelance app developers for hire, firms and established companies seem like the right pick. That is because two or more people will work on your project. This way, Mobile App Development Singapore will be able to save more time and effort. In fact, you can ask them to design customized applications within short deadlines.When you hire app developer Singapore, you should be very careful and thoughtful. As mentioned previously, you will come across app developers for different prices and a wide range of skills. Never be tempted by the service provider’s low quotes. Always remember that Mobile Application Developer Singapore
is an interesting area where you pay for what you get. Thus, paying more can give you a better and an efficient app!
With 72,000 ATTENDEES benefiting over 16 game changing editions, Great International Developer Summit (GIDS) is the gold standard for Asia's software craftsman ecosystem for gaining exposure to and evaluating new projects, tools, services, platforms, languages, software and standards.
The 2023 edition of GIDS featured a convergence of eight broad tracks covering data, cloud, devops, software architecture, Java, dynamic languages, mobile development and modern web. With 150+ long and short talks, keynotes, the program was packed with all that software practitioners need to determine which technologies will make the biggest impact this year.
Visit the official summit home at www.developersummit.com.
NBR Land Developers,is a young,dynamic and vibrant real estate developer from Bangalore formed to fulfill the aspirations of people to have their own house.
Cryptodevelopment is India's best developer to build your blockchain apps, bitcoin apps, decentralized apps, marketing and exchange software etc. They make as faster than you ever thought possible. Hire us to create your own apps for cryptocurrency world.
The Khronos held their fall Face to Face in San Antonio this year. The F2F is a Khonos member event that happens 3 times a year. It gives all members a chance to meet and discuss the future roadmap, bugs and development of Khronos technology. Oh, and to have a little fun as well!
© István Pénzes.
Please NOTE and RESPECT the copyright.
July 2014, Austria, Mauterndorf
Leica MP
Leica Summicron 50mm V2
Kodak Trix @ 400
Kodak T-Max developer
Imacon Flextight 343
Contextual Design Can Delight
Users don’t always notice when you are making their existence simpler, but if they're not taking into consideration the process then you’re most likely carrying out a good job. To be able to take the product from best to great, you'll need a delight factor. Maybe android developer a cute illustration, a awesome animation or an amount of personalization they didn’t expect. I still remember opening the Yahoo Weather application the very first time and getting an “Ooooo” moment in the photos of Toronto in the present the weather. It was three years ago that’s an enduring impression.
yahoo-weather-application-is-beautiful
Contextual Design Challenges
Since I’ve offered yourself on contextual design from the user’s perspective, I have to warn you that it is not easy to have it right. The end result should appear straightforward but designing and applying these solutions aren't. Among the first challenges you might encounter is collecting the information. Permissions can make barriers for accessing the required data. Designers have to arrange for all scenarios, including if there's no data to utilize. It is crucial that you with strict preferences can continue to possess a functional, positive knowledge about the application and don't feel punished. Once the information is available, analyzing the data and taking advantage of it appropriately may need an elaborate technical solution.
“It is essential that there's enough consistency inside the UI the user doesn't get lost and may maintain knowledge of the app”
Contextual designs will need more screen states than the usual static interface would there will not really be one “happy path”. What this means is more edge cases and much more testing. The altering nature of those solutions presents additional consumer experience challenges too. android developer is crucial that there's enough consistency inside the UI the user doesn't get lost and may maintain knowledge of the application. Here are a few items to bear in mind when making a contextual solution:
Maintain consistent navigation structure. It might adapt or expand but make certain the consumer will invariably understand how to circumvent.
Make certain all content and functionality is obtainable somewhere whatsoever occasions. Hiding a bit of content from the dashboard to manage the main focus is ok when the user is ready think it is elsewhere.
Keep the super-users in your mind out on another insult their intelligence. Eventually your users won’t require a guiding hands. Never be Clippy and berate users with unnecessary help. Rather consider methods for rewarding active users like revealing more personalization options.
clippy2
Contextual design could possibly be the first step toward your products or can simply add something special. It may tell a tale, personalize an event, provide user support, or strengthen your product meet a company objective. android developer might might need some extra effort to create and develop but it'll cost it for each user to feel like the application was created on their behalf.
Our Developer have the deep knowledge in white label taxi booking app development. Our taxi app developers have built native iOS & Android taxi/cab booking.if you get more information you can visit us:- taxiappdeveloper.com/
Hire php web developer for new and redesign of the website. We are offering world class quality Php website development services for more than 2+ years now. We provide timely, effective, customized and affordable PHP programming services. We also offer PHP programming solutions.
Leica M-A Summilux 1.4/35 Classic
My first film with my 2026 brand-new Leica M-A and the Summilux 1.4/35mm lens (see below details about the camera and the lens) was quite an emotion. I am trained to test many sorts of old camera’s of my collection, but doing so with brand-new camera is exceptional. It is an exception because in 2026 there are just a few possibilities of buying new film camera’s. My last one was the Pentax 17 in April 2025. Leica is the very last camera manufacturer still constructing and distributing « professional » grade film camera’s : their Leica M6 (produced again since 2022), the Leica MP (since 2003) and this Leica M-A (since 2014).
The Leica M-A is a Leica M of the same grade as my Leica M3 year 1956, so I had no question about the camera manipulation. The lens was however new to me and I had never used a Summilux 1:1.4 f=35mm with such wide apertu. Most of my unknowns were then about the lens.
I exposed the Kodak Tri-X film included in the delivery kit of my Leica M-A over two consecutive days: February 11 (views 1-20) and Feb. 12 (views 21-35), 2026 in Lyon, France. On the first day the weather was suitable for an outdoor session. I choose to goes to the cemetery of my district (Lyon Croix Rousse) because the funeral arts are full of details and textures that are interesting to test the lens with small-medium) apertures (f/4.5 to f/16). Due to a more degraded weather he day after with rain, I went to the Basilica of Notre-Dame de Fourvière t expose the rest in subdued light and larger aperture (full aperture f/1.4 to f/3.5).
The Summilux lens was equipped with a protective Leica UVa II filter E46 13034 and the Leica specific screw-on (E46) shade hood 12486. The camera was hold and secured using the vintage Leica ever-ready leather bag prepared for the M-A with the leather neck strap of the bag.
Expositions were determined for 400 ISO using my trusted Minolta Autometer III (1985) equipped either with a 10° finder for selective metering privileging the shadow area’s. Focus was obtained using the built-in optical range finder of the Leica M-A exceptionaly bright and clear even in subdued light.
Documentary smartphone picture
February 11-12, 2026
69004 Lyon
France
After completion to view Nr. 35 the film was processed using Adox Adonal developer at 1+50 dilution, 20°C, for 14min.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 15 (15.1.1, January 2026) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
On February 3, 2026, I took my partly delivered order of January, 2026, at the Leica Boutique, Place Bellecour, Lyon, France. I did this order between two short stays at
Hospital Edouard Herriot to have surgeries. It helped me a lot during these medical sessions to take an external source of distraction, not focused on the surgery moment upsetting necessities.
My project was initially based on the still existing film Leica M camera’s production maintained active today in Wetzlar, Germany. Leica Camera AG offers today for sale 3 film camera’s available in different finishes. These are the Leica M6, Leica M-P and Leica M-A on the margin of a very diverse range of digital Leica camera’s. The M-P and M-A are produced since 2014 and are likely the closest camera’s to the original first Leica M3 in (1954-1966). It is possible that Leica maintained their M film camera’sjust to sustain their iconic heritage in the history of the company.
The Leica M survived a time in the 1970-1980’s due to a modified production (Leica M4-2 then M6) by the Leitz Canada branch that closed in 1990. The Leica M6 was then again produced in Germany followed by the Leica M7. The further versions of Leica M8 to M11 today are digital camera’s.
I own in my camera collection since April 2024, a venerable standing Leica M3 year 1956 that is now, in 2026, 70-year old and in perfect optical and mechanical condition with a single and well matched Summicron 2/5cm. The camera is equipped as shown in the first commercial brochure of the Leica M3 in 1954 (standard lens, bag, shade hood). In general, when practicing photography, it is sometime safe to have a « backup » camera of the same type to be still operant in case of one camera failure. I was then amused to backup my Leica M3 by one of these brand-new produced Leica M.
The Leica M-A is the closest to my M3. It is purely mechanical camera, without any electrical on electronic circuitries. Intentionally, the Leica M-A has resurected some of the Leica M3 and Leica M2 (1958-1967) features as the metal advance lever, frame counter, engraving, rewind button, and of course their exact shape and dimensions. The front top cover is designed like the M2 with flat optical windows.
The complex range-finder combined to a framed viewer, including an automatic parallax compensation existed in different versions. The viewer of the Leica M3 was however never been mounted on other Leica M than the M3’s . The 0.91 magnification and its design made for focales 5, 9 and 13.5cm was modified on the Leica M-2 to enlarge the direct use of the viewer to the wide angle 35mm lenses to prise of a smaller magnification. The Leica M-A has o 0.72 magnification capable to display the 28mm frames. As a consequence the Leica M-A is more oriented to a common use of 28 and 35mm lenses.
I choose finally to order a M-A in the chrome silver finish with engraving resembling to the M3/M2 camera’s with a base lens Summilux 1.4/35mm « Classic » that mimics the original lens of 60’s, It was a formidable gift !. Ordering was however not so simple. At first, I was told that the Leica M-A production would be discontinued in Wetzlar … Arguing that the camera is still offered for sale of the on-line French website, I finally got an available box in stock in Wetzlar that was shipped straight to Lyon in 4-5 days. The lens was more slow to get, and I am still waiting.
I could however enjoy the pleasure of comparing in hands my 1956 Leica M3 and my 2026 Leica-M-A. The 70-year old Summicron 2/5cm (branded at this time « Ernst Leitz Wetzlar » fits smoothly and exactly to the M-A and the 50mm frame is automatically selected. The range-finder operates accurately. There is something fantastic to see the two camera side to side separated by 70 years. Installed in the vintage ever-ready leather bag I prepared for the Leica M-A, it is quite hard to detect at a first look that the M-A is a new camera.
The viewer is may be more contrasted due to an extensive AR-coating of of elements and the shutter has not the strange little noises that occurs on the M3 for the slow speeds, but essentially the two camera’s are indeed and undoudtly Leica’s M ! The grandfather and the grandson are so ressemblant.
About the lens :
After the delivery of my Leica M-A camera body the week before, I had the second part of my order on February 10, 2026, at the Leica Boutique, Place Bellecour, Lyon, France. I did this order in early January 2026, between two short stays at Hospital Edouard Herriot to have surgeries. It helped me a lot during these medical sessions to take an external source of distraction, not focused on the surgery moment upsetting necessities.
My brand-new 2026 Leica M-A (produced since 2014 by Leica Camera AG, Wetzlar, Germany) has the mixed technical features of the original Leica M3 (1954-1966) and Leica M2 (1958-1967). In particular the viewfinder system of the today M-A is inherited of the Leica M2 with a 0.72 magnification that allows the direct view field of a 35mm focal length. On the M3 , with its specific 0.91 magnification viewer, the use of 35mm lenses requires an external optical viewfinder or external optical correction of the built-in viewfinder. As a consequence the M3 appears optimal for the focal of 5, 9 and 13.5cm while the M2 appears more wide-angle lens oriented. The viewfinder of he M-A allows additionally also the framing of 28mm lens.
My idea was then to equip my M-A of a brand-new companion Leica 35mm lens of the current Leica production. The choice felt on the re-edition of an iconic 35mm Leica lens of the 60’s : a Summilux 1.4/35mm that first introduced to the market in 1961 as the first f/1.4 aperture 35mm lens.. This lens was as a modified double Gauss formula keeping the lens compact and not too heavy. The lens was soon highly reputed, especially in the photojournalism domain.
The « Steel Rim » describes a stainless steel ring mounted on the lens front to hold the shade hood. When looking at the optical scheme the modern version of the lens is not exactly the same but Leica keeper the major characteristic with a special softness at wide aperture 1.4 to 2.8 that miked the success of the lens at the time.
Receiving of a brand-new Leica lens is a not so common moment. The lens was packaged in Wetzlar on January 16, 2026 and delivered to the Leica boutique, Place Bellecour, Lyon, France on February, 10, 2026 where I took the precious package. We opened the boxes in the shop and had a good discussion staring at the jewel. When picking-up the lens I did not had my M-A body with me but we tried the mount on another second-hand M-A.
The lens is delivered by default with two shade hoods and rear/front ens caps. The replica of the original lens hood fits, clip-on , to the famous « »stieel rim » but is not curiously usable with filters. The second modern one was designed to be used with the E46 screwed filters. The seller offered for free a Leica UVa II, E46 filter (sliver decor) and a Leica clip-on lens cap E46 to be used with a filter because the default one is a bit too large with a filter on place on the lens. The package includes also a protective Leica black lens pouch, proof certificate and booklet.
taken from the coach
"Block of 185 flats above underground parking garage, ground floor filling station, restaurant and 16 shops. 1934-5, architects T P Bennett and Son, consulting architect Joseph Emberton, with reliefs by Eric Gill, developer Claude Leigh. Brown brick, Flemish bond with stone dressings, wrought iron balustrades and brick and stone balcony fronts; asphalt flat roofs on concrete slabs, brick chimneys. The building occupies a complete street block, with full site coverage on ground floor, apart from shallow entrance courtyard from Gloucester Place. Entrance to filling station on corner of Gloucester Place and Marylebone Road; entrances to underground parking garage from Marylebone Road and Glentworth Street. Remainder of perimeter occupied by shops and restaurant. 2 storey basement, and 10 storeys above, top 2 stepped back from street frontage. The main entrance to the flats leads through a vestibule, into a porter's office, into a broad, shallow foyer with apsidal ends, from which open out the twin circular front lift halls, while broad corridors lead to the twin circular rear lift halls. The 4 circulation cores open on to central spine corridors leading to individual flats on each level. There are also tenants' access stairs front and rear. The service entrances open from the left and right inner corners of the entrance courtyard, with spine corridors serving trunk rooms, banks of maids' bedrooms, and leading to the independent service stairs and lifts, which gave access to the kitchen entrances of each flat. The central area of the ground floor was reserved for a restaurant, given access from the foyer, but now served from the Glentworth Street frontage. The upper floors are planned as a series of linked T' and L' blocks, with their tails pointing streetwards, ranged around a broad court, open to Gloucester Place above the entrance. 1,2 and 3 bedroom flats were provided, those on the first floor having access to roof terraces, and those on the 8th and 9th floor set back behind sundecks.
Steel-framed structure, concrete floors, Moderne style facades. Ground floor podium has shopfronts of no distinction, below artificial stone fascia and cornice band. Sweeping concave curve to petrol filling station on corner of Gloucester Place and Marylebone Road emphasised by channelled rustication and bold overhanging canopy-cornice of first floor. Similar treatment to first floors of flats, with a continuous projecting balcony running around the perimeter at second floor level. External cladding of second floor and above predominantly brick, with vertical emphasis given by ribbed treatment on the immediate flanks of the projecting block ends. Purpose-designed Crittall horizontal bar metal windows throughout, many full length French windows. Twin canted bays either side of a roll-moulded artificial stone panel running from second to seventh floors, with the rolls taken across the third floor balcony. Iron balcony fronts with curved ends to all major rooms, with horizontal bars as in ships railings; brick balcony fronts to recessed facades between projections. Full length slit windows from first to ninth floors mark service stairs, rear access stairs have canted bay windows of similar height. Roofs have moulded artificial stone copings to parapets.
Entrance from Gloucester Place recessed beneath canopy, now insensitively altered, but originally with moulded banded fascia and curved corners. Stone panels either side carved by Eric Gill. Interior of foyer retains coved ceilings, and cased beams. Raised curved apsidal ends lead to circular lift halls, which have ribbed walls and circular-stepped ceilings. Tenants' stairs have terrazzo treads with mosaic inserts, terrazzo strings and iron railings with Art Deco detailing. Service stairs of simplified design, with concrete finish and utilitarian ships railings. Interiors of most flats comprehensively refurbished, with renewal of kitchen and bathroom fittings, but coved ceilings survive, with some original fire surrounds. Due to extent of alterations interiors of flats not of special interest.
Dorset House is one of the most impressive Moderne style complexes of flats built in central London. The practical skills of T P Bennett and Son ensured that the intricacies of separating service areas from tenants' corridors and public rooms was solved, and the design contribution of Joseph Emberton to the public areas raised the aesthetic quality well above the norms of most contemporary commercial developments. The Times' obit for Bennett, 31/01/80 recorded his ability to assess the potential of a site, prepare alternative schemes for its development, and to produce meticulous figures of cost and return gave him an enviable reputation with developers such as Claude Leigh (for whom he designed Dorset House, Marylebone)'. Original rents ranged from £150-£385 p.a." Historic England.
Again, we've got minimalistic vibes in the dev / magic area. The basics are in place now (bar from Foxinni's pending arrival, along with my search for another employee); so things are taking shape.
We obviously need some more decor in here as well and we might even get a nice old-school blackboard (ala Carsonified).
Photograph from Mobile Developer Summit 2012 held in Bangalore, India, 9-10 October 2012, produced by Saltmarch Media. Photograph ©Copyright Saltmarch Media. Non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.