Mission:

To emulate the style of Ansel Adams, American (1902-1984).

 

WIT: I tried to take a quintenssential AA pic of an amazing landscape. I couldn't cut it. The landscape was not the problem; there are a lot of mountains and an mighty river out my back door, but I could not get anything close to the AA sharpness. And the tonal ranges on my landscape attempts were not good, partly because the weather has been very gray and overcast. So this is the 'northern' emulation of AA's gardenia(?) and driftwood. I plucked a snowberry branch and propped it on a really wonderful huge burl on a tree along my dog-walking path. I found this a difficult assignment, and I really didn't have a lot of time to work on it, but I do like this composition. I think it is better in b&w than the original in colour - I converted in pp and cropped.

The Eden Project is a visitor attraction in Cornwall, England, UK. The project is located in a reclaimed china clay pit, located 2 km (1.2 mi) from the town of St Blazey and 5 km (3 mi) from the larger town of St Austell.

 

The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. The biomes consist of hundreds of hexagonal and pentagonal ethylene tetrafluoroethylene (ETFE) inflated cells supported by geodesic tubular steel domes. The larger of the two biomes simulates a rainforest environment (and is the largest indoor rainforest in the world) and the second, a Mediterranean environment. The attraction also has an outside botanical garden which is home to many plants and wildlife native to Cornwall and the UK in general; it also has many plants that provide an important and interesting backstory, for example, those with a prehistoric heritage.

 

There are plans to build an Eden Project North in the seaside town of Morecambe, Lancashire, with a focus on the marine environment.

 

The clay pit in which the project is sited was in use for over 160 years. In 1981, the pit was used by the BBC as the planet surface of Magrathea in the TV series the Hitchhiker's Guide to the Galaxy. By the mid-1990s the pit was all but exhausted.

 

The initial idea for the project dates back to 1996, with construction beginning in 1998. The work was hampered by torrential rain in the first few months of the project, and parts of the pit flooded as it sits 15 m (49 ft) below the water table.

 

The first part of the Eden Project, the visitor centre, opened to the public in May 2000. The first plants began arriving in September of that year,[8] and the full site opened on 17 March 2001.

 

To counter criticism from environmental groups, the Eden Project committed to investigate a rail link to the site. The rail link was never built, and car parking on the site is still funded from revenue generated from general admission ticket sales.

 

The Eden Project was used as a filming location for the 2002 James Bond film Die Another Day. On 2 July 2005 The Eden Project hosted the "Africa Calling" concert of the Live 8 concert series. It has also provided some plants for the British Museum's Africa garden.

 

In 2005, the Project launched "A Time of Gifts" for the winter months, November to February. This features an ice rink covering the lake, with a small café-bar attached, as well as a Christmas market. Cornish choirs regularly perform in the biomes.

 

In 2007, the Eden Project campaigned unsuccessfully for £50 million in Big Lottery Fund money for a proposed desert biome.[10][11] It received just 12.07% of the votes, the lowest for the four projects being considered. As part of the campaign, the Eden Project invited people all over Cornwall to try to break the world record for the biggest ever pub quiz as part of its campaign to bring £50 million of lottery funds to Cornwall.

 

In December 2009, much of the project, including both greenhouses, became available to navigate through Google Street View.

 

The Eden Trust revealed a trading loss of £1.3 million for 2012–13, on a turnover of £25.4 million. The Eden Project had posted a surplus of £136,000 for the previous year. In 2014 Eden accounts showed a surplus of £2 million.

 

The World Pasty Championships, an international competition to find the best Cornish pasties and other pasty-type savoury snacks, have been held at the Eden Project since 2012.

 

The Eden Project is said to have contributed over £1 billion to the Cornish economy. In 2016, Eden became home to Europe's second-largest redwood forest (after the Giants Grove at Birr Castle, Birr Castle, Ireland) when forty saplings of coast redwoods, Sequoia sempervirens, which could live for 4,000 years and reach 115 metres in height, were planted there.

 

The Eden Project received 1,010,095 visitors in 2019.

 

In December 2020 the project was closed after heavy rain caused several landslips at the site. Managers at the site are assessing the damage and will announce when the project will reopen on the company's website. Reopening became irrelevant as Covid lockdown measures in the UK indefinitely closed the venue from early 2021, though it had reopened by May 2021 after remedial works had taken place. The site was used for an event during the 2021 G7 Summit, hosted by the United Kingdom.

 

The project was conceived by Tim Smit and Jonathan Ball, and designed by Grimshaw Architects and structural engineering firm Anthony Hunt Associates (now part of Sinclair Knight Merz). Davis Langdon carried out the project management, Sir Robert McAlpine and Alfred McAlpine did the construction, MERO jointly designed and built the biome steel structures, the ETFE pillows that build the façade were realized by Vector Foiltec, and Arup was the services engineer, economic consultant, environmental engineer and transportation engineer. Land Use Consultants led the masterplan and landscape design. The project took 2½ years to construct and opened to the public on 17 March 2001.

 

Once into the attraction, there is a meandering path with views of the two biomes, planted landscapes, including vegetable gardens, and sculptures that include a giant bee and previously The WEEE Man (removed in 2016), a towering figure made from old electrical appliances and was meant to represent the average electrical waste used by one person in a lifetime.

 

At the bottom of the pit are two covered biomes:

 

The Tropical Biome, covers 1.56 ha (3.9 acres) and measures 55 m (180 ft) high, 100 m (328 ft) wide, and 200 m (656 ft) long. It is used for tropical plants, such as fruiting banana plants, coffee, rubber and giant bamboo, and is kept at a tropical temperature and moisture level.

 

The Mediterranean Biome covers 0.654 ha (1.6 acres) and measures 35 m (115 ft) high, 65 m (213 ft) wide, and 135 m (443 ft) long. It houses familiar warm temperate and arid plants such as olives and grape vines and various sculptures.

 

The Outdoor Gardens represent the temperate regions of the world with plants such as tea, lavender, hops, hemp, and sunflowers, as well as local plant species.

 

The covered biomes are constructed from a tubular steel (hex-tri-hex) with mostly hexagonal external cladding panels made from the thermoplastic ETFE. Glass was avoided due to its weight and potential dangers. The cladding panels themselves are created from several layers of thin UV-transparent ETFE film, which are sealed around their perimeter and inflated to create a large cushion. The resulting cushion acts as a thermal blanket to the structure. The ETFE material is resistant to most stains, which simply wash off in the rain. If required, cleaning can be performed by abseilers. Although the ETFE is susceptible to punctures, these can be easily fixed with ETFE tape. The structure is completely self-supporting, with no internal supports, and takes the form of a geodesic structure. The panels vary in size up to 9 m (29.5 ft) across, with the largest at the top of the structure.

 

The ETFE technology was supplied and installed by the firm Vector Foiltec, which is also responsible for ongoing maintenance of the cladding. The steel spaceframe and cladding package (with Vector Foiltec as ETFE subcontractor) was designed, supplied and installed by MERO (UK) PLC, who also jointly developed the overall scheme geometry with the architect, Nicholas Grimshaw & Partners.

 

The entire build project was managed by McAlpine Joint Venture.

 

The Core is the latest addition to the site and opened in September 2005. It provides the Eden Project with an education facility, incorporating classrooms and exhibition spaces designed to help communicate Eden's central message about the relationship between people and plants. Accordingly, the building has taken its inspiration from plants, most noticeable in the form of the soaring timber roof, which gives the building its distinctive shape.

 

Grimshaw developed the geometry of the copper-clad roof in collaboration with a sculptor, Peter Randall-Page, and Mike Purvis of structural engineers SKM Anthony Hunts. It is derived from phyllotaxis, which is the mathematical basis for nearly all plant growth; the "opposing spirals" found in many plants such as the seeds in a sunflower's head, pine cones and pineapples. The copper was obtained from traceable sources, and the Eden Project is working with Rio Tinto Group to explore the possibility of encouraging further traceable supply routes for metals, which would enable users to avoid metals mined unethically. The services and acoustic, mechanical, and electrical engineering design was carried out by Buro Happold.

 

The Core is also home to art exhibitions throughout the year. A permanent installation entitled Seed, by Peter Randall-Page, occupies the anteroom. Seed is a large, 70 tonne egg-shaped stone installation standing some 13 feet (4.0 m) tall and displaying a complex pattern of protrusions that are based upon the geometric and mathematical principles that underlie plant growth.

 

Environmental aspects

The biomes provide diverse growing conditions, and many plants are on display.

 

The Eden Project includes environmental education focusing on the interdependence of plants and people; plants are labelled with their medicinal uses. The massive amounts of water required to create the humid conditions of the Tropical Biome, and to serve the toilet facilities, are all sanitised rain water that would otherwise collect at the bottom of the quarry. The only mains water used is for hand washing and for cooking. The complex also uses Green Tariff Electricity – the energy comes from one of the many wind turbines in Cornwall, which were among the first in Europe.

 

In December 2010 the Eden Project received permission to build a geothermal electricity plant which will generate approx 4MWe, enough to supply Eden and about 5000 households. The project will involve geothermal heating as well as geothermal electricity. Cornwall Council and the European Union came up with the greater part of £16.8m required to start the project. First a well will be sunk nearly 3 miles (4.5 km) into the granite crust underneath Eden.

 

Eden co-founder, Sir Tim Smit said, "Since we began, Eden has had a dream that the world should be powered by renewable energy. The sun can provide massive solar power and the wind has been harnessed by humankind for thousands of years, but because both are intermittent and battery technology cannot yet store all we need there is a gap. We believe the answer lies beneath our feet in the heat underground that can be accessed by drilling technology that pumps water towards the centre of the Earth and brings it back up superheated to provide us with heat and electricity".

 

Drilling began in May 2021, and it was expected the project would be completed by 2023

 

Other projects

Eden Project Morecambe

In 2018, the Eden Project revealed its design for a new version of the project, located on the seafront in Morecambe, Lancashire. There will be biomes shaped like mussels and a focus on the marine environment. There will also be reimagined lidos, gardens, performance spaces, immersive experiences, and observatories.

 

Grimshaw are the architects for the project, which is expected to cost £80 million. The project is a partnership with the Lancashire Enterprise Partnership, Lancaster University, Lancashire County Council, and Lancaster City Council. In December 2018, the four local partners agreed to provide £1 million to develop the idea, which allowed the development of an outline planning application for the project. It is expected that there will be 500 jobs created and 8,000 visitors a day to the site.

 

Having been granted planning permission in January 2022 and with £50 million of levelling-up funding granted in January 2023, it is due to open in 2026 and predicted to benefit the North West economy by £200 million per year.

 

Eden Project Dundee

In May 2020, the Eden Project revealed plans to establish their first attraction in Scotland, and named Dundee as the proposed site of the location. The city's Camperdown Park was widely touted to be the proposed location of the new attraction however in May 2021, it was announced that the Eden Project had chosen the site of the former gasworks in Dundee as the location. It was planned that the new development would result in 200 new jobs and "contribute £27m a year to the regional economy". The project is in partnership with Dundee City Council, the University of Dundee and the Northwood Charitable Trust.

 

In 2021, Eden Project announced that they would establish fourteen hectares of new wildflower habitat in areas across Dundee, including Morgan Academy and Caird Park.

 

In July 2023, new images were released depicting what the Dundee attraction would look which accompanied the planning permission documents for the new attraction which would be submitted by autumn 2023.

 

South Downs

In 2020, Eastbourne Borough Council and the Eden Project announced a joint project to explore the viability of a new Eden site in the South Downs National Park.

 

Qingdao, China

In 2015, the Eden Project announced that it had reached an agreement to construct an Eden site in Qingdao, China. While the site had originally been slated to open by 2020, construction fell behind schedule due to the COVID-19 pandemic and the opening date was delayed to 2023. The new site is expected to focus on "water" and its central role in civilization and nature.

 

Eden Project New Zealand

A planned Eden Project for the New Zealand city of Christchurch, to be called Eden Project New Zealand/Eden Project Aotearoa, is expected to be inaugurated in 2025. It is to be centred close to the Avon River, on a site largely razed as a result of the 2011 Christchurch Earthquake.

 

Eden Sessions

Since 2002, the Project has hosted a series of musical performances, called the Eden Sessions, usually held during the summer.

 

The 2024 sessions will be headlined by Fatboy Slim, Suede, Manic Street Preachers, The National, JLS, Crowded House, Rick Astley, Tom Grennan and Paolo Nutini.

 

In the media

The Eden Project has appeared in various television shows and films such as the James Bond film Die Another Day, The Bad Education Movie, in the Netflix series The Last Bus, and in the CBeebies show Andy's Aquatic Adventure.

 

A weekly radio show called The Eden Radio Project is held every Thursday afternoon on Radio St Austell Bay.

 

On 18 November 2019, on the Trees A Crowd podcast, David Oakes would interview the Eden Project's Head of Interpretation, Dr Jo Elworthy, about the site.

Poster 60 x 90.

Edition: 1000.

 

Text by Charles Waldheim.

Chair of Landscape Architecture, Harvard University Graduate School of Design.

AN ARCHITECTURE OF ATMOSPHERICS:

 

In the postmodern era architectural culture has come to emulate the culture of fashion. This culture is one predicated on a regularly scheduled production of novelty, carefully timed to the cycles of the attendant media. This culture and its cult of celebrity are now firmly established globally. As a result, the shelf-life of any particular architectural discourse has grown shorter and shorter. In part because of this relentless demand for regularly reproduced newness, actual architectural innovation is harder to come by. It occurs occasionally, in the unlikeliest of places, and of its own organic accord. This work is often difficult to recognize and harder to disseminate.

 

Among the dangers of the architecture-fashion industry has been its anesthetizing effects on our collective cultural sensitivity to original thought and genuine architectural innovation. When the shock of the new is felt, it is often in obscure and marginalized contexts, and often resists easy categorization. In spite of this cultural condition, and the difficulty that it poses for the dissemination of deserving work from a range of emerging talents, architecture does emerge in new and stimulating varieties. And architecture persists as a vibrant cultural form through which actual innovation is still possible. No contemporary practice represents this perennial potential for the shock of the new through architectural innovation better than the trio of young Colombian architects practicing under the collective description “Paisajes Emergentes.”

 

The work of Paisajes Emergentes is embodied through an astonishing array of recent projects exhibiting fluency with a range of scales and subject matter. Their provocative appropriation of the culturally loaded term ‘paisajes’ to describe their practice signals their ambivalence regarding traditional professional role of the architect. It also points toward their literacy with international architectural culture and the recent recovery of landscape as a medium of design. Combined with the adjectival modifier ‘emergentes,’ their appropriation of landscape as a frame for their diverse body of work illustrates an appetite for addressing the ecological imperatives of contemporary design culture as well as the diverse array of international environments in which they find their work projected. As such, Paisajes Emergentes serves as an apt appellation for both the medium and message of the collective’s architectural aspirations that have as much to do with curating atmospheres as with constructing buildings.

 

Many of the young practice’s projects exhibit specifically horticultural or botanical strategies in the service of complex public realms. These projects typically resist easy identification with the traditional typological categories of landscape, urban design, or architecture. Rather, these projects more often conflate various aspects of these diverse disciplinary practices, in favor of a new hybrid form of work. This confluence of disciplinary commitments often reveals itself through robust representational strategies hacked from various architectural and landscape precedents. More often, it is revealed through the very subject matter and operating assumptions driving the particular design response on a given site. At its best this work simultaneously reveals aspects of a particular site and subject, while conjuring remote and fleeting environments and emotions.

 

The architectonic language and design sensibility of Paisajes Emergentes reveal a deep literacy with contemporary architectural culture, they are equally informed by the rising importance of environment as a category of architectural thought. In this sense the recent work of Paisajes Emergentes transcends Iberoamerican architectural precedents from late 90’s and early 00’s by pushing the limits of the architectural object to its extreme end conditions, into environments, experiences, or even atmospheres. Many of the projects of Paisajes Emergentes accomplish this through a close reading of the particular ecological or phenomenal contexts in which they are sited. While these effects can reveal themselves through architectural artifice, they are best described through that dated term landscape. While much of Iberian architectural culture (and its international diaspora) has been actively engaged in resisting the rise of landscape as a professional and cultural practice in recent years, Paisajes Emergentes have firmly declared their commitments to the messy and productive potentials of landscape in relation to architectural production. In so doing, they have not only offered us an example of genuine innovation and a whiff of the new, they have also made a generational and geographic stake in the ongoing cultural struggle to open architecture to its multiform and various ecological and urban associations.

 

Many of the projects of Paisajes Emergentes depend upon deep horticultural and botanical knowledge. Yet it would be a misreading of their work to take these projects for traditional landscape architecture with a focus on plant material as a medium of design. Rather these projects often illustrate an ambidextrous quality, equally fluent with landform and ecological process on the one hand as with architectonic language and spatial composition on the other. What these various methodological approaches often share is an interest in the specific media of atmosphere itself, water and air. In a diverse range of projects including the Jardin Botanico and their recently completed Piscinas complex both in Medellin, Colombia, Paisajes Emergentes build complex public realms through an obsession with the material and phenomenal properties of water. In this project the hydraulic logics, and experiential potential of liquid water as well as their ephemeral effects on light and air offer the primary operating systems of a complex refined public realm. Further afield, their recent competition entries for the Parque del Lago in Quito, Ecuador and the Venice Lagoon reveal an ongoing commitment to the various potentials of a hydrological urbanism. In Quito their proposal juxtaposes the reflectivity and endlessness of pools stretching to the horizon of an abandoned airfield with the reflective metallic surfaces of the airplanes that once occupied them. In contrast with the bright light, and clear blue of Quito, their Venice Lagoon project plumbs the murky impenetrable depths of a dark, dank, Venice. In both examples, the particular phenomenal and experiential qualities of the site are revealed through the most fundamental of elements, water. Equally these projects explore the associated experiential conditions of fecund humidity of luminous aridity, while constructing complex public venues through the ambient and atmospheric conditions attendant to water in its various states.

 

An equally significant line of investigation pursued by Paisajes Emergentes might be described by the term atmospherics. In pushing their architecture to the limits of the object, beyond the question of ground, into the realm of climate and humidity, the collaborative has developed an approach to pneumatics and aerial suspension. In a range of projects including their proposals for monumental totemic structures in New York or other North American cities, for Heathrow airport’s guerrilla decommissioning through balloons, and for the commemoration of communities impacted by a Ituango hydroelectric plant in their native Colombia, Paisajes Emergentes have proposed a new age of inflatables.

 

Through their projects, and the pursuit of an architecture beyond weight and mass, Paisajes Emergentes propose an architecture of atmospherics. In this realm, liquid water, water vapor, and ice emerge as primary representational media for a new form of public life. In this work the fleeting experiential qualities of air and water as seen through light are orchestrated much in the way that the sequential experience of space was orchestrated by traditional typologies and subjectivities of landscape architecture. In pursuing the ends of architecture, the work of Paisajes Emergentes exhibited here simultaneously transcend the limits of the architectural object, while renewing the cultural potential of architecture as a medium of genuine innovation. While this body of work is still emerging, the energy, ambition, and optimism of these projects suggest that an architecture of atmospherics may very well be an important way forward for Paisajes Emergentes and for design culture internationally.

 

Charles Waldheim. Chair of Landscape Architecture, Harvard University Graduate School of Design.

 

LIGA will open its door to the public Monday to Friday from 10 - 14 hs and from 16 - 19 hs.

 

www.liga-df.com/

Emulating Instagram with Lightroom develop presets from www.reallyniceimages.com.

The most accurate Instagram filters for Lightroom on Mac and PC.

    

Please don't hesitate to check other sizes and ask any questions.

Emulating that false colour look from classic Hollywood movies and glamour shots.

 

Model: Lisa Williams

Make up and hair: Emily Rose Connor

 

Refraction is an installation comprising solar cookers, assembled to emulate a wing. Presented first on Alcatraz island, the notorious prison island in the San Francisco bay, in 2014, the wing symbolizes freedom, but at the same time it imparts a sense of claustrophobia on account of its size and gravity, seeking to communicate a sense of the narrow confines within which prisoners live out their lives. Thus it becomes a metaphor of the deprivation of freedom that Ai Weiwei himself experienced when he was jailed by the police in a secret location for 81 days in 2011. The installation also alludes to the political situation in Tibet, where these solar cookers are used to cook and brew tea.

 

L'installazione Refraction è costituita da cucine solari assemblate a forma di un'ala. Presentata per la prima volta nel 2014 nell'isola di Alcatraz, la famosa prigione nella baia di San Francisco, quest'ala è simbolo di libertà, ma essendo pesante e ancorata a terra, è come immobilizzata. Per le dimensioni ingombranti e gli elementi taglienti comunica un senso claustrofobico che fa percepire la ristrettezza in cui vivono i detenuti. È dunque metafora della privazione della libertà, la stessa imposta ad Ai Weiwei, incarcerato nel 2011 dalla polizia in un luogo segreto per 81 giorni. L'opera allude anche alla situazione politica tibetana, essendo questi pannelli solari utilizzati in Tibet per cucinare e preparare il tè.

Garage Science Project

 

For years, I have been working on a Re-Emulator. It’s one of those projects that seem to go on forever, always getting tossed aside for one reason or another.

 

I’m probably on the 7th or 8th iteration, this one shows something strange the others didn’t, or at least I wasn’t aware of.

 

It’s kind of a mystery to me after all the time I’ve spent on Garage Science Projects. This build I just can’t put my finger on, the slowly morphing, black darkness, bizarre musical like tones, and spiritual, steamy atmosphere it expels has me perplexed.

 

After thousands of hours machining, wiring, fitting, and general tinkering with it, you’d think I would have developed an emotional connection or bond with her by now. Yes, all Garage Science Projects develop into a female reference, and this one was no different, female in name and now in my eye and mind.

 

The first Re-Emulator designs showed no real signs of emotion. They were all mechanical in every aspect. Cold spirited would be the overall description, with maybe a hint of reality seeping in if you opened up to it.

 

It’s just this one; this one is different, very different, almost to the point of me having thoughts of dismantling her.

 

It could be why the Garage Shop has not seen a bolt of electricity or a split atom in months. I just can’t get myself to re-enter the workshop and start all over again after so much time and energy put into her.

 

Yes, her, the one who captured my soul, brought about my awakening and, ultimately, my demise.

 

This Re-Emulator has evolved into a twisted like dimensional time manipulator.

Producing atomically precise timescapes of all that has forever been, in parallel with all the future will become.

 

She must now be destroyed…

 

emulating a photographer

Inspired By Chris Searle

 

www.flickr.com/photos/108404544@N07/albums/72157664532528351

Mission

Emulate the work of Karl Blossfeldt (1865-1932)

Karl Blossfeldt was a sculptor and amateur photographer in turn-of-the-(last) century Berlin. His entire photographic portfolio is devoted to plant parts: twig ends, seed pods, tendrils, leaf buds, etc. These he meticulously arranged against stark backgrounds and photographed in magnification, so that unfamiliar shapes from the vegetal world are revealed as startling, elegant architectural forms. The subjects were typically photographed against white or gray cardboard, sometimes against a black background in weak daylight (think northern window), much as though he were photographing architectural details. His black-and-white, sharp-focus images appear semi-abstract to the viewer unfamiliar with his subjects.

 

QUESTIONS

1. Which photo(s) inspired you

It didn't actually "inspire" me, but this image most closely resembles my image. I liked many of his images though.

 

2. What you like and/or don't like about Karl Blossfeldt's work

I loved the shapes that he found and all of the really weird plants. Some of them were almost like nude people because they flowed so well.

 

3. Your thoughts and/or thought process behind your assignment submission

I wanted to find a plant with an interesting shape to it. Unfortunately, I feel like I live in the frozen tundra right now. There were not a lot of plant choices at this time. I will definitely try some more emulations once some stuff starts growing again.

 

4. How your photo reflects elements of Karl Blossfeldt's work

I feel like the color tones and composition match well and the shape is interesting. Where I feel like this is not an emulation is in the magnification. This is not an extreme closeup because I do not have a lens that will focus well at a very close distance and I had trouble finding anything else to photograph.

 

5. What you gained as a photographer from studying Karl Blossfeldt's work

Well, I never really appreciated how cool artichokes are. Also, I saw pictures of a lot of plants I've never seen before.

  

EXIF

Camera: Nikon D90

Exposure: 0.067 sec (1/15)

Aperture: f/16.0

Focal Length: 62 mm

ISO Speed: 200

Exposure Bias: +1 EV

Flash: No Flash

 

WHAT IT TOOK (WIT)

Mainly just finding something interesting to photograph. I tried asparagus also because it looked like some of his twig pictures. This one was a lot more interesting to me though. I placed the tripod on "shoot from overhead" position, which probably has a more technical name, and put the artichoke on white printer paper.

 

POST PROCESSING

Lots. Crop, contrast, antiqued photo coloring.

 

SELF CRITIQUE

I really love this picture. I am not sure that it's an exact emulation, but I feel that it has at least a hint of Blossfeldt.

I chose to emulate Napoleon Sarony’s style of portrait photos. His photographic style included posing the person in a staged style, while using props and brown tones to color his photos. The photo that I took was meant to emulate photos of Oscar Wilde, which were taken by the photographer Napoleon Sarony. Oscar Wilde was a member of a Oxford Freemason society, and appeared high class in this Photoshoot with Sarony. His fashion in the photo was fancy and gave him a rich look to his photo. I copied this sense of high end fashion with the scarf, and chose to keep the rest of my subject in casual attire. I chose to have my subject look directly at the camera, to emulate a sense of dialogue with the viewer of the photo. I attempted to mimic a sense of intelligence with the book and edited my photo to match the colors of the original work.

Designer: Meng Guang (孟光)

1958, September

Emulate intelligence, go in for a technological and cultural revolution!

Bi zhihui, danao jishu geming he wenhua geming! (比智慧，大脑大闹技术革命和文化革命！)

Call nr.: BG E15/818 (Landsberger collection)

 

More? See: chineseposters.net

Emulated with Film Presets for Lightroom from www.reallyniceimages.com

For my postmodern assignment, I decided to emulate the photographer Lee Friedlander. I liked how he went on a road trip and took pictures from his car to show the American social landscape. It’s like he had three pictures in one, the rearview image, the front window, and the side window. It's almost like a collage but not, very interesting. To capture this kind of image I took my car and drove around the neighborhoods where I live, but it was hard to drive and take pictures at the same time I don’t know how he did it. Maybe he stopped and parked his car. Instead, I asked my husband to drive and I could concentrate on taking the picture. I took many random snapshots to try and get an image like Friedlander’s, but it was hard to get interesting subjects in all three views. I finally decided on the image here were I think I captured interesting views in all three windows. It showed the social landscape of today with the cars, all the signs, and the palm trees California is known for. I used natural lighting for my image, I took the picture in the middle of the day when it’s the lightest. I like how sharp the image in the rearview window came out and how that is the first picture you look at. I took this picture with a Sony 6000 and edit it with my iPhone program. I added a silver-tone filter and adjusted the exposure a little for the palm trees to be more visible. This was an interesting assignment for me, when driving around trying to take a picture you actually pay attention to your surrounding which you usually don’t do. I saw things I never really saw before; I definitely would like to take more pictures now.

Emulating film look (see full size for grain pattern)

2021F100401

For those of you who long to the old (as of today) image style of Flickr.

 

If you run Internet Explorer 10 or 11 :

 

Hit the F12 key, the Debug window of Internet Explorer shows.

In that window to the left scroll down till you see Emulators.

 

At user agent string choose : Internet Explorer 9 (or Mozilla Firefox)

 

And presto, old style layout ;-)

 

Probably not all the functionality will work but it is just nice to read and write comments as it should be (hate that new style) !

.

.

Edit 25th May 2015 :

As of the beginning of May 2015 Flickr blocked the use of older browsers on their pages. So this solution does not work anymore !

The by now familiar garden pond, netted for winter. I had only a very short time to make a few exposures yesterday at dusk. I was in two minds whether to bother but I am glad I did.

I had a few koi for twenty odd years and one stalwart for 30 years but now just keep a few goldfish. The light and reflections in yesterday's dusk just took me back to the days of the Koi.

Internal view of the finished I2C emulator prototype.

 

More details and all the schematic of this project are available at github.com/dilshan/i2c-test-terminal

emulated - Fuji Provia 100F

emulated - Fuji Velvia 100

old work circa 2008

reprocessed and upscaled

I now have a dedicated blog on Facebook with my 30 years of data, research and knowledge on the A*Men and flanker series from 1996-the present day which is here:

 

THIERRY MUGLER A*MEN & FLANKER SERIES 1996-? BY PAUL WILLIAMS

 

www.facebook.com/groups/4280494602275069

  

A devil's take on 'Angel Men' & the 'Pure series' of Manfred Thierry Mugler (Part Three)

  

In this piece, the third in the series, so let's call it... erm... Part Three then, I will take a closer look at a few of the fragrances in the line including the illfated 'difficult second album' which hoped to emulate the global success of 1996's groundbreaking, A*Men.

 

(The photograph shows from left to right: B*MEN 50ml tester/A*MEN Gold edition (Edition Or) presentation box/B*MEN Eition Collector with comic book attached to rear/B*MEN presentation box 100ml metal flacon/The taste of Fragrance and original box.

  

B*Men

  

B*Men was released in 2004, eight long years after the release of Mugler's first masterpiece, A*Men, noted in history as the first men's gourmand fragrance and winner of awards over the years. Just like it's predeccessor, B*Men was styled on superheroes from the comic book days of our own, and indeed Manfred's (Mugler's legal birth name and the name bvy which he now wishes to be addressed), youth, and one limited edition presentation box set was released (again just like it's older sibling) with a special comic book as part of the package.

  

With the return of the familiar rubber flacon, designed by Mugler himself to emulate the rubber suits worn by some of those superheroes we mentioned previously, B*Men features top notes of Rhubarb and liucorice, heart notes of Sequoia and spicy notes and base notes of Amber and Vetiver. Other ingredients banded around with this fragrance include leather, Patchouli, anise, Vanilla,Violet and cedar. It is classed as a woody oriental and a gourmand with moderate to high strength. With flame red boxes and matching liquid within the magical star shaped glass bottles, B*Men came with a raft of mens matching toiletry products iuncluding shampoo and after shave. The nose behind the new fragrance was of course Jacques Huclier, this time teaming up with Christine Nagel and marketed by the Clarins group who had teamed up with Mugler in 1992 for the realease of his debut fragrance, Angel. The new release came, as had it's predecessor in a variety of sizes including 30ml, 50ml and 100ml with tiny 2ml plastic carded versions also released.

  

With hindsight it's easy to dissmiss B*Men as something of a failure, the fragrance meeting a fair amount of opposition at the time of release by those who were expecting something as strong and revolutionary as it's predecessor, or else had their expectation perhaps set a little too high. B*Men was never a projection king, nor a polorising fragrance with that Marmite reactionary vantage point, it was softer with less sillage, less projection and longevity. Many viewed it as a toned down, safer version of it's big brother, when in fact it is a standalone, engaging fragrance that has come to find more love a decade after it's demise. A 3.5 star rating from Basenotes, and similar poor reactions on Fragrantica where it received only a 3.83 rating tell the story of this fragrance as it struggled on, despite the release of a superb Almost dark green metal flacon special edition in August 2004, a dedicated travel set with three 15ml refills and a slim lined funky rubber flacon, and other special editions including a Vegas edition boxed with dice.

  

Nowadays (2019) in the UK, B*Men flacons and boxed editions command high premiums, a 50ml boxed example sells for eighty quid, a rare seraled 100ml version for over one hundred and twenty five quid. In the USA by comparison, B*Men presentation boxes with the metal flacon can be purchased for seventy quid, and the rarity value seems so much less. B*Men soldiered on for four long years, but the damage was done and that 'Difficult second album', always a problem, often the undoing of a successful run, was certainly the case here.

  

B*Men editions and variations

  

Mugler could never be accused of treading lightly with the new release, offering a multitude of boxed rubber and metal editions, samples and collectors items to lure new customers along the way. These include:

  

A typical tester bottle for in store use comes in a white box with black lettering:

  

Thierry Mugler Parfums

B*Men

Eau de toilette

Factice/Dummy

Ref 72549

  

TESTER/DEMONSTRATION

Ref 72539 and comes as a 50ml 1.7 Fl.Oz Vaporisateur gomme-Rubber flask natural spary Eau de toilette with B*men stamped in Silver lettering top right of flacon. Batch code 503261 March 2005

  

1.2ml Samples in foldover card sleeves

2ml Limited edition mini rubber flacons in Carded boxes

2ml Limited edition mini rubber flacons in Hard transparent sleeved covers. Sample Not for sale

  

30ml 1.0 Fl.Oz Vaporisateur gomme-Rubber flask natural spary Eau de toilette (Some versions came with an outer slip case featuring the otherworldly superhero clutching the rubber flacon)

50ml 1.7 Fl.Oz Vaporisateur gomme-Rubber flask natural spary Eau de toilette

  

100ml 3.4 Fl.Oz Vaporisateur gomme-Rubber flask natural spary Eau de toilette

100ml 3.4 Fl.Oz Recharge Vaporisateur gomme-natural spary Eau de toilette refill bottle

  

Mugler Vegas Limited edition gift box set featuring 50ml 1.7 Fl.Oz Vaporisateur gomme-Rubber flask natural spary Eau de toilette & two dice. Says on rear of box 'If you are a big time gambler let's enter into my game. Welcome to Mugler Vegas!!!'. Barcode 3439602678015

  

Mugler gift box set featuring 50ml 1.7 Fl.Oz Vaporisateur gomme-Rubber flask natural spray with 100ml 3.5 Fl.Oz Shampoo integral – Hair and body wash & 20ml deodorant stick in large open out box. Barcode 3439602780084. Batch code 505 963 May 2005

  

Mugler gift box set featuring 50ml 1.7 Fl.Oz Vaporisateur gomme-Rubber flask with Deluxe weekender toiletry bag and 100ml 3.5 Fl.Oz Shampoo integral – Hair and body wash

  

Mugler gift box set featuring slimline tall rubber flacon and one 15ml refil plus body and hair shampoo and after shave creme

  

200ml Shampooing integral – Hair and body shampoo

125ml 4.4 Fl.Oz Deodorant Vaporisateur- Deodorant spary

75ml Deodorant stick-Sans alcool alcohol free

  

Limited edition boxed set – Travel bag (made in china) with 50ml EDT and 75ml deodorant stick. Batch code 412915

December 2004

  

B*MEN METAL FLASK PRESENTATION BOX EDITIONS

  

There are also Two separate plastic presentation box editions featuring a 100ml 3.4 Fl.Oz gunmetal grey/green metal flacon;

  

B*MEN EDITION COLLECTOR - Limited edition Vaporisateur metal rechargeable – Natural spray refillable. Housed in a clear plastic presentation box with a clear plastic slipcase around the box with 'Edition collector' printed in red capital letters. Metal flacon 100ml 3.4 Fl.Oz.

  

This edition is factory cellophane sealed. Within the slipcase at the rear of the presentation box is the collectors comic book: TERRA ELASTIKA. Thierry Mugler comics No.1 A*MEN & B*MEN. This comic book is prented on thin card with slightly harder covers and is reproduced in French, Englash and Spanish within. Thierry Mugler himself is the author and designs were by Beb-deum based on an original idea by Jacques Jouet. Copyright Thierry Mugler Parfums 1er trimestre 2004 (January 2004). The comic book is beautifully reproduced and represents Mugler's idea behind the superheroes behind A*Men and B*men (the silver surfer for A*Men). 'Not for individual sale is typed on the rear inner cover. The code on the rear of the cover is 1C7701. Within the book is a separate white card one side in French, Englash and Spanish which says:

  

' Discover the adventures of the new hero of the Thierry Mugler galaxy: B*Men. It's woody, vibrating fragrance will guyide you...', with Thierry Mugler's custom signature below. The code on this card is 1C44348.

  

At the rear of the black plastic base is a slot into which sits a black card envelope with Thierry Mugler's signature in sparkling silver. This opens up and reveals a handful of B*MEN cards for the owner to register with Mugler and perhaps hand out to friends, and on the black envelope are addresses of Mugler headquarters around the world. The code on the card envelope is 1C44333.

 

The Barcode on the black plastic base of the presentation box is 3439600797350. The Batch code 406152 denotes June 2004 and is printed on the rear of the plastic slipcase and visible even when cellophaned. On the black base white print on black the languages are French/German and Italian (on the other version without 'Edition collector' and minus the comic book the languages are French/English & Spanish).

 

There are several differences in the base print over the non 'Edition collector' version. On this one the ingredients are in a different order. On this one, Citral, Benzyl Benzoate are not listed but they are on the other version.

  

Here it says Thiery Mugler Parfums Ref 79735. Also on the base is the code 1C34058. As an example for current and past prices. One of my 'Edition Collector' boxes originally sold in Italy at the Florence branch of Linea Bellezza for 66.70 Euros. I bought this edition still cellophane wrapped for 67.00 Euros or just over sixty pounds. That was a steal, and generally these boxes sell for between 89.00 and 135.00 Euros in 2019.

  

B*MEN METAL FLASK PRESENTATION BOX - 2nd edition later August 2004 release

  

Limited edition Vaporisateur metal rechargeable – Natural spray refillable later edition is factory cellophane sealed but does not have the outer plastic slipcase, and hence does not have 'Edition collector' in red printed on the front. Metal flacon 100ml 3.4 Fl.Oz. Barcode 3439600797398 with Silver star in B*Men. Ref numbers include 1C34086 & 1C34095. Batch code 408074 August 2004/ Batch code 411229 November 2004/ Batch code 503261 March 2005. on the black base it says Mfd for Thierry Mugler parfums instead of just 'Thierry Mugler parfums'. The print is in French/English & Spanish.

  

Travel spray – Vaporisateur rechargeable & 2 Recharges. Refillable spray & 2 refills. Plastic presentation box with slimline rubber tall flacon and two 15ml refills exactly like A*men version (both versions released in January 2004)

  

So what to make of B*Men then? Personally I absolutely love the daring nature of Rhubarb and licorice, anise and Vanilla. It is a stand alone fragrance, and sadly though it was always destined to be judged against it's older brother, which grabbed the men's fragrance world by the balls and has never let go, it should be judged so. B*Men to my nose always was a fantastic fragrance and one that I still enjoy to this day, some fifteen years after it's launch and eleven years after it was discontinued. Prices are rising for boxed editions, but it has always been more available in Italy, Germany and the USA, where prices are keener if you can persuade our friends across the pond to offer International postage (believe me I have hit brick walls with so many Yanks who are unwilling to oblige!). For my part, I hope always to have a bottle of B*Men in my collection, and still enjoy wearing it. It is bold and daring, ahead of it's time and different to A*Men. Ultimately perhaps it will always be seen by the press and fragrance world as a failure, but never so in my eyes.

  

LE GOUT DU PARFUM (THE TASTE OF FRAGRANCE)

  

Around the middle of the year in June 2011, the world's press began to leak information on a new fragrance concept shortly to be unvieled. Released as a limited edition production run in specialty stores including Nordstrom's and Macy's and on www.MuglerStoreUSA.com in October 2011, this fragrance sparked some controversy thanks to a $20 hike in retail prices over the normal $70 for Mugler new releases. Reviewers and customers alike, baulked at the high prices charged by leading department stores, and that in part meant that a section of the fragrance buying community gave this one a wide berth. Known in later years as 'Pure Chilli and 'A*Men Chili', 'The taste of fragrance was in keeping with Mugler's first outing in the fragrance world, a very bold offering. 'Sublimee d'un concentre de piments rouges', magnified with hot chili pepper paste as stated on the box which features the tail of a chili pepper so as to leave you in no doubt what you are about to encounter, the box carries the following information:

  

' What if your fragrance made your mouth water? Try the daring union of A*Men and Haute Cuisine. Included in it's original formula, red pepper concentrate works as a 'tasts enhancer' to reveal the power of roasted coffee, lift the full-bodied notes and ignite it's woodiness. Do not drink'.

'The taste of fragrance, a prestidgious collection of limited editions, a sensorial collision between perfumery and Haute Cuisine, a true recognition nof the olfactory expertise of Thierry Mugler. As passion and excellence have no limits... For the first time, the designer has incorporated taste enhancers in his Eau de Parfum producing a collection of appetising and mouth-watering creations. Discover your favourite fragrance not only through it's scent, but also through it's fantasy taste'

  

Angel was heading towards it's twentieth anniversary, and by means of a celebration of it's success, Parfums Thierry Mugler Ltd Edition Taste of Fragrance Collection was created with Pierre Aulas, Mugler’s olfactory artistic director in collaboration with Double Michelin-starred French chef Hélène Darroze(of the eponymous Parisian restaurant and London’s Connaught Hotel).

  

In both the male and female editions (there are three female editions for Angel, Alien & Womanity), a taste enhancer was aged in a separate vat, then combined with the concentrate at the solution phase, when the alcohol was added. The solution was then macerated to obtain the liquid, in a process which apparently took more than six months to complete. The female version, Angel Ltd Edition Taste of Fragrance scent featured bitter cocoa powder as the taste enhancer, whilst in the men's version red-chilli pepper gives roasted coffee a boost.

  

“The nose and mouth are inseparable. Taste buds need to be astounded to match the olfactory surprise,” said Darroze.

  

The olfactory description of a Taste of Fragrance collection and the corresponding recipe by Darozze herself is as follows:

  

The recipe

  

Sautéed John Dory filets,

celeriac puree/cinnamon/nutmeg, cranberries, oil infused with Tahitian vanilla

Strong coffee sauce

Piquillo and Espelette pepper condiment

Serves 4

  

Preparation time: 40min.

Cooking time: 25 min.

  

Celeriac puree

1 head of celeriac of about 1.3-1.6lbs (600-700gr)

75ml (1/3 cup) of sour cream

20g (1/10 cup) of butter

Cinnamon

Nutmeg

  

Peel the celeriac and cut it into large pieces.

  

Boil the celeriac in 3 quarts of water for 15 to 20 minutes until soft.

Strain and pour it into a food processor with the sour cream and butter.

  

Blend until the puree is thick and creamy.

  

Season with nutmeg and cinnamon according to taste, then season with salt.

  

Cranberries

50g (1/2 cup) of cranberries

50g (1/5 cup) of sugar

50ml (1/5 cup) of water

Bring the water and sugar to a boil in a small pot.

Let the cranberries gently candy in the syrup for about 15 minutes.

  

Vanilla oil

50ml (1/5 cup) of grape seed oil

50ml (1/5 cup) of extra virgin olive oil

1 vanilla bean

Combine the oils.

  

Halve the vanilla bean lengthwise, remove the seeds with a knife and add (beans and seeds) to the oil.

  

Let infuse for a few days to allow the vanilla to release its fragrance.

  

John Dory

4 John Dory filets (120g – without skin)

20g (1/10 cup) of coffee beans

50g (1/5 cup) of duck fat

50g (1/5 cup) of butter

Salt

  

Season the John Dory filets with salt.

  

Sauté them in a pan, in the duck fat and coffee beans, for 3 to 4 minutes.

  

Remove from heat, add butter and cook until it melts. Pour generously over the fish filets.

  

The little extra: Piquillo and Espelette pepper condiment

4 Piquillo peppers

15ml (1 tbsp) of olive oil

Espelette pepper

Salt

  

Mix the Piquillo peppers with the olive oil in a food processor. Do not overblend.

  

Season with salt and Espelette pepper according to taste.

  

Presentation

Place a large spoonful of celeriac puree on to each plate.

  

Add the John Dory filet.

  

Garnish with a few cranberries, then pour a thin line of the cooking butter and a thin line of the vanilla oil over them....

  

Phew!! That's quite some concept for a fragrance.....

  

Packaging and presentation

  

In silver lettering on the box front is 'Thierry Mugler' and also in silver is Le Gout Du Parfum The taste of fragrance below the A*MEN name with a silver star'. The box is in red and black with a red chili on the front and the beautiful deep red star in part on the rear. The base barcode reads 3439600632996 and on my box pictured above, the batch code is 103343 which denotes a March 2011 production date, the very first batch for it's October 2011 release date.

  

On the rear of the box in silver lettering in French and English as well as both sides where the words are in German, English, Italian and French are explanations of the fragrance concept. The inner box packaging is in black cardboard with the common double lip, and inside the box is an oblong carded envelope in black with 'LE CERCLE Thierry Mugler' in blue print on the front and 'invitation..' on the rear. On the inside of the top flap is the code in Black lettering on white that is to be entered on the owners account with 'The Circle' on Mugler's website when registering the purchase. There is no circular gold stamp on the top of the cellophane packaging like most other Mugler's, but the name in French and a mouth, nose and knife and fork are beautifulled stamped in circular into the white strip of the box top.

  

The Rubber flacon is jet black and the colour of the juice is a deep stunning red, much darker than that of B*Men. On the base of the flacon: A*MEN is small and stamped on the left, underneath which is 'Thierry Mugler'. On the right is 'Eau de toilette the e100ml 3.4 Fl.Oz. Beneath is 'Thierry Mugler Parfums'.Beneath iis 92200 Neuilly-France, beneath that is Made in France. The batch code is stamped at the top of the base. The batch code is also stamped on the base of the box itself though almost impossible to decipher due to being black lettering on a black base. Interestingly the cardboard inner box has a faint aroma, not from leakage, but the strength of the ingredients. There is a pleasant but faint pepper smell, though not one from the flacon at all.

  

Available in only one form as a 100ml (3.4 Fl. Oz) Eau De Toilette, 'The taste of Fragrance' features top notes of bergamot, lavender, corriander & mint with heart notes of patchouli, red pepper & cedar. The base notes are coffee, styrax, tonka bean, Vanilla & musk.

  

On Fragrantica the fragrance received an impressive rating of 4.05 out of five with over 550 votes (making it the 7th most popular of the 15 Mugler's listed), and 4 stars from five on Basenotes in the UK, and 7.6 out oif 10 on Parfumo.The fragrance was reviewed many times on the internet by a host of well renowned reviewers including the Excellent Dracdoc in October 2011, 'Fragrance Brothers' & 'Streetscents' in March 2012, 'J-ROYL & 'robes08' reviewed the fragrance later in 2018. Generally there was a lot of love for this fragrance, and even though not designated on the packaging as an Edition Limitee, it quickly vanished and has never been re-marketed, also becoming one of the rarest and hardest to find of the Mugler range in the subsequent years. In 2019 I managed to track down a brand new box still cellophaned overseas which cost a small fortune to buy and ship back to the UK. An unboxed flacon was on offer from the good ole US of A on the bay of fleas for around $70 plus almost the same in shipping!! I also managed to get hold of a 65-70% full bottle for around Fifty pounds. On it's original release in the UK, the fragrance went o9n sale at around Fifty quid, and around 670NOK in Norway (60 quid).

  

I love this fragrance, bold and powerful, the chili opening is quite amazing and after settling down on my skin within fifrteen minutes I am left with a vanilla, creamy vibe with that almost unexplainable top note of pepper which adds so much to the composition. It is a fragrance that to miy mind embodies confidence. It is a strong projector, with excellent sillage that is always noticed by others around me. For sure the Angel Men DNA is present, but the overall package to my mind works so well here, the combination of ingredients really elevates the gourmand experience to another level. To my nose this is a gem. Well worth seeking out and paying those high prices that it now commands.

  

A*MEN GOLD EDITION (EDITION OR) – One for us Brits to adore

  

Manufactured in November 2011 for it's 2012 release date, was the presentation box of A*MEN Gold edition released to commemorate the 2012 summer Olympics. They were formerly known as the Games of the XXX Olympiad, and in 2012 were held between 27th July and 12th August in London, United kingdom (having defeated bids from Moscow, New York City, Madrid and Paris who lost by just two votes in the final head to head with London). This new presentation case featured a beautiful, visually stunning gold flacon housing that familiar blue juice with 'Le vaporisateur metal rechargeable. The refillable metal spray. Eau de toilette', in gold writing on the plastic case.

  

This edition holds a special place in the hearts and collections of us Brits, after all at the Olympics we finished third in the overall medals table with an amazing 65 medals includding 29 Gold, 17 Silver and 19 Bronze, behind China and the USA, not bad for a tiny little Island with a sports budget less than the food utilities budget at any typical American baseball match!

  

The box contained a 100ml 3.4 Fl.Oz bottle seated in a hard black plastic recessed base and a clear plastic top section to prevent movement in transit. The back of the casing has a double sided gold carded insert for impact and at the rear of the recessed base is a slot which houses the obligatory Mugler 'Le Cercle Thierry Mugler invitation booklet with Blue and silver lettering on black, a separate white registration card with the individual code with which the owner can register on Mugler's website at 'The circle', and a wrapped in cellophane grey monikered Thierry Mugler cleaning cloth.

  

On the front of the presentation box A*MEN features in black lettering with a gold star. The base of the box in black features silver lettering with an ingredients list and the barcode which is 3439600603019 and 1C34567. On the rear of the display case is the batch code which typically will be 111272 and 11322 denoting a November 2011 production date. A small star is engraved into the top of the display case.

  

There is much debate about reformulations of A*MEN with some believing that this 2012 juice is exactly the same as the original, and some believing it is already a reformulation. It is certainly closer to the original than the 2015 releases of A*MEN, and thus has risen in price due to collectors wishing to resample older versions of the fragrance compared to the more modern, less intense and tarry versions.

  

This is a must have for any Mugler collector, and arguably moreso in view of containing 100ml of the closer to original formulation of this classic, iconic fragrance. I love this particular release, it sits so well in my collection set against the rubber flacons of the pure series and the 2ml, 30ml, 50ml and 100ml silver metal editions and dark grey metal B*MEN special. What's not to love? Upon it's release, Edition OR was available in the USA through Nordstrom's, Macy's and Sears with an RRP of around $116 (Walmart offered it at a discounted price of $81.30), in Singapore it retailed at around 200 SGD'S and in the UK it retailed at around the One hundred pounds mark. I managed to secure my one brand new and factory cellophaned from America for a really reasonable price, and there are still some available if you seek hard.

  

Paul Williams 29th March 2019

  

In my previous entry 'A devil's take on 'Angel Men' & the 'Pure series' of Thierry Mugler (Part One), I took a light hearted look at the history and background to the wonderful and groundbreaking fragrances in the series from 1996 to the present day. That entry can be found on my Flickr site here:

 

www.flickr.com/photos/despitestraightlines/40470459323/in...

  

Part two of 'A devil's take on 'Angel*Men' & the 'Pure series' of Manfred Thierry Mugler', looks at the thorny issue of reformulations, specifically of MUGLER PURE HAVANA and can be found here:

 

www.flickr.com/photos/despitestraightlines/47397173002/in...

  

****UPDATE ON MOVING AWAY FROM MUGLER****

  

My journey with Mugler ended somewhere in 2020 when I sold off my entire collection to a very happy collector, as I had grown disillusioned with the way that Mugler no longer cared about it's male customers.

  

The Alien Man range was in my opinion weak and feeble, and the constant watering down and reformulation of the superb Pure Malt and Pure Havane fragrances left me angry and not wishing to waste any more of my money on such rubbish. With the death of the Pure range came a drive upwards in prices on original bottles, and by February 2023 you could see Pure Havane and Pure Malt/Pure Tonka boxed editions selling for anything up to £200 a pop on the Bay of Fleas!

  

Time to walk away from a once loved range.

  

I moved onto other ranges, and found a beautiful and almost identical fragrance to my beloved Mugler Pure Havane, in the shape of Reyane Tradition INSURRECTION II WILD which was released in France in 2013. Initially commanding a mere $20 in the USA, by the time I found it it was between £40 and £75 in the UK. It is utterly gorgeous and takes me back to Pure Havane every time I use it with a honey, heavy cherry and cuban cigar vibe that is addictive.

  

I also moved towards the house of Maison Margiela where the Replica range which has run since 2012, has fabulous fragrances such as BY THE FIREPLACE (smoky/boozy like Havane) and JAZZ CLUB (as good as Pure Malt), plus COFFEE BREAK (as good as Pure Coffee), UNDER THE LEMON TREES (Better than Pure Zest), WHISPERS IN THE LIBRARY (like Pure Leather)... also limited runs and costing £110 retail, but also offering me those gorgeous aromas I so loved with Mugler (duty free prices come down to £80 and similar on discount fragrance sites).

  

I also recommend AMEER AL OUDH INTENSE OUD which costs about £20 nd is a darker, richer EDP version of Replica by the fireplace, with gorgeous smoky campfire richness and PENDORA SCENTS CHARUTTO TOBACCO VANILLE which costs £25 and gives a fabulous cigar/tobacco aroma that reminds me of Havane.

I'm happy with this on so many levels, I wanted to express both my love of the outdoors and backpacking as well as my love of reading. There have been many books that have sent me down the road to adventure.

DETAILS

 

Name: Emulate

Vessel Type: Fishing

Status: Active

MMSI: 235007100

Call Sign: MEMU3

Port Letters: BM 1

Build Year: 2004

Hull: Steel

Length (m): 14.95

Beam (m): 5.90

Draft (m): 3.60

Licence:cat A with crz and scallop

Mainly Used For: Scalloping /twinrig Trawling

Engine: Cat 3406C-TA 221KW

 

Hydraulics

 

THISTLE MARINE

14 TONNE 3 BARREL WINCH

DOUBLE SPLIT NETDRUM 12 TONNE

0.5 TONNE LANDING WINCH

4 X 3 TONNE WINCHES

FULLY AUTOMATED SCALLOP CONVEYORS 2012

 

Electronics

 

McMurdo sf rescue sart

Navico AX15 30 Hand held VHF

ICOM-IC 303 VHF

FURUNO HS2721 DSC VHF

SAILOR RT144C VHF

SIMRAD AP50 AUTO PILOT

FURUNO RADAR on hire

DUEL FRQ SOUNDERS

FURUNO SAT COMPASS 0n hire

FURUNO GP32 GPS

FURUNO GP90 GPS

FURUNO NAVTEX

OLEX 3D PLOTTER

NASA AIS RECIEVER

MAXSEA PLOTTER

Envie: 1. To vie 2. To emulate 3. To strive

 

To crave for something, tangible or otherwise, belonging to another. Often to the point unleashing that monster lurking within all us, you know, the one with the green eyes?

 

I shan't go into my usual elaborate descriptions here since most of the verbage's already gone into the matching necklace, L'invidia di una Donna :)

 

But suffice to say that these curvaceous hoops are miniature manifestations of what E.N.V.Y. means to me. A vortex of tangled knots and coils. Some without end, some with. Some of which curl upward, some spiral downward. All peppered with glorious envy-laden gems namely Mystic Green Topaz, petite Seed Pearls, Mystic Green Quartz and Mystic Citrine. Those scenestealers? Divine Apple Green Peruvian Chrysoprase Briolettes, bedecked with a single Labradorite Rondelle each.

 

I've said it before but I'll say it again now. Make 'em gape and gawk and go absolutely green with envy!

 

Envie drops approximately 2.25" and showcases 925 Sterling as well as 999 Fine Silver Wires.

 

{ COLLECTION }

 

ENVIE is part of the ATELIER ULTRA LUXE Collection, Eclettica's extremely exclusive range of haute pieces wherein only the most superior of gemstones are combined with wire-wrapping artistry to create Couture Heirlooms.

 

ENVIE is an exclusive one-of-a-kind design, available only from the studio of Eclettica.

There is more information available on this device on this blog post. wp.me/p11CVu-rJ

 

Please take a look at www.retrocomputers.eu for more info about my retro computer collection.

Dunedin.

The Edinburgh of the South was surveyed and laid out with its distinctive Octagon Park and surrounding streets by Charles Kettle who wanted to emulate the “Romantic” design of Edinburgh. He succeeded. He selected a fine site of rising ground just at the top of Otago Harbour. Here were built the early important buildings- the First Church of Otago - the major Presbyterian Church of NZ built in weatherboard in 1848, then replaced with a stone church in 1850, and the impressive Gothic masterpiece of today was erected in 1873 with the 177 feet high tower and spire. The architect who is credited with designing the First Church and so many of Dunedin’s fine stone buildigns was Robert Lawson ( 1833-1902) a Scot who emigrated to Australia in 1854 and then on to Dunedin in 1862. Robert Lawson also designed Larnach Castle (the only castle in NZ, 1871), the Knox Presbyterian Church (1876), the Dunedin Wesleyan Methodist Church – now the Fortune Theatre (1869), the Otago Boys High School (1885), the ANZ Bank 319 Princes St.(1874), the Hanover Street Baptist Church (1865 now demolished and replaced 1912) and the Municipal Chambers (1880). Many of Lawson’s buildings are built of white Oamaru limestone.

 

Other significant and heritage listed city buildings include: The Octagon is the centre, Moray Place surrounds it.

Around The Octagon:- Dunedin Athenaeum and Mechanics' Institute 1870, 22 The Octagon; Regent Theatre 1904, 17 The Octagon; St Paul’s Anglican Cathedral 1914, 36 Moray Place; Municipal Chambers 1880, 38 The Octagon;

Moray Place :- First Church of Otago 1873, 410 Moray Place; former Dunedin Synagogue dating from 1864 is NZ’s oldest synagogue – extended 1872 and sold 1881 to the Masonic Lodge but now a residence, 29 Moray Place; Moray Terrace building about 1910, 63 Moray Place; Moray Place Congregational Church (former) 1865, 81 Moray Place; former Dunedin Public Library built around 1905, 110 Moray Place; Dunedin Town Hall 1929 in neo-classical style;

Princes Street:- Cargill’s Monument 1864; ; Wains Hotel 1878, 310 Princes St – with carved figures of Neptune and other gods above the doors; Bank of NZ 1879, 205 Princes St; Dunedin Chief Post Office 1937, 283 Princes St; the National Bank of NZ 1911, 193 Princes St;

Queens Gardens:- NZ Insurance Building 1897, 49 Queens Gardens; Union Bank 1874, 319 Queens Gardens;

Dowling Street:- Imperial Building Dunedin’s answer to the Flatiron building of NY – about 1910, corner Cowling and Lower High St; ; Garrison Hall 1872 (former) 8 Dowling St;

Stuart Street:- Dunedin Law Courts 1902, 1 Stuart St; Wesleyan Church now Fortune Theatre 1869, 231 Stuart St;

Other locations:- All Saints Anglican Church 1865, 786 Cumberland St; the Otago Museum 1877, 419 King St; St Joseph’s Catholic Cathedral 1878-86 and St Dominic’s Priory 1877, 288 Rattray St; Dunedin Police Station 1898 (former), 21 Dunbar St; the Otago Girls High School 1910, 41 Tennyson St; Dunedin Prison 1898 (former), 2 Castle St; the Southern Cross Hotel 118 High St (former) 1883; the Guardian Royal Exchange Assurance Building, 7 Liverpool St 1882; the Otago Boys High School 1885, 18 Arthur St; and many fine mansions line High Street numbered 400 onwards. It is a bit of a climb but gives you good views across Otago Harbour towards St Kilda too. Buses go along the street so take a bus out and walk back down the hill!

 

Central Otago Railway and the Taieri Gorge train.

The impressive Dunedin railway station, the most photographer building in NZ, was completed in 1906. It was designed by a government architect with tower, gables and dormer windows in an Edwardian Flemish extravaganza style reflecting the importance of rail travel at that time. Inside the pretty flour tiles are by Royal Doulton. The line from Christchurch reached Dunedin in 1878. But one of the first railway lines in NZ originated here on a narrow gauge line to Port Chalmers in 1873. The steam engine that opened the line is housed in the Otago Settlers Museum in Dunedin. But even before the railway came from Christchurch the Otago Central Railway was formed in 1877 with the first 27 km section opening in 1889. That line which we travel on today through Taieri Gorge was extended to Middlemarch in 1891. The line was extended every few years opening up land for sheep farmers until it reached Alexandra in 1906. The following year it was extended to Clyde and finally to Cromwell it’s most westerly point in 1921. Fat lambs and sheep were then railed to meat processing works at Pareora and later Mosgiel in Dunedin. This all came to a decline (but not a cessation) in the 1970s when Britain entered the European Common Market and road transport become cheaper. The western part of the rail line was closed by a new dam in 1980 and finally along its entire length in 1990. The Taieri Gorge section of the line climbs quickly to 437 metres (1,434 feet) with curves, a 200 metre tunnel and a long viaduct. The viaduct is the longest and tallest wrought iron structure in NZ. The line between Dunedin and Middlemarch has 10 tunnels, 16 major bridges and 4 major viaducts. Dunedin not only had trains but also cable trams like San Francisco. Its cable car operated from 1881 to 1957 being one of the first and last in the world to operate.

 

Well trying too but failing. Amanda trying some new styles.

A test of the new Mac application which processes your images and emulates a Polaroid print, very cute interface. www.poladroid.net/

Please take a look at www.retrocomputers.eu for more info about my retro computer collection.

 

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