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“SteamFunk Show!”
XVIII Umore Azoka 2017
Con la fuerza y frescura de un repertorio que
mezcla el R&B de Nueva Orleans con las versiones mas funkies de las bandas callejeras.
cm nhìu nhìu có bn* liền :P !
ảnh lâu r` hùi còn lớp 10 ak :P
giờ lớp 11 r` lớn thêm 1 tủi ! già thêm 1 tủi ! râu dài thêm =)) ! mập ra ! cao thêm 3cm =)) ! alone hơn =)) , đi học cũng ít nói chuyện hơn rất nhìu =)) , rất lạnh =)) , .....
nói chung cái zì cũng có thay đổi ! =))))))))))))))))))))
Sống như thế nào thì gọi là h.p ☺ !!! ☻ !
Bless !!
life good !!
studyhard !!
☺ Funki ☺
♥ Save ! 10 - 8 - 2011 ! Thân ! ♥
This edit of a track by "Johnny Hammond Smith' is a natural merger of 60s and early 1970s jazz, with a soul that was getting into a funk on an exploration into ideas of 'groove'.
A 'spot the difference' between French and English Wiki explanations of the word 'Funk' is worthy of an essay in cultural studies and semantics:
"Selon certaines interprétations, le terme funk proviendrait de l'argot anglo-américain funky, qui signifie littéralement « puant », « qui sent la sueur », insulte traditionnellement adressée aux noirs par les WASP et reprise ensuite à leur compte par les artistes noirs tel que Horace Silver dans son morceau Opus de Funk (1953)." Wiki Fr 7.06.20
In contrast with:
"It is originally derived from Latin "fumigare" (which means "to smoke") via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy" that was taken up around 1900 in early jazz slang for something "deeply or strongly felt".[6][7] Ethnomusicologist Portia Maultsby states that the expression "funk" comes from the Central African word "lu-funki" and art historian Robert Farris Thompson says the word comes from the Kikongo term "lu-fuki"; in both proposed origins, the term refers to body odor.[8] Thompson's proposed Kikongo origin word, "lu-fuki" is used by African musicians to praise people "for the integrity of their art" and for having "worked out" to reach their goals.[9] Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.
Wiki English. 7.06.20
From the late 60s to the early 70s, musicians from diverse backgrounds were becoming interesting in the word 'groove': both locking down and liberating the bass, rhythm guitar and drum, and ornamenting with 'hooks' rather than complected architectural changes to the armature of melody. 'Groove' was to dance to, and the dance of jazz bop clubs was blending with the dance of late soul music, as musicians such as drummer Bernard Purdie and organist Johnny Hammond took the two rivers to the bridge.
Whilst, with time, early funky 'orchestrations' would flood television, b-movie cinema and even feed into a style of music that would become known as Disco, the authenticity of this window-in-time keeps some of the music well away from watered down transformations, and as an island of creativity that would later be valued by the movement known as 'Acid Jazz'.
Johnny Hammond worked with the avant guard hardbop and soul-jazz 'Kudu records', and did what Jazz had always done - he took standards and reworked them into versions that were his own (here working with an arranger for the strings). The real difference with this moment in time was to start taking 'standards' from freshly written 'modern pop music'. The track 'Rock Steady' had been written and released by Aretha Franklin in 1971, only a year before Johnny Hammond's revision - so sounds were still 'hot', and, in a way, Hammond's team were already investigating ideas of 'remix'. Many decades later, remix artists from Andy Weatheral to Ludovic Navarre would turn an original song onto it's head to the point where the original is barely visible, and to an extent Jazzman Hammond did just that to Franklin's funkest song.
Aretha's live for the single release of 'Rock steady'
1971 live: www.youtube.com/watch?v=J2VDEl18rgQ
Aretha's live of 'Rock steady' by the LP release of 1972 - the track is now much slower and into the groove: www.youtube.com/watch?v=KB5sMYw37gw
For Johnny Hammond's version, the beats were further slowed and everything was redirected to a trajectory from another melodic orbit. In short the song was no longer the same song and the cover version was virtually ... an original: almost certainly too different to provoke an injunction for intellectual property theft. This sort of appropriation and inspiration is normal for Jazz, but in the greater world of 'pop' it might be seen as the unnecessarily giving away of writing credits. Obviously 'Jazz integrity' was mixing with the pop mass market, and at the time everyone must have been happy with the shared publicity: drummer Bernard Purdie had worked on both versions, and they even released this Jazz version in time for Franklin's LP - 'Young gifted and black' in 1972. But still, a song credit of perhaps "Hammond, Purdie, Washington, Gale and Franklin" may not seem out of place to common sense.
One strata of the song's groove is presented by the guitar of Eric Gale (Melvin Sparks's guitar is also credited on the song, but I think the solo is Gales). Eric Gale's can be heard to be forming his style for his "Rock Steady" solo in this earlier Freddie Hubbard track from 1969: "A soul experiment" (from around 3 minutes 14).
www.youtube.com/watch?v=z8MR8B-X0A8&list=OLAK5uy_naNO...
By the time his solo had been recorded for Johnny Hammond, it sounded just like a ... Pink Floyd solo. Simplified - perhaps - but around the same speed and a similar interplay of lead with organ and rhythm guitar as a song with a different title and later release date. If you known Pink Floyd then perhaps have a listen to this Flickr post from around 1 minute 10.
There have always been remarks about similarities between Graham Nash's track "There's only one" and a famous Pink Floyd LP ending, and then there is this from around 3 minutes...
www.flickr.com/photos/ajmitchell-prehistory/49661297158/i...
With each of these mentioned tracks appearing prior to, or aside 'The Wall', 'Dark Side of the Moon' and 'Animals' respectively. Now the similarities are poetic, and the unique contribution of Pink Floyd's Richard Wright to music as a subject is never mentioned enough... but still - a nod of respect and even percentage royalty to poor musicians of rich spirit may make common sense.
At this point the narrative seems finished - loose enough to fit, and open-ended enough to allow for a little tailoring; the only thing is that the subject of musical originality vs musical cover is not quite over as the drummer for both projects was involved in a credit polemic about... The Beatles. 'He was in a funk and was the real drummer for many Beatles songs!' The subject of Bernard Purdie and the Beatles is perfectly covered here:
www.youtube.com/watch?v=hz9EGGiOuso
It is perhaps worth remembering what 'groove' could be like before Bernard Purdi added his shufflin' funk to the kit. Johnny Hammond Smith shares some of his name with a fellow Jazz organist Jimmy Smith. Here is Jimmy Smith's 'Sermon' from 1958 - a twenty minute groove with a short final climax.
www.youtube.com/watch?v=e3X5J_wGHrw
It's a great track, but the drums a not doing much. Now listen again to Purdie on 'Rock Steady' - he has an Afrobeat lightness - almost akin to Alan Wren from recent years. Purdie was important to music and from the above mentioned Youtube documentary, it seems he worked with Atlantic records to open out the drumming for an unofficial remix of a pre 'Love me do' Beatles session with Tony Sheridan. As a man within both versions of 'Rock Steady', Purdie was perfectly placed to put a word in for Gale and co regarding Pink Floyd royalties, and one can question why he directed his energies exaggerating some unofficial and very early Beatles overdubs when he was part of Johnny Hammond's apparently highly "influential" 'Rock Steady' recording?! A rather smug Red Bull fuelled interview seems to have helped Purdie make crass generalised statements about 'Ringo not being the real drummer of The Beatles' - an exaggeration of meaning perhaps a little like the French Wiki for 'Funk' and its inability to appreciate the roots and diversity of earthy smells.
Johnny Hammond Smith was mentioned in another "music through the lens test" as having played with Clement Wells (see below) :
www.youtube.com/watch?v=eAKn1g4kpjU
This "Music: through the lens test' features an edited version of Rock Steady. The full version is here:
www.youtube.com/watch?v=D5X0QI8k1jE
It's a detail, but the engineer for the track was the great Rudy Van Gelder and it was arranged and conducted by the very Bob James.
AJM 09.06.20
knippelsbro, arkitekt Kaj Gottlob 1937
de danske modernister var uddannet som klassicister, hvilket viser sig i deres følsomhed over for bygningens profilering - her i spillet mellem kobberets vandrette, stående false og vinduernes hvidmalede stålkarme.
det er lektier lært ved at sidde og tegne korinthiske kapitæler - en forfinelse, der var i modstrid med modernismens fokus på sociale forhold, og som fik kritisk revy til i sin tid at skrive "aage rafn er taget til samsø for at opføre en akvarel" om en af gottlobs samtidige.
Looking from the wrong angles like a bad 1990s Pomo business college, Asplund's signature work pushed entirely different buttons when completed in 1928. It owes a considerable debt to the elementary Neoclassicism of Ledoux and Boullée, but (particularly in its Egyptoid portal, its punched windows, and its ochre hue) specifically picks up the thread of early 19th century Scandinavian classicism, e.g. that of Bindesbøll. There are also echoes of a basically Baroque sensibility, for example in the transition from a tight, dark entry passage to a grand, bright monumental space, a device I associate with Guarini and which Asplund used again in the Skandia Cinema. As at that project, the interiors also bear traces of the modernist funkis to which Asplund was turning as this building neared completion. The comfortable integration of all these languages into a single rather monumental whole makes it easy to read this building as a forerunner to better sorts of Postmodernism.
But it may be more useful to understand it in its own moment. The freeform classical manner known to Asplund and his peers offered several advantages - chiefly, a flexibility that seemed to accord with the need to handle new demands, and a sort of universal "common language" quality that prefigured the later appeal of an "International Style." Both of these qualities have also been offered in defense of Beaux-Arts classicism - no better way to tackle the emerging new problems of today than a building system everybody knows how to use, which (following Durand) accords well with discrete functionalist cells that you can assemble as needed to address the program.
The internationalism might be overstated in this case. Classicism probably felt that way in many parts of the world - like, say, Aalto's Finland, where as Richard Weston suggests in his Aalto monograph, the style stood in contrast to a rustic vernacular nationalism. In Sweden, as Stuart Knight has argued ("Swedish Modern Classicism in Context," International Architect, no. 5, 1982), classicism was a national style, notwithstanding the medievalism of Ostberg's famous town hall. That both Asplund the Swede and Aalto the Finn would absorb both the classical and vernacular modes, and then reinterpet them through an industrial Modernist vocabulary, is a testament not only to their intellectual flexibility and the needs of the time, but the pragmatic liberty with which they approached all of these traditions in the first place.
For all that, the library's solidity, symmetry and bulk risk a certain doughty pretentiousness, even if its steel-framed drum grants ita lightness absent from Asplund's original proposal. Certainly, Asplund - like Ledoux and company - would have argued that if any building deserves to stand tall and proud, the public library is it. But given his approach at the Göteborg courthouse just a few years later - approachable, comfortable, everyday - one wonders whether he perhaps had already started to doubt the monumentality on display here. In 1931, Asplund co-authored a pragmatic, populist-functionalist manifesto, acceptera, with several of his peers. One of them, Gregor Paulsson, would in the 1940s reject monumentality outright, asserting that it was in contradiction both with modernism and with democratic society (two elements that had become conceptually fused for many in this generation). I like the library quite a lot, but I'd be interested to know whether Asplund ever looked back on it with any misgivings.
British DJ and musician Jazzie B of Soul II Soul fame DJing at Wakestock Music Festival, Abersoch, North Wales 2008 ©BrianOMahony.net
"Keep on moving, don't stop,
like the hands of time, click clock,
find your own way to stay,
the time will come one day"
Keep On Moving - Soul II Soul
Processed in Lightroom and overlayed a presets called Just A Little More and slightly sharpened the image.
ISO1000 24mm f4 1/40sec
This photo may not be reproduced or used in any form of publication, print or the Internet without my written permission. Please contact me if you would like to use one of my images.
Copyright © All rights reserved
the law courts, extension of gothenburg city hall.
architect erik gunnar asplund, 1913-1937.
the famous central staircase to the first floor court rooms, much quoted in scandinavian architecture since.
the asplund set so far.
Spent the day in the workshop – this is pretty typical ‘at the jeweller’s bench’ attire…
* Skirt from SES about ten years ago
* Tights from Coles
* Top thrifted
* Scarf from Sportsgirl
* Cardigan from Stock Jeans
* Clogs from Funkis (I LOVE these… OH&S approved. Hells yeah.)
I’m off to Underbelly Night! Although we are actually watching So You Think You Can Dance…
And I massive thank you to everyone who commented on the new Smaggle segment Can I Get a Consensus? yesterday! I think it’s a keeper!
Love Lady Smaggle
Villa Mairea in Noormarkku, Finland
Villa Mairea was designed by Alvar and Aino Aalto and completed in August 1939. The Aaltos designed this house as a home for their friends Maire and Harry Gullichsen. Harry Gullichsen was the CEO of the family company A. Ahlström Oy. Maire Gullichsen was a collector and a patron of the arts.
Der Name der Pflanze fällt mir im Moment nicht ein. Kommt aber bestimmt wieder...😉
Es hat mir keine Ruhe gelassen: Es ist eine Funkie oder auch Hosta undulata.
malmö stadsteater, malmö, sweden, 1935-1944.
architects: sigurd lewerentz with david helldén and erik lallerstedt.
yes, it is italian rationalism with its rigor and formal playfulness, but what I am sure we all respond to in the theatre facade is just how close lewerentz and asplund are at this point in time in terms of language, surfaces, and expression. I am thinking of skogskrematoriet, of course, here seen through the lense of clement guillaume, www.flickr.com/photos/clementguillaume/2297988427/, for comparison.
the awful concrete planters on the balcony are not original, should you be in doubt.
the law courts, extension of gothenburg city hall.
architect erik gunnar asplund, 1913-1937.
generous daylight, reflected artificial light, natural surfaces everywhere.
the asplund set so far.
Bekijk agenda tips, win vrijkaarten en goodies, download livesets en keep it funki op www.funkimag.nl
--
Fotograaf: Theo Vos
“SteamFunk Show!”
XVIII Umore Azoka 2017
Con la fuerza y frescura de un repertorio que
mezcla el R&B de Nueva Orleans con las versiones mas funkies de las bandas callejeras.
“SteamFunk Show!”
XVIII Umore Azoka 2017
Con la fuerza y frescura de un repertorio que
mezcla el R&B de Nueva Orleans con las versiones mas funkies de las bandas callejeras.
stellings hus, gammeltorv, copenhagen, 1934-1937.
architect: arne jacobsen, 1902-1971.
the two original lamps by the entrance are down for the duration of the refurbishment of the ground floor café but otherwise this is very close to how the house first appeared when the scaffolding was taken down in 1937. the media reaction was one of outrage but that may be all they have ever had to offer.
today, stelling stands as one of the finest examples of the integration of a modern house in a classicist setting. for jacobsen, it marked a departure from the white, international style buildings of his early career. the lessons in architecture from asplund and their mutual fascination with italian rationalism had taught him that his neo-classicist training and his modernist ambitions could be reconciled.
indeed, the reconciliation of modernism and classicism would from here on be a returning theme in jacobsen's work.
vestersøhus housing, copenhagen, denmark 1935-1939 (built in two stages).
architects: kay fisker & c.f. møller
final fisker until I manage to get some interiors...
copenhagen airport terminal.
architect: vilhelm lauritzen, 1937-1939.
in his airport terminal, lauritzen tried and achieved a successful collage of modernist architecture. le corbusier is here, as are asplund and aalto. in pure architectural excitement, it compares well with its precursor, the gothenburg law courts by erik gunnar asplund - without sharing any of its historical importance, though.
the airport soon outgrew this first terminal which survived as a warehouse until being moved to a new location and restored in 1999.
lauritzen's architecture lost a lot of its charm after the war as his orientation became increasingly international and his buildings increasingly abstract. he died in 1984 at ninety and his office still exists.
more words, yada, yada, yada.
first copenhagen airport terminal.
architect: vilhelm lauritzen, 1937-1939.
the undulating ceiling is a thin concrete shell roof which spans the main hall - except, the shallow waves don't quite manage the span and lauritzen introduces a great concrete arch outside from which he suspends the roof using steel cables.
it is all a game, of course, in lauritzen's playful modernism - and a straight quote from le corbusier's palace of the soviets, too.
the inside surface of the ceiling is made up of wood fibre boards with a positive effect on acoustics and, not least, the colour of light.
that the young finn juhl worked for lauritzen in the 1930's may explain the delicacy and sculptural quality of the modernist detailing.
more words, yada, yada, yada.
vestersøhus housing, copenhagen denmark 1935-1939 (built in two stages)
architects: kay fisker & c.f. møller
the university in aarhus is an easy choice for fisker's masterpiece - except maybe for the architect of housing to whom vestersøhus in copenhagen must take first place. at 300 meters length and 8 floors it is a giant, the very cliché of modernist architecture asking for trouble. yet, if it has ever seen any unrest it would be from people trying to get in.
the flats are simply that good and part of their quality can be deduced from the west facade seen here. for vestersøhus, fisker developed a principle known in denmark as altan-karnap which translates as balcony-bay window. it was the integration of the modernist balcony into a facade with deep relief in which the living room projects outward creating a pocket for the balcony which in turn attains the size and status of a room. the bay window turns the corner into the niche giving each flat sunlight from three sides and the closest possible connection with its outdoor space. fisker's friend aalto later developed the idea in hansaviertel in berlin.
all stairwells end in communal roof terraces; the interiors are full of wood and the rounded corners of asplundian modernism; all details were designed by the architect down to doorknobs and the lettering used for name signs - the pleasures for the student of this project seem endless.
indeed, vestersøhus shows fisker at the height of his powers. something of a child prodigy, he entered the royal academy at only sixteen, later worked for lewerentz, and leapt unto the Danish stage as the local proponent of swedish grace with a number competition wins while still in his twenties. he had taught, studied and built housing in copenhagen for 15 years when the commission for vestersøhus came his way. in his long line of housing projects, it became his modernist breakthrough. like lewerentz, fisker was an elegant and austere classicist, and looking at vestersøhus one cannot help think that modernism came as a personal liberation from style itself.
instead of style, he was left with the tools needed to compose and control a house this size. you will notice how the brick bays of the living rooms make up the first order of the facade, densely spaced. the white steel balconies, however, are tied together two rows at a time by a long upper balcony, effectively creating a kind of giant order, paced much more leisurely along the street. and above that, the mute attic floor ties it all together.
in terms of composition, it was related to contemporary housing in berlin, but fisker chose to explain what he had done by comparing it with copenhagen's historicist town hall which also has a blank, red brick attic. this was typical of an architect who wanted to tie his projects to what he saw as Danish tradition, ultimately derived from anonymous architecture. he called it the functional tradition and it was always part of his work. in later works, the balance would tip in favour of tradition. I prefer the balance here, but fisker's temperament was conservative and his path was his own and maybe even inevitable.
when still alive, fisker who ended up running the school of architecture was such a domineering figure that his buildings were regarded as a kind of golden mean. after his death, he was predictably neglected. today, it should be possible for us to see just how personal his synthesis of classicism, modernism and the vernacular was.
erhardt's house, hegelsvej, charlottenlund, denmark 1934.
architect: arne jacobsen, 1902-1971.
north facade.
one of the pleasures of walking down hegelsvej where so many of jacobsen's houses are found, is to follow his development as an architect from the twenties through the thirties - the advent of modernism and his own selfdiscovery.
erhardt's house is only three years older than steinthal's house in the previous frame. its asymmetrical volume has a powerful presence from the street, but also less of the assured elegance that would characterise jacobsen's later work.
as one of his former employees have noted, the air of assured elegance was in fact the result of a deep self doubt that would lead to sketch proposals being developed very far before jacobsen committed to them.
jacobsen himself said that before he met asplund, he had believed he could dream up architecture on the couch. the houses we are looking at here are from the very years when jacobsen came under asplund's influence.
but why don't you take a walk down hegelsvej - who needs photography when we have google street view?
try this... the white house on the left is jacobsen's own villa from 1928-29. he soon outgrew the "white style". the red house to the right is also to his design, if I remember correctly.
here is the lovely munck's house from 1933. (think I'll skip my upload of that one now).
and this is the steinthal's house - smaller than in my photo, but that is what you get when you place your camera on top of a van...
in here - at once huge and discreet - a very english looking house for an english client, jacobsen 1929.
there are plenty more, I'll just show you this early essay across the street from erhardt's house - the early steensen's house from 1927. turn around to see more.
malmö stadsteater, malmö, sweden, 1935-1944.
architects: sigurd lewerentz with david helldén and erik lallerstedt.
(half of the comments below have been deleted, making a mess of the debate)
villa sørensen, nordre strandvej 53B, elsinore, denmark 1935.
architect: arne jacobsen, 1902-1971.
one of jacobsen's many funkis villas is for sale, the 1935 sørensen villa north of elsinore - neglected by the jacobsen literature, but thankfully less so by its owners. there was a thirty minute open house today and of course, we had to go.
the house is from the years in jacobsen's career when he gave up the superficial modernism of the international style which he had shown he mastered in klampenborg and began building more responsibly and responsively in terms of climate and local traditions. the many original details that have survived since 1935 testify to his success.
you can buy the house here. it is in excellent condition and the price is very decent, if you have that kind of money. (read: if you are not an architect). sadly, the owners felt it necessary to sell off half the garden. jacobsen specifically avoided making a fetish of the sea view here and gave the house fine outdoor spaces on all sides: that balance is gone.
the two doors in the kitchen wing are new - all else in this photo is to my knowledge as jacobsen designed it.
a stitch of three.
landmandsbanken, nørrebrogade 160, copenhagen, denmark 1936.
architect: arne jacobsen (1902-1971).
in copenhagen, you come across traces of lost jacobsen projects like this small bank on nørrebrogade where he redesigned the entire ground floor of an existing c.1880's house in 1936. it is just down the street from where I work.
little is left other than the green norwegian syenite cladding and the door number in what appears to bent brass rods. it is a nice reminder of the care jacobsen put into the detailing of every project he did, regardless of scale, after he came under the influence of asplund. his projects for public buildings usually included a new typeface, these three figures in a rounded funkis style being one of the more charming.
sas royal hotel, copenhagen, 1955-1960.
architect: arne jacobsen, 1902-1971.
and neighbour...
in the SAS royal hotel as in most of the other abstract works of this period, it is difficult to find any traces of the intelligent contextualism jacobsen praticed in works like the stelling house seen below.
soon after the hotel, jacobsen would return once again to his neoclassicist roots to produce sensitive and subtle reinterpretations of local architecture in the national bank, copenhagen 1961, st. catherine's college, oxford 1962, and the mainz city hall.
like the hotel, these are highly elitist works and have been less favourably received by the general public than by colleagues.
a degree of popular appreciation of his more difficult buildings has come with the reappraisal of jacobsen's furniture design which is now again a part of more or less every Danish home after its fall from grace in the 1980's.
the glass corners in this photo are open, creating a wonderful effect of lightness, but some inferior decorator managed to put curtains there.
The blue hour is making it's mark at the small harbor in the lux-area of the Lilla Essingen island in the central parts of Stockholm.
This is one of the new living areas around the city that was built on a old industrial harbor area. There used to be a Electrolux factory here, but In 1998 the new building project started and it is now a fancy place to live just by the water with some spectacular view over the lake and islands in the inner parts of the city.
Lilla Essingen is a small and very densed populated island just a few minutes boat ride to the very center of the city. Most of the buildings is from the 1920-40's in classic Swedish architecture styled called funkis. In The new area some of the old fabric houses have been saved which makes a nice contrast to the newly built modern buildings.
F for Favourite, L for Large.
villa sørensen, nordre strandvej 53B, elsinore, denmark 1935.
architect: arne jacobsen, 1902-1971.
it is for sale here.
the two first floor windows on the right are not authentic. originally, there was a single window on the far right corner similar to the two first floor windows to the left, almost provocatively neglecting the sea view.
stellings hus, gammeltorv, copenhagen, 1934-1937.
architect: arne jacobsen, 1902-1971.
for one of the best preserved jacobsen houses - and one of the best houses in his large production - I recommend stellings on the corner of the central square of medieval copenhagen, gammeltorv.
in this photo, only the top, white frames are new. and they got the colour and the curved glass right.
the lower part of the facade is sheet steel flush on the concrete with a blue-green car paint finish. window frames in stainless steel - and still stainless after 70 years. the metallic upper facade is composed of ceramic tiles reflecting the little light we see these winter days.
the spirit of another nordic master is very much present here. in fact, the lamps in the windows are jacobsen's own development of asplund's glass lamps. in his slightly later søllerød city hall, jacobsen simply used asplund's lamps instead of his own design as if to show the depth of his indebtedness.