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Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
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An incredibly special coffee from a special place. Bali is different, in a good way. It cannot get any more beautiful, with perfect weather creating the perfect growing conditions for almost any plant. Everything is so lush and green year round. Three volcanoes nestled in the middle of this fairly small island, are at a perfect altitude for coffee, a bit more acidic soil as well which coffee tends to love. Produced by people who live harmoniously with the land. An incredible sight to see and a real treat to drink. This is the wet-hulled version. Traditional Indonesian processing which leaves a thicker generally lower acidity more stout like cup of coffee.
Coming from family owned farms located in the Kintamani highlands on the island province of Bali, Indonesia. Coffee is grown in the volcanic soils of Mount Agung along with citrus trees that provide shade and another source of income. Coffee production is typically organized around a Subak Abian, which refers to the ecologically sustainable irrigation systems developed more than 1,000 years ago by Hindu priest who practice Tri Hita Karana (the three sources of prosperity), a philosophy focused on the harmonization between the environment, humans and God.
Tasting Notes:
A very rich, strong and smooth cup. A cousin to Sumatra or Sulawesi coffee; Blue Moon always is a bit smoother without as much peaty earthiness, or swampy fruit. A sweeter cup for an Indo with malt, chocolate with a little traditional earthy terroir of the wet-hulled Indonesians. Fuller bodied, a little hint of acidity at a medium roast, a definite go to for our strong-medium or dark roasts here at Burman Coffee. Pulls some molasses undertones as ones pushes into second crack roasts. Hints of slight smoky tone at darker roast.
Roasting Notes:
I like to take this one to a full city. A strong medium-roast. It is very versatile and will hold almost any roast except light. Usually I drink this Bali just a touch lighter than I take Sumatra coffees. A little sheen on the surface of the beans, to a spot of wet looking oil, usually good to go! This coffee being wet-hulled will roast a bit uneven, very normal for it. Low chaff.
Bali Blue Moon is a Royal staple named after the hallmark bluish hue of the bean produced from the wet-hulling process called Giling Basah in the Indonesian language. The bulk of Bali’s coffee production comes from small family-owned farms where each producer uses a few acres to cultivate coffee along with citrus trees in the volcanic soils of Mount Agung’s Kintamani highlands. They carefully sort their harvested cherries before depulping and fermenting overnight with their own micro-mills. Then the coffee is washed and laid out on patios to shed the excess water from the coffee parchment. Next the coffee takes a detour from the conventional path of processing in other origins, wherein, the coffee parchment is removed while the coffee still has a high moisture content. This wet-hulling process or Giling Basah leaves the coffee bean exposed while drying on patios to a moisture percentage acceptable for export and gives the beans their distinct bluish color.
Balinese producers continue to maintain a traditional rural lifestyle organized around a Subak Abian, which is a reference to the ecologically sustainable irrigation systems developed more than 1,000 years ago by Hindu priests who practice Tri Hita Karana (the three sources of prosperity), a philosophy focused on the harmonization between the environment, humans and God. These traditions are followed in coffee cultivation, which means pesticides and synthetic fertilizers are never used.
In recent years, local producer groups have begun to partner with regional exporters like Indokom to establish organic and Rainforest Alliance certifications, which harmonize with their traditional principles of conserving forest, soil, and water resources. Indokom also collaborates with producers to overcoming logistical challenges like rugged roads and lack of infrastructure. Indokom provides logistics and milling facilities, which improves traceability and quality control throughout the post-harvest process, as well as, the ability to swiftly bring the coffee to the international market, ensuring greater producer earnings from direct trade relationships.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Harmonious Wail performs at the 2011 Midwest Gypsy Swing Festival on September 17, 2011, at the Art In The Barn, just outside of Madison, Wisconsin. The award-winning ensemble from Madison, and founders of this festival, are known for their brand of gypsy swing and vintage jazz.
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Orchids, tulips and white spray chrysanths all tone softly and harmoniously. Perfect for a wedding display
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Lovely terraced house harmoniously set in the stunning natural setting of Domus di Pitrizza, a small oasis of peace in the heart of the Costa Smeralda.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Living harmoniously can be a fine art. Much of the balance in life emits from a well balanced home where just the conducive kind of environment and atmosphere is generated which adds to inner peace.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Mt. Ktaadn - 1853
Artist: Frederic Edwin Church (American, 1826–1900)
Frederic Edwin Church traveled to northern Maine soon after the publication of Henry David Thoreau’s essay "Ktaadn and the Maine Woods." In this canvas, Church brings the landscape that Thoreau called "exceedingly wild and desolate" subtly under control by imagining its civilized future. Cattle, sawmill, bridge, buggy, and men harmoniously coexist, domesticating the landscape without appearing to disturb its natural beauty. The soaring mountain remains outside the bounds of such cultivation. Church optimistically evokes the divine destiny of a young country by bathing the land in the sunset’s spiritual glow.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Lovely terraced house harmoniously set in the stunning natural setting of Domus di Pitrizza, a small oasis of peace in the heart of the Costa Smeralda.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.