Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation

 

hazy day as the freighters go in and out of the harbor

 

Brooklyn, NYC

 

August 20, 2010

  

It's now a sort of peninsula off the main part of Brooklyn, but Coney Island was once a barrier island like the ones further east on Long Island. It appears on an 1639 Dutch map as "Conyne Eylandt", or "Rabbit Island". Rabbit hunting seems to have been the primary draw of this place until rail and steamboat connections were made with Manhattan after the Civil War. In the late 19th century and early 20th, Coney Island had its heyday as throngs of New Yorkers flocked here to the resorts or for daytrips, escaping the heat of the city. The crowds you see in the old pictures and newsreels are staggering.

 

With the advent of the automobile and air-conditioning, Coney Island, which had already always had a seedy undercurrent, began to lose its appeal and economic base. It's basically been in decline since the 1950's, and most of the rides, hotels, and attractions which were once the hallmarks of a NYC summer for so many have been torn down and relegated to memory. In recent years there has been much talk about revitalizing the area, and it seems that some measures have worked. Unfortunately, every year more and more disappears- Many of the signs and buildings I've photographed since 2005 no longer exist.

 

AND- instead of trying to restore what is left, the latest idea is to raze everything and turn much of the area to housing, much of which will be priced beyond the range of the average Coney Island resident. The buildings in the crosshairs of the bulldozer include some classic structures from a century ago- buildings, which, if simply restored, would not only help revitalize the neighborhood, but also preserve the aesthetic and spirit which made Coney Island so well-known throughout the world. The most promising redevelopment efforts have been by those who sought to preserve the history of the neighborhood, while infusing it with new energy and creativity- places like Lola Star's Dreamland Roller Rink (housed in an otherwise vacant classic bank) and the Coney Island Sideshow School. These places have either been shut down, or are under constant pressure.

 

The redevelopment of Coney Island is one of the most contentious real estate issues in the city today. Unfortunately Big Business seems (as usual in NYC), to have the upper-hand here. And the sad fact is, the percentage of New Yorkers who take advantage of Coney Island is pretty small. It's not the nicest beach in the world, and certainly the neighborhood has a bit of grit, but coming here is not a cookie-cutter experience- an characteristic which should hold some value in an increasingly homogenized world.

 

People in New York forget that if you're willing to part with $2.25 and read a book on the subway for an hour, you can hang out in the sun and air, on a free beach; and need only to walk a few yards to eat or drink-

“Many times too, I go up North, like a hundred miles North we have the Apaches, a couple of hundred miles further North we have the Navajos. If I want to paint a painting of a wagon, I often have to go as far as Canyon de Chelly [on the Navajo Reservation.] They’re getting scarce. Our way of life is homogenizing in such a way that they use trucks instead of horse and a wagon.” -Ted DeGrazia Documentary 1976

 

"Wagons Ho!” on display at the Gallery in the Sun through January 20th, 2016. Open daily from 10-4; free admission.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

She said, “Romance is dead - it was acquired in a hostile takeover by Hallmark and Disney, homogenized, and sold off piece by piece.”

 

I can't stay away from flowers... sorry... and this time, wholesale. The hardest I did -- from shoot to edit, because I can't afford to acquire presets. Well, the spice of a nice hobby.

 

To all the women out there. Happy Celebration of International Women's Day!

 

Here... for more romance :))

   

*I blended in textures from darkwood67 and pareeerica. Thanks!

 

Blauearth's Blog

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

I started with these directions for Neufchatel cheese, which I have unsuccessfully tried before, and ended up modifying them slightly.

 

I used a half gallon of Organic Valley non-homogenized milk. This is NOT ultra pasteurized, and I've heard it recommended by several cheese makers. (Next time I plan to skim off the cream and make butter from it, as I think this is what medieval cheese makers would have done.)

 

To this I added 2 tablespoons of cultured buttermilk. I heated these together to 70 degrees.

 

Meanwhile, I dissolved 1/4 tablet of rennet in a little bit of warm water. I can never get the tablets to dissolve all the way, so I settle for a flocculent solution with fine particles.

 

When the milk was warmed, I turned off the heat and stirred in the rennet.

 

I let this sit totally undisturbed for about 18 hours in the same periodically barely warmed up oven that I was letting my bread rise in. This morning there was great separation of the curd from the whey, and a good clean break. I cut the curd and poured off the whey. Now this is sitting in my refrigerator with more whey draining off. If this ends up hard enough, I'll probably press it into a ball using the cheese cloth.

The salt(Na) content is 1000 mg/ 2 slices. That's about 40% of your daily intake. If that wasn't bad enough these products are Homogenized, spreading pathogens, if present, and other germs throughout the food. You can check the link for info: foodsafetyfirst.ca/ and www.fsis.usda.gov/

"If theme parks, with their pasteboard main streets, reek of a bland, safe, homogenized, whitebread America, the Renaissance Faire is at the other end of the social spectrum, a whiff of the occult, a flash of danger and a hint of the erotic. Here, they let you throw axes. Here are more beer and bosoms than you'll find in all of Disney World." - Neil Steinberg

Homogenizer, Vessels Storage Tank, Preparation Vessels, Syrup Manufacturing Plant, Oral Liquid manufacturing plant

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Mass Mixer, Sigma Mixer Kneader, Sigma Mixer Extruder, Continuous Paddle Mixer, Blender

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation

 

At the launch of the wonderful book "Facing the Cold", Philip McMaster congratulated China Daily, Wang Wenlan, all the people involved in the production of the book, the Chinese Military for thier rapid and compassionate help in the crisis, and the Chinese People for their courage and cooperation in the face of disaster.

 

Philip McMaster is from Montreal Canada, (the same city where Dr. Norman Bethune was educated and developed many innovations in Medicine) where he particpated as Director of Volunteer Coordination with "Cool to be Canadian" during two major disasters caused by Global Warming in 1997 and 1998. (see links below for details)

 

Presented with complimentary copies of the "Face the Cold" book, in gratitude Mr. McMaster shared the new Chinese Sustainability Symbol (3 fingers) with many of the key dignitaries, noting that he had developed the symbol in China, when teaching MBA students at the Chinese University of Hong Kong. This "made in China" symbol, researched and developed by the McMaster Institute for Sustainable Development of Commerce, is designed to become an ATTITUDE that the Chinese people will practice first for the Olympics, (balancing Society, Environment and Economy) and then export as China's gift of sustainability to the world.

  

Today Philip McMaster is Principal Researcher with the McMaster Institute for Sustainable Development of Commerce www.SustainabilitySymbol.com and Eco-Entrepreneurship Coach with www.Dragonpreneur.com , www.Dragonpreneur.com/blog

 

a description of the research and development of the Sustainability Symbol and programs for Chinese students of business and entrepreneurs can be found at the following websites: www.Dragonpreneur.com, www.DragonThink.com,

 

************************************

National Emergencies where Philip McMaster has assisted citizens:

 

Flooding

 

In 1997, Philip McMaster was leader of "Cool to be Canadian" ( www.CooltobeCanadian.ca )crews helping the military build dams to protect the city from floods - www.cool.ca/cool_en/fld_action.htm

 

Ice Storm

 

In 1998, Philip McMaster was leader of "Cool to be Canadian" crews protecting Canadians from the ICE STORM covering Eastern Canada www.cool.ca/cool_en/icestorm_album.htm

 

Jan 13, 2000 - Philip McMaster cooperates with China Daily on Environment Book

www.ecotaskforce.com/conu/

 

Stop homogenization to protect tourism

By: Philip McMaster in Beijing

 

www.ecotaskforce.com/chinadaily/protect/

 

04/17/99 Philip McMaster - Sustainable Adventure in Hong Kong

www.ecotaskforce.com/chinadaily/HKnature/

 

******************************************************

Photos of the "Facing the Cold" event can be found on Flickr at the following address: www.flickr.com/photos/dragonpreneur/sets/72157604040544560/

  

"Facing the Cold" Philip McMaster and friends at China Daily Book launch - McMaster relates experiences with Ice Storm Canada 1998 - At the launch of the wonderful book "Facing the Cold", Philip McMaster congratulated China Daily, Wang Wenlan, all the people involved in the production of the book, the Chinese Military for thier rapid and compassionate help in the crisis, and the Chinese People for their courage and cooperation in the face of disaster.

 

Philip McMaster is from Montreal Canada, (the same city where Dr. Norman Bethune was educated and developed many innovations in Medicine) where he particpated as Director of Volunteer Coordination with "Cool to be Canadian" during two major disasters caused by Global Warming in 1997 and 1998. (see links below for details)

 

Presented with complimentary copies of the "Face the Cold" book, in gratitude Mr. McMaster shared the new Chinese Sustainability Symbol (3 fingers) with many of the key dignitaries, noting that he had developed the symbol in China, when teaching MBA students at the Chinese University of Hong Kong. This "made in China" symbol, researched and developed by the McMaster Institute for Sustainable Development of Commerce, is designed to become an ATTITUDE that the Chinese people will practice first for the Olympics, (balancing Society, Environment and Economy) and then export as China's gift of sustainability to the world.

  

Today Philip McMaster is Principal Researcher with the McMaster Institute for Sustainable Development of Commerce www.SustainabilitySymbol.com and Eco-Entrepreneurship Coach with www.Dragonpreneur.com , www.Dragonpreneur.com/blog

 

a description of the research and development of the Sustainability Symbol and programs for Chinese students of business and entrepreneurs can be found at the following websites: www.Dragonpreneur.com, www.DragonThink.com,

 

************************************

National Emergencies where Philip McMaster has assisted citizens:

 

Flooding

 

In 1997, Philip McMaster was leader of "Cool to be Canadian" ( www.CooltobeCanadian.ca )crews helping the military build dams to protect the city from floods - www.cool.ca/cool_en/fld_action.htm

 

Ice Storm

 

In 1998, Philip McMaster was leader of "Cool to be Canadian" crews protecting Canadians from the ICE STORM covering Eastern Canada www.cool.ca/cool_en/icestorm_album.htm

 

Jan 13, 2000 - Philip McMaster cooperates with China Daily on Environment Book

www.ecotaskforce.com/conu/

 

Stop homogenization to protect tourism

By: Philip McMaster in Beijing

 

www.ecotaskforce.com/chinadaily/protect/

 

04/17/99 Philip McMaster - Sustainable Adventure in Hong Kong

www.ecotaskforce.com/chinadaily/HKnature/

 

******************************************************

Photos of the "Facing the Cold" event can be found on Flickr at the following address: www.flickr.com/photos/dragonpreneur/sets/72157604040544560/

  

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

For the Caramel:

400 gm white sugar.

For the Caramel fillng:

8 eggs

200 gm sugar

5 gm vanilla extract

1 litre homogenized milk

 

For the Bavarian Cream (white dish on the left)

500 mL milk

250 gm sugar

25 gm powdered gelatin

4 eggs

2 gm salt

5 gm vanilla

15 gm flavoured emulsion (coconut, in this instance)

500 gm whipped cream

 

Note: the Bavarian Cream has semi-raw eggs (they are whipped with the warm milk), should be kept refrigerated, and not served to pregnant women, children, people with vulnerable or compromised immune systems.

 

----

Photo taken in the sunshine; dishes nestled in fresh snow on the back porch table.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation

 

FBD, Fluid Bed Processor, Fluid Bed Coater, Fluid Bed Granulation, Top Spray Granulation

-Prism Pharma Machinery,Ahmedabad,Gujarat,India.

These cookies are a little reduced in sugar compared to the classic chocolate chip cookie, and they are much softer too. They keep well in glass containers, and surprisingly, they also keep their softness for about a week. If you don't eat them all first, that is.

 

2 c. ap flour

1/4 c. dark cocoa powder (also called "black" cocoa)

2 t. cornstarch

1 t. baking soda

scant 1/2 t. kosher salt

 

6 oz. unsalted butter (room temperature)

3/4 c. brown sugar

1/4 c. granulated sugar

2 eggs

2 t. vanilla extract

 

10 oz. chocolate chips, I used bittersweet (semi-sweet or mint would be good too)

 

Mix or sift all the dry ingredients together in a small bowl.

 

With a hand mixer or in the bowl of a stand mixer (paddle attachment), beat the butter and sugars together for a full 3 minutes. Add the eggs, one at a time, beating 1 minute after each addition. Add vanilla.

 

Add the dry ingredients to the wet, mixing on low speed (or by hand) until just moistened and homogenized. Add the chocolate chips and stir to disperse. Refrigerate dough at least a few hours before baking, or preferably for 24 hours.

 

Bake in preheated 350 degree oven, on parchment lined baking sheets for exactly 10 minutes. Let the cookies cool on the sheets 5-10 minutes before transferring to a wire rack to cool completely. Store in airtight glass jars. (I use a portion scoop that is a generous tablespoon - and flatten the dough slightly before baking.)

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Location: Broadmeadows

Type: Urban Design

Status: Competition

 

Design: WSH with Mark Bol

Design Team: Andrew Simspon, Owen West, Steve Hatzellis, Mark Bol, Stephan Bekhor, Dennis Prior

 

Description:

This project was an entry for an urban design competition for the City of Broadmeadows. Developed as a critique of conventional masterplanning processes, the scheme was developed as a means, not of defining a solution for urban development in Broadmeadows; but rather speculating on the latent potential of the site. Rather than an utopian vision, this is architecture and urbanism as open possibilities and speculation - hence the title - transition city.

We contended that growth and change occur in Broadmeadows incrementally, given suitable interventions. As the interventions proposed in this submission may have different outcomes than predicted we did not show a fully developed 'solution' to development in Broadmeadows, unlike a masterplan which tends to homogenize future possible outcomes. Instead, we show possible outcomes of interventions at two scales which seek to attract growth from outside Broadmeadows and simultaneously from within the local community.

  

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Coating Machine, Lab Auto Coater, Colloid Mill, Stirrer- Agitator, Vacuum Ultra Mixer

Pharmaceuticals Machine Manufacturer in India, High Shear Mixer, Rapid Mixer Granulator,

Ribbon Mixer Blender, Paddle Mixer

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

 

Pharma Machinery, Pharma Machines Manufacturer, Pharma Machine Manufacturer in India,

Pharmaceuticals Machinery, Pharmaceuticals Machines Manufacturer-Prism Pharma Machinery,Ahmedabad,Gujarat,India

We stopped at a park on a drive we took today. I love this park because it still has the kind of play equipment I loved when I was a girl -- big clanking metal rings, and tall swings, and a shiny metal slide that has that particular smell that hot metal slides in the sunshine used to have. In other words, it hasn't yet been forced into the homogenized "which park are we at again?" mold by overzealous safety regulations. I hesitate to even say where the park is for fear they'll be Caught and I'll be responsible for having brought down the last of the original old-school playgrounds in the United States.

 

Really, other than that, this park is actually a little sad. It's very quiet, which can be nice, but the baseball diamond is all grown up shin-deep in field grasses and the bathroom is MOST sadly neglected indeed. (It's terrible.) But I still love the place and hope it never changes.

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

Pasteurized Milk

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.

An Interview with Yoko Ono by Hans Ulrich Obrist, 1992

 

Q: Could you tell me a little about the early beginnings of instructions in your work?

 

YOKO: It started with music. I was trained as a musician since my pre-school years. My mother put me in a very special school called Jiyu-Gakuen in Japan, before I went to the elementary school. Jiyu-Gakuen, which translates as "Learning Garden of Freedom," gave early musical training to pre-school children. We learnt perfect pitch, harmony, playing the piano, and composing simple songs. Some very famous Japanese composers came out of this school. One of the most important things I learnt in that school, though I only knew how important it was in hindsight, was to listen to the sounds in ones' own environment. We received homework in which you were supposed to listen to the sound of the day, and translate each sound into musical notes. This made me into a person who constantly translated the sounds around her into musical notes as a habit.

 

Q: The sounds of the city...

 

YOKO: The sounds of the city and the sounds of your life of that particular day. Then you had to transform that into musical notation. Isn't that amazing?

 

Q: Really amazing. And that was a task in school?

 

YOKO: Yes, in the 1930s. It was an incredible idea. It was homework... to transform the sounds into notations. So in my childhood, I was always doing that in my mind. When the clock went ding, ding, ding, I repeated it in my mind afterwards. I did not count when the clock chimed, but after the chime stopped. That was what came naturally to me. In hindsight, it was a remarkably interesting exercise. The whole concept of transforming noise into notation, sounds like what was done by Cage, later...but it was just homework in a kindergarten for early musical training.

 

When I was living in my parents home in Westchester, N.Y., I was woken up in the morning by a grand chorus of the birds outside my window. I found myself, automatically, making an attempt to translate the sounds of the symphony of birds into musical notes. Then I realized that since the singing of many, many birds was so complex, I could not possibly translate it into musical notations. I didn't have the ability to, is how I first thought. But I immediately realized that it was not a question of my ability, but what was wrong with the way we scored music. Something got lost in the translation when you tried to notate the chorus of the birds. The score became a mere simplification of the natural sounds without it's original intricate beauty. Of course, you could make a whole complex world of musical order, entirely separate from sounds of nature . But if you wished to bring in the beauty of natural sounds into music, suddenly you noticed that the traditional way we scored music in the West was not the way. So I decided to combine notes with instructions. Composers who created Music Concrete must have gone through the same feelings I felt then.

 

It was a natural step from there to creating Events and Instructions for paintings and sculptures. In music you write the score and the performer interprets to perform it as closely as possible to the score. But the outcome is always merely an interpretation. When the score says pianissimo, how pianissimo are you supposed to express it? It depends on the interpretation of the musician. So there's always an argument to be made. It's fascinating in that, in music, there was a separation of the score and the performance. Artists, whether they are composers or visual artists, always want their work to exist in eternity exactly how they have created it. But it is impossible for their work to maintain it's original condition, and in the case of music, it to be performed exactly in the way they intended.

 

John Lennon once told a reporter, "Yoko got ideas like other people have diarrhea. It's like she's got diarrhea of the mind." It's true that ideas came to me like I was tuning into some radio from the sky. So I was always frustrated that I couldn't realize most of my ideas. But by instructionalizing my artwork I was, in effect, delegating the final outcome of it to others. It cleaned up my head which was clogged with ideas. Until then, sometimes for financial reasons, sometimes for technical difficulties, I could never realize all the ideas which were literally bombarding me. But now, I could just write instructions. It freed me. I became more and more daring. The instructions became more and more conceptual as well. In the conceptual world, you did not have to think about how an idea could be realized physically. I could be totally daring.

 

Q: And so the idea was that in making these projects there were no limits?

 

YOKO: Exactly. Because then, I discovered, that by instructionalizing art, you did not have to stick to the two-dimensional or three-dimensional world. In your mind, you can be in touch with a six-dimensional world, if you wished. You can also mix an apple and a desk. It is physically impossible to mix an apple and a desk in the real world. But you can, in a conceptual world. And in the process of mixing the two, you can mix them in the way you want.

 

The other thing that derived from this was that the paintings or the sculptures did not have to be static. They could keep on moving and growing, like life. In those days, artists and musicians were slow in allowing others to touch their work. They did not like the fact that anyone else would touch their work. Even the public felt that that was not what an artist should do: to let others participate in their work. "You mean, you've let somebody else make this?" That was bad. The work had to be made solely by the artist and remain as the way it was produced. But I was a war child. Life was transient, and often with sudden changes. I was always forced to move on. Static life seemed innately false to me. It was a fact, that statues and paintings deteriorated in time, or were destroyed by political considerations. I knew that no matter how much you wanted, the work never stayed the same. So, as an artist, instead of trying to hold on to what was impossible to hold on to, I wanted to make "change" into a positive move: let the work grow- by asking people to participate and add their efforts.

 

Q: So it is unlimited in duration also?

 

YOKO: Exactly.

 

Q: And that is very related to music because in music there is the element of interpretation/participation.

 

YOKO: Yes. But even in music, there was an understanding that the score was for the performers to repeat the score as faithfully as possible. I wanted to give an unfinished work for others to add to, not to merely repeat. That's very, very different. In those days, especially, most artists hated the idea of letting anybody touch or variate their works. It was a big step for me, too. I am a perfectionist. I, also, did not like the fact that somebody will touch my work. I did it in spite of myself, in a way. You can say that I did it for my growth, for me to let go my artistic ego. I felt like I was representing the whole artistic community and releasing my ego on behalf of the elitist group of people.

 

Sometimes, there were still my instructions as the measure to follow. But it was not the same as giving a finished score. There was a bit more leeway, a lot more, actually, for the performers to play with and express themselves in. Much later, in l968, when my first record came out, I titled it "Unfinished Music No. 1." In this one, I did not give any instructions to follow. I just titled it "unfinished music." I thought that the hip ones will understand by then. It was, after all, a decade or so after I presented the idea to the world. But I don't think anybody was able to make head or tail of it. At least, that was my impression.

 

I met John Cage towards the end of 1950's, through Stephan Wolpe. What Cage gave me was confidence, that the direction I was going in was not crazy. It was accepted in the world called "the avant-garde". What I was doing was an acceptable form. That was an eye-opener for me. Pre-Cage composers such as Henry Cowell, Stephan Wolpe, and Edgar Varese should be remembered for their brilliance and courage, too. They were in pain already because it seemed that they were rapidly forgotten once Cage came out. I still have warm feelings for them. As you know Frank Zappa studied with Edgar Varese, and he always spoke of Varese highly. I met all of them: composers and artists. It was a great feeling to know that there was a whole school of artists and musicians who gathered in New York at the time, who were each in his/her own way revolutionary.

 

Q: So the Grapefruit Book is also an invitation for the unpredictable?

 

YOKO: Exactly. My Indica Gallery show in London in 1966 was the first time I actually incorporated the expression "unfinished paintings" in the title of the show, though my first show of "instruction paintings" was in N.Y.C. in 1961 at AG Gallery. I didn't incorporate the word in the title of the show at the time, and therefore, I had loads of difficulty after that. Several artists said things like "oh, that show of yours in AG was just a calligraphy show," or something like that to sweep it under the rug, so to speak. I only had one tiny mention in an obscure newspaper that showed that it was an instruction painting show. That situation changed in the middle of the 1980's when suddenly a whole roll of photo negatives of my show by George Maciunas came out. Thank you, thank you, George! For both of my shows: AG Gallery 61, and Sogetsu Art Center 62, I asked Toshi Ichiyanagi to print out the instructions instead of using my own handwriting, to make a point that they were instructions, not words drawn by the artist as visual images.

 

Q: Adorno describes this idea of the gap between art and life, and in the 1960s, there was a very strong sense of bridging the gap between art and life. I wondered if this was what an element behind the instructions in the sense that there wouldn't be a threshold, that there wouldn't be a separation.

 

YOKO: Yes, that, too. But I also wanted to add the time element. The time element was incorporated in the painting in the form of instructions, instead of leaving the work to naturally deteriorate in time.

 

Q: There are some very interesting connections between your work and that of Messiaen. Can you tell me about translation?

 

YOKO: It struck me that one could not possibly make an exact translation of the birds singing, so that's where instructions came in. The instructional idea developed from realizing the limitations of our scoring and suggesting an alternative to normal Western classical musical notations.

 

Q: It's a much more open notation in this sense. You mentioned the Cageian notion of the open partition even before you knew Cage.

 

YOKO: It was that homework from Jiyu-Gakuen (The Garden Of Freedom) that did it! It's very interesting that it happened that way, isn't it?

 

Q: And what about Duchamp, whose ideas about this "partition" are also interesting?

 

YOKO: You know what I thought, this may be construed as arrogance, but I felt I had gone a step further from his idea of "Found Objects." Duchamp is about the found objects. I was saying: "here's something I'm presenting that you can add to. You can change the combination, make a new arrangement." I'll tell you a funny story. I had a painting called "Painting to be Stepped On," and many instruction paintings...

 

Q: the cigarette burn...

 

YOKO: ...yes, and in Chambers Street, I gave a series of concerts with La Monte Young as you know. So then Cage brought all these incredible people to it: Peggy Guggenheim, Duchamp, Max Ernst....

 

Q: And when was this?

 

YOKO: The first concert was held in December of 1960. It was a snowy day, and it was amazing that John Cage, David Tudor and all the "beautiful people" came from Stoney Point, New York in that weather. It took about two or three hours from Stoney Point to Chambers Street on a good day. This concert series started to be a very famous and successful series, very fast, just by word of mouth. In one of these concerts, Duchamp and Max Ernst were there. I thought maybe Marcel might notice my "Painting To Be Stepped On." I didn't think he did. He was looking around, and his eyes did go to the painting for a second, but I didn't think he focused on the idea. I was too shy and too proud to go to him and explain it or anything.

 

Q: And the do-it-yourself aspect, that people could actually participate and also to add or to subtract. I saw your show at the Royal Festival Hall in London a few years ago, which was concerned a lot with adding. So could you tell me more about this adding/ subtracting device, which I think is very interesting in relation to the ready-made.

 

YOKO: That's exactly what it was: the instructions were for people to add or subtract, and to sometimes just imagine and do it only in your mind. In your mind you can do things that you can't do physically, which is very interesting, too. You can mix two paintings together in your mind- though physically that's impossible to do. It's also interesting that the way in which you mix the two paintings is your own way. You could mix two different things, of different dimensions, such as a painting and a sculpture. The idea of mixing a building and the wind....could you write that down for me? It might make a good instruction.

 

Q: Mix a building and the wind? That's beautiful.

 

YOKO: Yes, in my mind. I can just see the building becoming totally blurred because of the wind that's passing through it, through every cell of the body of the building. It'll be fantastic!

 

Q: And also the importance of the weather. So you are always adding instructions to the list? It's continually evolving?

 

YOKO: Yes, of course. It's like a poet always thinking of different lines. I think of ideas all the time, so what am I supposed to do? The only thing I can do is write them down. You can't execute everything physically.

 

Q: And since the Grapefruit book has come out, there have been a lot of different manifestations of these instructions. I wanted to ask you about these different appearances of the same instructions, because they exist as pieces in handwritten form that you put on walls, they exist in a very accessible published form, it's in English, Japanese, in several languages and you have also put it out in the form of a website.

 

YOKO: Yes. That particular website project was almost like a book in itself. I was asked to do 100 instructions, one instruction a day for a hundred days. They were not instructions from Grapefruit. They were all new instructions. So I called it "Acorns."

 

Q: So these were new instructions for the internet basically?

 

YOKO: Yes. Once people started to get into it, they wondered every day what the instructions would be the next day. So that was interesting.

 

Q: So you were getting feedback from people. And would you say that the internet has changed the way in which you work? Does the internet have a particular importance for you?

 

YOKO: All the stuff we were discussing in the 60s in terms of the global village is actually happening now. What's happening is really important. It's happening on a conceptual level and it will become very physical one day in fact it's becoming physical already. [The clock chimes] it's like a message isn't it?! It's more than just a clock chiming.

 

Q: Yes! And so would you say that the internet could be/have been a kind of partial realization of the utopia of the 1960s?

 

YOKO: Of course. I think that it's almost like a logical conclusion. It was logical to think that way. Many artists, poets and songwriters were giving us prophecy. I don't know what happens first: whether it's happening anyway and people feel it so they speak of it, or it happens because the poets, songwriters and artists willed it to happen by stating it in the form of prediction. But it's something beautiful and it's something that saves us from the horrible, destructive dream of the Doomsday. That's another thing. Many writers, kept predicting Doomsday future. John and I kept predicting a very beautiful, open future. I say John and I, because, off hand, I can't think of anybody else that was doing it so publicly. At the time, we were accused of being naive by other songwriters/artists and underground political people. We felt we stood alone. I think it is very important to keep the dialogue going, and keep our future open, not closed.

 

Q: Which relates to what we were discussing at breakfast, which was the idea of peace. The instructions have been another thread throughout your whole work relating to peace which in the current condition is now again of an incredible relevance.

 

YOKO: Amazing, isn't it? It's more likely that the human race will keep finding ways to survive. Some of us may even leave this planet for another....and we will survive.

 

Q: When we met for the first time, many years ago, you said something to me which I have never forgotten and which I think is really essential, you said that the whole world was full of the war industry and that our task was to be the peace industry somehow.

 

YOKO: The perfectionist in me is still there. The problem of a perfectionist is that you limit yourself with that image of perfection you have in your mind, so you don't really accept anything short of something you regard as perfect. Most of the time I go to a show and think to myself, "Oh, this artist is terrible, what a load of trash!" But my attitude is changing now. This world is separated into two industries: one being the war industry and the other being the peace industry. People who are in the war industry are totally unified by their ideas. They want to make war, kill, and make money. There is no argument there. They just get on with their objectives. Therefore, in that sense, they are a tremendously powerful force. But the people in the peace industry are like me: they are idealists and perfectionists. So they cannot agree with each other. They're always arguing in the pursuit of the "perfect idea." They are asking themselves and each other "What is the best way to get peace? Of course, it's MY way. What's wrong with YOUR way is that..." But instead of doing that, if we can only try to accept each other, forgive the differences and appreciate each other...because the fact is that all of us are in the peace industry. We should bless each other for that, and through that togetherness, somehow, we may be able to make the peace industry just as viable as the war industry, or more. Only then will we be able to stop the wars and bring peace to the world. The fact that the war industry is flourishing is because it's more profitable. It's more economically and financially profitable for some people to make war. It's as simple as that. Instead of arguing, we should embrace each other and come together.

 

Q: We should "do it" together.

 

YOKO: Exactly, we should appreciate each other and just "do it." And for that you don't say, "well, you're just a florist", you say, "it's beautiful that you're a florist. Thank you for taking care of the flowers," you know. Caring for each other and appreciating each other instead of using all our energy to try to change each other.

 

Q: And do you think it's also to do with breaking indifference? I think art can have the function of breaking indifference.

 

YOKO: Yes. Not only by Art but by communication in general. We can break the indifference to each other. But it's a very delicate thing to do. Soon enough, we will be wearing the same T shirt, the same jeans, and getting off at airports which look exactly the same. We will lose our individual uniqueness: differences. Then we can clone a World President who will be wearing that same T shirt and jeans! It is a volunteered unitarianism, but there will be very little difference from the world run by dictatorship. We don't want all of us to be the same. It's very important not to break differences but to break your idea of difference. We are all in this together, as what we are. So we must appreciate the differences.

 

Q: This is interesting in terms of another topic I wanted to ask you about, which is utopia. Utopia as a word has been very discredited in recent years because of its tendency to be totalitarian, to eliminate difference, but there are also many kinds of, and many moments of utopia, and I think it is interesting to go back to the term not as a homogenizing, unifying, totalitarian system, but utopia as a motor of change.

 

YOKO: Yes. I don't know if you know this, but when John and I were about to be kicked out of this country (the United States) because of immigration problems and all that, we created a country called Nutopia and we said that everybody, including us, was an ambassador of Nutopia. So we called a press conference and produced a white handkerchief from our pockets and said "this is a flag to surrender to Peace." Not fight for Peace, but to "surrender" to Peace was the important bit.

 

Q: Wonderful! And did you also make any statements or a manifesto?

 

YOKO: Our statement for Nutopia is in the inside cover of the "Mind Games" record. This year, there is a group show of art by women artists in Venice. They invited me and told me that I have to be representing a country. I thought about it, and I decided to represent Nutopia. I felt it was just right for this occasion to be representing Nutopia, a conceptual country.

 

I make an effort to involve a wider section of the population in my artwork. For example, "Wish Tree." When I have a "Wish Tree" in an exhibition, people line up to tie their wishes on the tree.

 

Q: And when did the "Wish Tree" happen for the first time, because it is in Do It, but it has happened before.

 

YOKO: I don't remember exactly when. It's after 1981, after John, my husband's passing.

 

Q: Every city could have a "Wish Tree!"

 

YOKO: When they did it in Finland they said one tree was not enough. Because the wish was becoming much larger than one tree. They added so many trees it became like a mini-forest. You suddenly see very strong emotions of people coming out. It is fantastic. I'm keeping all the wishes from all the countries, although I never read any of them. I feel it's not right to read people's private wishes.

 

Q: It's a growing archive?

 

YOKO: It's not an archive. I'll tell you what's going to happen: every piece of paper has a wish on it, I don't read it, and all of them will be put in one big tower of a sculpture, like a totem. It will be a very powerful sculpture... a tower which contains wishes of the people of the world of our time. All in one tower!

 

Q: In terms of the energy!

 

YOKO: Yes. People's wishes! So that's why I'm keeping them.

 

Q: I'm curious to find out more about Nutopia. It was a country that went beyond national boundaries, it was a post-national country?

 

YOKO: You got it. It IS a conceptual country we all belong to.

 

Q: A free country.

 

YOKO: Did you notice that the back door of my apartment has a little plaque that says "Nutopian Embassy"? It was John's idea to put it there. I'll show it to you later.

 

Q: Did you make some logos and some embassies?

 

YOKO: We avoided politicizing and institutionalizing the concept. We are all embassies. We are all ambassadors.

 

Q: The moment when you did Nutopia was also the time that you were in contact with Jerry Rubin and Abbie Hoffman.

 

YOKO: That's right.

 

Q: If I understood correctly, Abbie Hoffman and Jerry Rubin insisted that you and John give a concert and somehow that ended up in the press and then the government got suspicious and wanted to make problems for you with visas. It is ambiguous, you both agreed and disagreed with Abbie Hoffman.

 

YOKO: We liked the theatre that the Chicago 7 created in court. It had a great sense of humour. We saw it on TV when we were in London. So we immediately met Abbie and Jerry when we went to N.Y. But once we met, we discovered that there was quite a difference in our ideas. They believed in confrontation. That concert you mentioned, for instance, would have been a big confrontation with the government. We did not believe in confrontation. We wanted to bring about a change through our artworks and songs.

 

Q: So you agreed with Abbie Hoffman and Jerry Rubin about the necessity of change, but your means to achieve this goal were totally different.

 

YOKO: Totally different. It was very important that John and I stuck to our ways which was the peaceful way. But the underground people thought we were naive, and the establishment thought we were, if anything, a nuisance, so we got it from both ends.

 

Q: One of the many mediums you used for peaceful possibilities was music, and another of the most effective mediums was the Bed-In. I wanted to ask you if you could tell me a little about the Bed-In as a peaceful strategy of resistance?

 

YOKO: Bed-In was theatre. It was a statement on a very theatrical level and I think it was very effective. Basically, we were artists and did it our own way. I think what we did had an effect. For instance, the song, "Give Peace A Chance"- that was big. It opened possibilities to change the world through songs. Saying "I love you," with songs are good, too. But this was about creating political awareness through songs.

 

Q: And did the Bed-In take place more than once?

 

YOKO: We did it twice. Once in Amsterdam, and the second time was in Montreal. Never in New York. Although many people, for some reason, think we did it here. We wanted to, but we couldn't. So we thought if we did it in Canada, the message would go right through to the States.

 

Q: But it became so global that it doesn't actually matter where it was.

 

YOKO: That's right-nobody remembers where we did it! In a way, we did it in the world.

 

Q: Something else relating to non-violence that I wanted to ask; you have often spoken in interviews about this karma of non-violence-could you tell me about this concept?

 

YOKO: Creating violence creates violence. It's as simple as that. I'm not blaming the people who think that we should change the world through violence because it's a very difficult and a delicate point. I'm not saying that my way is the only way. Because I don't know what sort of situation we will be put in. I hope I will not be put in a situation where I have to kill some one for self-defense, to protect my children, or whatever.

 

Q: So there are different alternatives.

 

YOKO: Yes. So that's why I don't disdain Jerry and Abbie for arguing with us about it.

 

Q: It's a very interesting moment of 1960s history.

 

YOKO: Yes. What is wrong with war, is as Ghandi said, an eye for an eye makes all of us blind. I'd like to see the human race wake up to the danger and futility of war as soon as possible. At the time, in the 60s, we thought we could change the world just like that! But it's taking a little bit more time! (laugh)

 

Q: In relation to that, one of the things that strikes me as interesting is the notion of interdisciplinarity, because it's not only war between people and war between geographies, but also this incredibly sad war between disciplines which grows out of the widespread fear to bridge the gaps. From the very beginning your work has pioneered building bridges between art, music, literature, science, spirituality and all kinds of things. Could you tell me about this interdisciplinarity, this pooling of knowledge?

 

YOKO: Yes, and allowing people to be different, that's very important. That's something we (John and Yoko) tried to convey. We felt that we were almost symbolic figures of that concept. John and I come from very different places. We were man and woman, we were from the West and the East. Each of us represented totally different social strata as well. We came from extreme opposites. So in some ways, we were very different from each other, but then in another way we were totally together. By the way, we were very aware of that symbolism, and also how people hated us for it. We were two people who transcended the positions they were suppose to adhere to. We didn't get together just to do that, but we felt that it was very magical that we fell in love with each other and understood each other totally in spite of all the differences.

 

Q: We are here in the white room, so I was wondering if you could tell me a bit about the space in which we are sitting.

 

YOKO: This is just a living room. We liked the fact that it had a white motif. We didn't want too many colors to control and affect our minds. We were both artists who wished to have our own vision. We just wanted to breathe without being manipulated by the colours in the room. As you know, each color has it's own special message, energy and vibration.

 

Q: So it's not utopia but uchromia! Non-color!

 

YOKO: (laugh) Yes! Alright, Nuchromia then! Well, it made us breathe better in our conceptual world without interference.

 

Q: At the same time it is a living room, but it is also a studio.

 

YOKO: Look, for an artist everywhere is a studio.

 

Q: When we were talking about utopia, I wanted to ask you about your personal utopia and maybe also your unrealized projects-projects which have been too big or too small to be realized, projects which have been censored or forgotten.

 

YOKO: My favorite unrealized project is the one that will come as an inspiration to me tomorrow. I don't wish to look back. When they were going to do a retrospective show of mine, I asked "Why? Isn't that what you do when the artist is dead or something?" I was kind of opposed to it. So they decided not to call it a retrospective. But the Japan Society Show is, in reality, a retrospective show. If that is fun for people, then, why not? Is how I feel now... especially when a lot of my work was not known at the time in which it was made. Right now, I'm looking forward to collecting all the wishes together and making them into one wish, a tower of wishes. That's something that I'm really looking forward in doing.

 

Q: So that is a yet unrealized project that will soon be realized.

 

YOKO: Yes. The "Freight Train," also. The Train was displayed in Berlin and in Yokohama already. But it's actually a working train. So I want to hook it up to a train that goes to different countries in Europe, and for it to visit every city in Europe that way. Each time it stops in a city or a town, I want people to see the train and write about their memories of what happened. I want the train to go around Europe like that.

 

Q: So the "Freight Train" will be a global train?

 

YOKO: Yes. It's like that isn't it? So that's one project I can still look forward to doing in Europe. I think Europe is the place to do it in, because the train connects all the different countries. It's nice. What else? Oh, I have so many ideas to do collages. And music, of course. I'm planning my next album now. That's about it, in terms of the immediate future. You've listened to "Blueprint For A Sunrise"? Well, the next album will be more about fun, I hope. (laugh)

  

Yoko Ono

2002

Or is it the Best for Baileys ";Square Crop" assignment. Trying to figure out what to do different for the Martin Bailey Photography assignment "Square Crop" This did not make my cut for the submission. Anyway Cheers to all who are participating, best of the Irish luck to you all.

 

Baileys Irish Cream is an Irish whiskey and cream based liqueur, made by Gilbeys of Ireland. . It has a declared alcohol content of 17% alcohol by volume. Baileys was the first 44% liqueur to use cream and alcohol together in a manner sufficiently stable to allow commercial distribution. The alcohol in Baileys is produced from a bacterial fermentation of whey. The cream and alcohol, together with some whiskey are homogenized to form an emulsion, with the aid of an emulsifier containing refined vegetable oil. This process prevents separation of the whiskey and cream during storage. The quantity of other ingredients is not known but they include chocolate, vanilla, caramel and sugar.[citation needed]

 

According to the manufacturer no preservatives are required as the alcohol content preserves the cream.

 

The Orchard Centre at the Hayden Farm in south County Wicklow has been the dedicated visitor farm and the spiritual home of Bailey's Irish Cream since 2002, with a pedigree herd of 40,000 cows producing over 1 million litres of milk for Baileys annually. The Orchard Centre, with capacity for group up to 350 people, also caters for special events, incentives, conferences and the ultimate Baileys Experience.

 

The cream used in the drink comes from Glanbia plc, a major player in the Irish dairy market. Glanbia's Virginia facility in County Cavan produces a range of fat-filled milk powders and fresh cream. It has been the principal cream supplier to Baileys Irish Cream Liqueurs for over thirty years.

White Elk Motel – Elkridge

 

Another in the No-Tel Motel Series

 

The Washington Turnpike Road Company built what is now Washington Boulevard between 1796 and 1812, creating a major north–south land route that is now U.S. Route 1. I mentioned when posting photo 116 on 7/28 that George Washington was a frequent traveler on the trail and lost a horse along the way, staying at Spurrier’s Tavern in Jessup. As automobiles became a popular alternative to rail, the corridor became the key road and commercial corridor between Baltimore and Washington. With increased travel speeds, Elkridge was the location of "Dead Man's Curve" near Ducketts Lane. I lost a friend there in 1983 when she came off the motorcycle she was riding on and struck a bridge abutment. Elkridge is also the location of the White Oak Motel.

 

When you build a major north-south route, you build lodgings and places for people to lay their head. Rt 1 is littered from Washington DC, to Philadelphia with the remains motels that were built from the 1930’s through the 1960’s. Some such as the White Elk Motel in Elkridge remain in operation and in full vigor. Others have disappeared from the landscape, and have been replaced by the ubiquitous national chain lodgings. I hope to capture some more photos of area No-Tel Motels over the next few months as the days lengthen and the project winds down. I just feel that someday people will want to see these places.

 

I can’t say why exactly they fascinate me but they do. I think it has something to do with the uniqueness and lack of homogenization. The people as well… Travelers, prostitutes, Truckers, Drug Dealers and Dopers, and the business operators. They attract me too in a Land of Hope and Dreams Springsteenish kind of way. The White Elk Facebook page is a song unto itself.

 

www.facebook.com/pages/White-Elk-Motel-Inc/121130517901448

 

www.oldielyrics.com/lyrics/bruce_springsteen/land_of_hope...

 

en.wikipedia.org/wiki/Elkridge,_Maryland

 

www.flickr.com/photos/sixstring563/28587165326/in/album-7...

  

Portfolio || Flickr Archive || Instagram

 

This Case feature is extra special for me because he was one of the first writers I met in '95 when I didn't know anybody and we were still in high school. Case has been famous twice, both as a writer and as Video director when he won an Juno for a video with Arcade Fire.

 

1.) How long have you been actively writing for?

I started writing in '92. I slowed down in 2002 to a couple pieces a year, but I never stopped writing. So it's been 28 years.

 

2.) How has your work changed or evolved since you started, and what made it change?

My work has gotten better since I started... First couple years were pretty toy. But at my peak, my work was known worldwide, I got the chance to paint with Daim, Loomit, Seen, Duster, Tats Cru and many other international writers. Also in the big magazines like The Source, 12oz Prophet, etc. All these experiences improved my style and made me look at pushing graffiti further.

 

3.) Tell me about your approach to street art?

My approach comes from a freestyle frame of mind. I like to paint to the wall instead of to the sketch. I sketch to practice but when I paint I rarely use sketch's. I find them to constricting. I do all aspects from 2d to 3d to characters and backgrounds.

  

4.) Any other interests you have apart from painting/art?

Apart from art, Im interested in film making and have directed and animated many music videos for a variety of recording artist from 2001-2009

  

5.) How do you see the further evolution of your work? The city, and scene at large? Seems to have changed alot in the last decade.

My work has evolved onto canvases using Spray paint in a different way. Portraits, scenics and abstracts that adhere to the traditional rules of graffiti - no stencils, no brushes, just pure freehand spray painting. The scene really changed with the advent of the internet. Regional styles started disappearing and a more homogenized style replaced it. Street cred was easier to fake and the real street culture turned into legal walls and sponsored jams. Its great to see many writers from the pre-internet era coming back and still kings. Shout out to the graffiti grandpa's keeping it real and my crews Kwota, TDV, AFC and BIF.

 

You can see more of Case's art here: casemackeen.com

 

He also has a show coming up at Run Gallery in Toronto opening Dec 12, 2020.

 

Biennale di Venezia 2014 - 14th International Architecture Exhibition - Fundamentals.

Fundamentals consists of three interlocking exhibitions:

1.Absorbing Modernity 1914-2014 is an invitation to the national pavilions to show the process of the erasure of national characteristics.

2.Elements of Architecture, in the Central Pavilion, pays close attention to the fundamentals of our buildings used by any architect, anywhere, anytime.

3.Monditalia dedicates the Arsenale to a single theme – Italy – with exhibitions, events, and theatrical productions.

 

The 14th International Architecture Exhibition, titled Fundamentals, directed by Rem Koolhaas and organized by la Biennale di Venezia, chaired by Paolo Baratta, was open to the public from June 7 through November 23, 2014, in Venica Italy. 65 National Participations were exhibiting in the historic pavilions in the Giardini, in the Arsenale, and in the city of Venice. They examine key moments from a century of modernization. Together, the presentations start to reveal how diverse material cultures and political environments transformed a generic modernity into a specific one. Participating countries show, each in their own way, a radical splintering of modernity's in a century where the homogenizing process of globalization appeared to be the master narrative

 

Absorbing Modernity 1914–2014 has been proposed for the contribution of all the pavilions, and they too are involved in a substantial part of the overall research project, whose title is Fundamentals. The history of the past one hundred years prelude to the Elements of Architecture section hosted in the Central Pavilion, where the curator offers the contemporary world those elements that should represent the reference points for the discipline: for the architects but also for its dialogue with clients and society. Monditalia section in the Corderie with 41 research projects, reminds us of the complexity of this reality without complacency or prejudice, which is paradigmatic of what happens elsewhere in the world; complexities that must be deliberately experienced as sources of regeneration. Dance, Music, Theatre and Cinema with the programmes of the directors will participate in the life of the section, with debates and seminars along the six-month duration of the exhibition.

 

Elements of Architecture / Central Pavilions

This exhibition is the result of a two-year research studio with the Harvard Graduate School of Design and collaborations with a host of experts from industry and academia. Elements of Architecture looks under a microscope at the fundamentals of our buildings, used by any architect, anywhere, anytime: the floor, the wall, the ceiling, the roof, the door, the window, the façade, the balcony, the corridor, the fireplace, the toilet, the stair, the escalator, the elevator, the ramp. The exhibition is a selection of the most revealing, surprising, and unknown moments from a new book, Elements of Architecture, that reconstructs the global history of each element. It brings together ancient, past, current, and future versions of the elements in rooms that are each dedicated to a single element. To create diverse experiences, we have recreated a number of very different environments – archive, museum, factory, laboratory, mock-up, simulation.