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Drying your clothes outside is not allowed
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O painel de azulejos de padrão camélia, datado de 1660-1680 e proveniente do Convento de Nossa Senhora da Esperança, em Lisboa, integra a coleção do Museu Nacional do Azulejo. Este padrão modular, catalogado por Santos Simões, apresenta motivos florais estilizados, com camélias ou peónias centrais, rodeadas por elementos vegetalistas e volutas. A paleta policromática, com predominância do azul, amarelo e verde sobre fundo branco, reflete a influência da porcelana chinesa e da cerâmica italiana renascentista, adaptada à tradição portuguesa. Este exemplar ilustra o papel estruturante da azulejaria na arquitetura do século XVII, nomeadamente em edifícios religiosos, e representa a produção azulejar lisboeta anterior à popularização do azul e branco, demonstrando a criatividade dos ceramistas portugueses na fusão de influências e na afirmação de uma identidade própria.
The camellia pattern tile panel, dating from 1660-1680 and from the Convent of Nossa Senhora da Esperança in Lisbon, is part of the National Tile Museum's collection. This modular pattern, catalogued by Santos Simões, features stylized floral motifs, with central camellias or peonies, surrounded by plant elements and volutes. The polychromatic palette, with a predominance of blue, yellow and green on a white background, reflects the influence of Chinese porcelain and Italian Renaissance ceramics, adapted to the Portuguese tradition. This example illustrates the structuring role of tiles in 17th century architecture, particularly in religious buildings, and represents Lisbon's tile production prior to the popularization of blue and white, demonstrating the creativity of Portuguese ceramists in fusing influences and asserting their own identity.
Nice to see idea of interchangeable front area/section getting implemented in a set too. It is a simple way of changing car's character.
Built 1996 Architect - Ben Kutner .... in Modular Modernist style .... One of Toronto's most unusual, quirky & eclectic houses ....
In the 19th and early 20th centuries, Sydney, Australia, developed an extensive tram network, which grew to be the country's largest and one of the largest in the world. However, the increasing rate of private car ownership and the perception that trams contributed to traffic congestion led to the progressive replacement of tram services with buses, with the final section of the tram network closing in February 1961.
In the 1980s and 1990s, the inner city areas of Darling Harbour and Pyrmont were the subject of an urban renewal programme, which featured the Sydney Monorail connecting Darling Harbour to the central business district. However, with poor integration between the monorail and other transport modes, and the increasing redevelopment of the Pyrmont peninsula, a decision was made to convert a disused section of the Metropolitan Goods railway line into a light rail line. It opened in August 1997, running between Central Station and Wentworth Park, Pyrmont.
The network's original rolling stock was the Variotram (above) which was introduced with the opening of the first section of the Inner West Light Rail in 1997. Seven German-designed vehicles were manufactured in Dandenong, Victoria by Adtranz. The tram's design is modular and it was extended for the Sydney system. The capacity of the vehicles was 217 passengers, of which 74 were seated. On tests, up to three trams were coupled together allowing a maximum capacity of 600 passengers if required. They were numbered 2101–2107, continuing the Sydney trams sequence that finished at 2087 with the last Sydney R1-Class tram in the 1960s. The last Variotram was withdrawn from service after operating overnight between Central and The Star on 27/28 May 2015.
The current 12.8-km line with 23 stations, known as the Dulwich Hill Line, is now served by Urbos 3 trams. In 2016-17 10 million passenger journeys were made.
Today, a second line, the CBD and South East Light Rail, is under construction and will be completed in 2019. A light rail network serving Western Sydney called Parramatta Light Rail has also been announced.
Seen on Hay Street, from the edge of Belmore Park, close to the end of its run at Central Station.
Folded from 8 sheets of shaded, single side colored Kami paper, this design by ilan Garibi is simple to fold. For more details visit: Origamiancy.com
Diagrams: Origami-USA's Issue 6 of The Fold
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Photo: Philippe de Goubert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Photo: Philippe de Gobert
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Maria LOBODA presents two printed fabrics inspired by the designs of Sonia Delaunay, Lotte Frömmel-Fochler, Mitzi Friedmann-Otten, and others – or to be more precise, triggered by written descriptions of their geometric textiles. Loboda consulted published texts which try to describe and communicate the energy of these Wiener Werkstätte and Art Déco patterns in words – “vigorous angular forms and overall jagged feel”, “curving arabesques and energetic zig-zigs”, “vaguely explosive motifs”, for example – and then attempted to recreate the designs from what these phrases suggested to her, alongside her memory of such patterns. The artist is fascinated by the nervous, violent and dynamic energy of the interior decoration associated with the early-20th-Century avant-garde and how it tried to create a psychological state of electric action for the modern home and its inhabitants. The accompanying slideshow Il Lavoro (The Art of Memory) (2010) plays with continuity errors in cinema and is based on a film still from the short film Il Lavoro (1962) by Luchino Visconti. A woman is seen posing next to an open book with changing illustrations of Sonia Delaunay’s geometric designs.
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Kasper AKHØJ presents a slideshow which comprises the latest chapter in his ongoing research into the display system Abstracta, originally designed by the Danish architect and designer Poul Cadovious in the 1960s for a world’s fair. Comprising bright welded steel tubing with star-shaped joints commonly supporting glass or wooden panels, the modules were first encountered by Akhøj in department stores and museums in the former Yugoslavia. His subsequent investigations follow the traces of its imitation and mass production in China in the 1970s, its subsequent local manufacture across communist Eastern Europe, its recent patenting by a U.S. trade show systems company, its presence in the collection of MoMA, New York, as well as an encounter with Abstracta’s now elderly designer who was unaware of the ideological adult life of his creation. In Akhøj’s (or rather, ‘Abstracta’’s) travelogue, what appears to be a purely practical system, conceived with reproducibility, easy assembly and storage, and seemingly endless geometric expansion in mind, finds itself forming the shapes of an intriguing and elegantly obsessive narrative.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Photo: Philippe de Gobert
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Photo: Philippe de Gobert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Kasper AKHØJ presents a slideshow which comprises the latest chapter in his ongoing research into the display system Abstracta, originally designed by the Danish architect and designer Poul Cadovious in the 1960s for a world’s fair. Comprising bright welded steel tubing with star-shaped joints commonly supporting glass or wooden panels, the modules were first encountered by Akhøj in department stores and museums in the former Yugoslavia. His subsequent investigations follow the traces of its imitation and mass production in China in the 1970s, its subsequent local manufacture across communist Eastern Europe, its recent patenting by a U.S. trade show systems company, its presence in the collection of MoMA, New York, as well as an encounter with Abstracta’s now elderly designer who was unaware of the ideological adult life of his creation. In Akhøj’s (or rather, ‘Abstracta’’s) travelogue, what appears to be a purely practical system, conceived with reproducibility, easy assembly and storage, and seemingly endless geometric expansion in mind, finds itself forming the shapes of an intriguing and elegantly obsessive narrative.
Photo: Philippe de Gobert
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Modular Custom exhibit, inspired by Tron. Designed for work on a variety of stand sizes at multiple pharmaceutical trade shows
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Data Center Consolidation
Data Center ConsolidationConsolidating multiple data centers into a single facility can dramatically reduce power and cooling expenses while reclaiming valuable square footage within the critical facility. Orchestrating a data center consolidation for maximum gain, with minimum disruptions of IT services, requires a partner with multi-disciplinary expertise. Compu Dynamics' in-depth knowledge of critical facility operations, maintenance and recovery provide us a unique perspective on data center consolidation. From precision air conditioning to uninterruptible power systems, back-up generators to power distribution, Compu Dynamics' expertise provides you with the area's most qualified installation, commissioning, testing and maintenance technicians.
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Panoramic view of Cape Union Mart at the 2013 Cape Argus Lifecycle Expo held at the Good Hope Centre in Cape Town
Best Value Differentiators
Best Value DifferentiatorsThree key attributes set Compu Dynamics apart from traditional mechanical and electrical contractors and data center infrastructure services companies:
Responsiveness
Compu Dynamics understands the value of top-notch customer service. We pride ourselves on our reputation for responsiveness and exceptional customer care. Our organization is built specifically to provide fast, professional service. We win customers through referrals; we keep them through an unwavering commitment to customer satisfaction. Our focus on critical facility service brings you an elite team of professionals equipped to bring you Uptime in No Time™.
Solutions Focus
First, we listen. Understanding our client's business, facility, technologies and objectives is essential to maximizing performance. Few service organizations possess a broader or more up-to-the-minute knowledge of critical infrastructure systems, solutions and techniques than Compu Dynamics. Our strong working relationships with the industry’s finest manufacturers, combined with our field experience in some of the industry's most sophisticated facilities, provides our customers with the leading edge on ensuring uptime.
Self-Perform Capability
In an industry where human error is the number one cause of downtime, a skilled and knowledgeable workforce is essential. At Compu Dynamics, we pride ourselves on the passion, skill and top-notch experience of our in-house personnel, many of which are cross-certified on a wide array of the most sophisticated data center infrastructure systems. Unlike our competitors, Compu Dynamics self-performs, rather than subcontracts, providing faster response times and more cost-effective solutions.
During the early 1960s in Mataró, Spain, Joaquim Anson (the father of artist Martí ANSON) developed a range of furniture inspired by modern designs with the aim of offering an affordable and fashionable custom-made range for a growing Catalan middle class who could not afford the ‘real’ objects. Yet Anson did not consider himself a designer and he worked inconspicuously providing functional and versatile solutions for his family, friends and clients. His design repertoire included lounge chairs, occasional tables, modular shelves, high chairs, and even toys, and was mostly produced in the light wood known locally as flanda (Flanders pine). Yet Anson stopped producing a decade later as he felt the initiative had become too commercially oriented and that the close relationship with his customers had began to wane. Forty years on, Martí Anson has undertaken extensive research to recuperate this social service project of his father (who kept little documentation of his work) and has begun to produce furniture again under the company name JOAQUIMANDSON. This is the rediscovered designs’ first public exhibition; a range of new prototypes is presented alongside a 1960s lamp by Catalan designer Miguel Milà which has been lent for the occasion, and posters documenting the history of the furniture company.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Charlotte MOTH presents a film comprised of a sequence of black-and-white photographs and nine photographic prints (entrance hall) under the titles The Absent Forms (2010) and The Protagonists (2010) respectively. Reflective, translucent and opaque panels, as well as objects including balls and a plant, become protagonists in a series of illuminated crepuscular and nocturnal scenes which take place on a tree lined cul-de-sac. The remarkable modernist buildings of the Paris street – designed as a totality by the little-known architect Robert Mallet-Stevens and constructed in 1926–27 – become like a stage set for the dramatisation of the mechanics of the photographic image, and reprise the street’s scenic role in a number of film productions in which Mallet-Stevens collaborated, including the Josephine Baker vehicle La sirène des tropiques (1927). Textual fragments written in response to Man Ray’s 1929 film Les Mystères du Château de Dé (which uses a Mallet-Stevens-designed villa as a set) intercut the images, while the soundtrack comprises a recording of an improvised drumming session performed in response to the work by the artist Sean Dower.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Charlotte MOTH presents a film comprised of a sequence of black-and-white photographs and nine photographic prints (entrance hall) under the titles The Absent Forms (2010) and The Protagonists (2010) respectively. Reflective, translucent and opaque panels, as well as objects including balls and a plant, become protagonists in a series of illuminated crepuscular and nocturnal scenes which take place on a tree lined cul-de-sac. The remarkable modernist buildings of the Paris street – designed as a totality by the little-known architect Robert Mallet-Stevens and constructed in 1926–27 – become like a stage set for the dramatisation of the mechanics of the photographic image, and reprise the street’s scenic role in a number of film productions in which Mallet-Stevens collaborated, including the Josephine Baker vehicle La sirène des tropiques (1927). Textual fragments written in response to Man Ray’s 1929 film Les Mystères du Château de Dé (which uses a Mallet-Stevens-designed villa as a set) intercut the images, while the soundtrack comprises a recording of an improvised drumming session performed in response to the work by the artist Sean Dower.
Charlotte MOTH presents a film comprised of a sequence of black-and-white photographs and nine photographic prints (entrance hall) under the titles The Absent Forms (2010) and The Protagonists (2010) respectively. Reflective, translucent and opaque panels, as well as objects including balls and a plant, become protagonists in a series of illuminated crepuscular and nocturnal scenes which take place on a tree lined cul-de-sac. The remarkable modernist buildings of the Paris street – designed as a totality by the little-known architect Robert Mallet-Stevens and constructed in 1926–27 – become like a stage set for the dramatisation of the mechanics of the photographic image, and reprise the street’s scenic role in a number of film productions in which Mallet-Stevens collaborated, including the Josephine Baker vehicle La sirène des tropiques (1927). Textual fragments written in response to Man Ray’s 1929 film Les Mystères du Château de Dé (which uses a Mallet-Stevens-designed villa as a set) intercut the images, while the soundtrack comprises a recording of an improvised drumming session performed in response to the work by the artist Sean Dower.
Charlotte MOTH presents a film comprised of a sequence of black-and-white photographs and nine photographic prints (entrance hall) under the titles The Absent Forms (2010) and The Protagonists (2010) respectively. Reflective, translucent and opaque panels, as well as objects including balls and a plant, become protagonists in a series of illuminated crepuscular and nocturnal scenes which take place on a tree lined cul-de-sac. The remarkable modernist buildings of the Paris street – designed as a totality by the little-known architect Robert Mallet-Stevens and constructed in 1926–27 – become like a stage set for the dramatisation of the mechanics of the photographic image, and reprise the street’s scenic role in a number of film productions in which Mallet-Stevens collaborated, including the Josephine Baker vehicle La sirène des tropiques (1927). Textual fragments written in response to Man Ray’s 1929 film Les Mystères du Château de Dé (which uses a Mallet-Stevens-designed villa as a set) intercut the images, while the soundtrack comprises a recording of an improvised drumming session performed in response to the work by the artist Sean Dower.
Preventative Maintenance
Preventative MaintenanceCompu Dynamics' preventive maintenance services help predict and prevent problems that could lead to downtime. From scheduled maintenance to predictive services, such as advanced thermal imaging, Compu Dynamics ensures that every component in the crucial electrical and mechanical chain that supports your critical facility is within manufacturer specs and up to date. What's more, our strong relationships with leading manufacturers and constant hands-on field experience provide you with the most experienced and reliable service technicians in the industry.
Sarah ORTMEYER pays homage to the universal symbol and the iconographic myth that is the Eiffel Tower and the structure’s often-forgotten original engineer, Maurice Koechlin. VITRINE MAURICE (2011) consists of a series of objects and furnishings – all taken from an undisclosed room – which have been laid out in similar fashion to the ‘Collection Yves Saint Laurent et Pierre Bergé’ auction in 2009. The items comprise a range of tacit motifs and abstract invocations of the Eiffel Tower’s singularly monumental shape and history. This icon of Paris and cypher of modernity appears through a series of triangular objects, patterns, formal echoes, and refrains that one could barely track in the original room. They include the DKR2 – Charles Eames’ ‘Eiffel Tower’ chair (which mimics its namesake with a darkly colored base and lightly bronzed top), as well fabric and carpet motifs. Despite Gustave Eiffel’s defense of the Tower as a utilitarian object, its glamorous uselessness has proved irresistible to the imagination and ensures that, as Roland Barthes once put it, “the Tower attracts meaning the way a lightning rod attracts thunderbolts”.
Charlotte MOTH presents a film comprised of a sequence of black-and-white photographs and nine photographic prints (entrance hall) under the titles The Absent Forms (2010) and The Protagonists (2010) respectively. Reflective, translucent and opaque panels, as well as objects including balls and a plant, become protagonists in a series of illuminated crepuscular and nocturnal scenes which take place on a tree lined cul-de-sac. The remarkable modernist buildings of the Paris street – designed as a totality by the little-known architect Robert Mallet-Stevens and constructed in 1926–27 – become like a stage set for the dramatisation of the mechanics of the photographic image, and reprise the street’s scenic role in a number of film productions in which Mallet-Stevens collaborated, including the Josephine Baker vehicle La sirène des tropiques (1927). Textual fragments written in response to Man Ray’s 1929 film Les Mystères du Château de Dé (which uses a Mallet-Stevens-designed villa as a set) intercut the images, while the soundtrack comprises a recording of an improvised drumming session performed in response to the work by the artist Sean Dower.
Kasper AKHØJ presents a slideshow which comprises the latest chapter in his ongoing research into the display system Abstracta, originally designed by the Danish architect and designer Poul Cadovious in the 1960s for a world’s fair. Comprising bright welded steel tubing with star-shaped joints commonly supporting glass or wooden panels, the modules were first encountered by Akhøj in department stores and museums in the former Yugoslavia. His subsequent investigations follow the traces of its imitation and mass production in China in the 1970s, its subsequent local manufacture across communist Eastern Europe, its recent patenting by a U.S. trade show systems company, its presence in the collection of MoMA, New York, as well as an encounter with Abstracta’s now elderly designer who was unaware of the ideological adult life of his creation. In Akhøj’s (or rather, ‘Abstracta’’s) travelogue, what appears to be a purely practical system, conceived with reproducibility, easy assembly and storage, and seemingly endless geometric expansion in mind, finds itself forming the shapes of an intriguing and elegantly obsessive narrative.