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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”.
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”.
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.
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Address: 2223 16th Street, Port Huron, MI 48060
The Amtrak station in Port Huron was constructed in 1979 in a modular design that Amtrak once considered using as a prototype for small staffed stations; however, this design was never replicated. The waiting room contains about twenty seats. Amtrak provides ticketing but not baggage services at the station, which is served by two daily trains. The Blue Water service is financed primarily through funds made available by the Michigan State Department of Transportation.
Amtrak has begun preliminary discussions with the Michigan DOT, Port Huron Township and Canadian National Railway regarding construction of a new station. The current space has become inadequate for travel volumes, which includes many Canadian customers who cross the border to travel on Amtrak.
As the station is located just west of the American portal of the St. Clair River Tunnel, it is common to see railroad enthusiasts nearby watching for Canadian National Railway (CN) freight trains emerging from the tunnel.
For the most demanding critical facilities, Compu Dynamics' Comprehensive Maintenance programs combine our Preventive Maintenance and Emergency Repair Services to provide the ultimate in critical facility maintenance. Your comprehensive maintenance agreement includes a customized, site-specific service plan that manages all aspects of annual maintenance procedures, detailed service schedules and escalation procedures for 24/7 emergency services. Best of all, under a Comprehensive plan, Compu Dynamics shares the risk of equipment failure with you. We ensure that your systems stay online, because if they don't, we pay for the repairs.
As I walk through Sydney's city center, the office building at 99 York Street catches my eye. There's something attractive about the way time unbalances its severe symmetry.
I don't find any information about the architects here. This building dates from 1971, and it appears that the current facade may not be original to the structure. Though it does seem like a 1970s kind of thing - can't you see it wearing gold platform shoes and carrying a green plastic handbag? Wearing googly sunglasses? Smoking some fashionable brand of cigarettes? Wait - that's not '70s, that's French, except for the platform shoes. I'm so confused.
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.
Kitchen breakfast bars are places within a kitchen designed for use as a place to eat a meal or sitting down for a casual conversation.
Reclaimed Black Locust Live Edge Slab Breakfast Bar Top contemporary kitchen ideas
Can be embedded or standalone units, and often are accompanied by one or more...
www.interiordecortips.com/the-most-popular-types-of-kitch...
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.
The slices of the tall foam core mold do not have to be used in their original order, or orientation. But currently the decreasing angle of the slices needs to be in one direction. Skipped sections results in a shelf. Flipped sections results in a flattened shoulder with a change of direction. The trio of forms was no harder to cast than the tall one.