Belgian design bureau Creneau International has finished creation of an interior of the central shop of the largest supplier of mobile phones in Belgium, companies BASE.
Designers have suggested to install unusual furniture and mobile show-windows in a shop interior.
Sedentary places are scattered on all interior in the form of huge letters from which the brand name gathers: BASE.
A visit to Thotlakonda on Wednesday revealed that not much has changed during the last decade. The base of the main stupa has been damaged and heaps of damaged ancient bricks and material were seen lying at some places.
The centuries-old rock ‘thotlu’ (cisterns) with steps leading into them, for drawing of rain water, are still serving their purpose of collection of rain water. Tourists arriving by the AP Tourism buses are greeted by the monumental ruins and the sign boards and other amenities damaged by cyclone Hudhud in October last year.
One cannot, however, ignore the laying of roads, landscaping and provision of some basic amenities at Thotlakonda and Bavikonda by the Visakhapatnam Urban Development Authority (VUDA) over a decade ago and works taken up in subsequent years.
The monuments can be protected only when scientific restoration is done to protect the stupas, chaityagrihas and relics discovered at the heritage sites. A proper coordination between the Archaeology and Tourism Departments and VUDA is needed for this purpose.
“The rich cultural heritage of Bhavikonda, Thotlakonda and Pavuralakonda, dating back to the 3rd century BC and the ashes of the Buddha, found in a Mahasthupa at Bavikonda, need to be protected. We cannot afford to lose them. Protecting them will also help tourism development in a big way,” says CII Vizag Chapter former chairman G. Sambasiva Rao.
“Thai tourists are willing to come here but there is no information on the Buddhist heritage sites available on the east coast, the Deputy Consul General (Commercial), Royal Thai (Chennai), Tharadol Thongruang”, said at a recent meeting organised by the CII in the city.
“Estimates have been sent for development of tourist information centres and public amenities at the Buddhist heritage sites at Thotlakonda and Bhavikonda in the city at an estimated cost of Rs.80 lakh and Rs.76 lakh respectively. Tenders will be called once the approval of the government was received,” Tourism General Manager G. Bheemasankara Rao told The Hindu recently.
Author: B. Madhu Gopal | Source: The Hindu [July 18, 2015]
In the heart of Kathmandu, many of a cluster of temples and statues built between the 12th and 18th centuries by the ancient kings of Nepal have collapsed, killing scores and trapping others underneath.
The nine-storey Dharahara tower, a major tourist attraction in the city's Durbar square with its spiral staircase of 200 steps, was reduced to just its base when the 7.8-magnitude quake struck at lunchtime on Saturday.
"I had just bought tickets to climb the tower and was at its base when I felt a sudden shaking," Dharmu Subedi, 36, said from a hospital bed in Kathmandu.
"Within minutes, the Dharahara had crumbled to the ground with maybe more than 100 people in it," Subedi told AFP.
UNESCO was trying to gather information on the extent of the destruction, including at three palace-filled squares in the cities of Patan and Bhaktapur, both former kingdoms in the Kathmandu Valley, as well as in Kathmandu.
"We understand the historic Durbar squares of Kathmandu, Patan and Bhaktapur have been badly damaged," Christian Manhart, UNESCO's representative to Nepal, told AFP.
"Several temples have collapsed. Two temples in Patan have been completely collapsed, and Durbar Square (in Kathmandu) is worse.
"Right now we are assessing the situation, and collecting information on what the damage is. All UN agencies have received a request from the (Nepalese) government for assistance," he added.
He said it was too early to talk about reconstruction of the monuments and how much assistance UNESCO could provide.
Manhart said his office was also trying to determine whether another UNESCO World Heritage site, that of Lumbini, the place where Buddha was born more than 2,600 years ago, had also been hit.
"We haven't received reports of severe damage in Lumbini, but we are still trying to collect information," he said of the site, some 280 kilometres (170 miles) west of Kathmandu.
'Irreparable loss for Nepal'
In Kathmandu, residents were seen clawing through the rubble, using their hands, buckets and shovels to try to find those feared trapped in Durbar Square, which had been crowded on Saturday with local and foreign tourists.
Large piles of bricks, wooden beams and other debris were dotted throughout the historic square, where minutes earlier stood double-roofed temples and other monuments built by the Malla kings.
The monuments are the "social, religious and urban focal point of the city" which has a rich history of Hindu, Buddhist and Tantrism religion and culture, UNESCO says on its website.
"Kathmandu with its unique architectural heritage, palaces, temples and courtyards has inspired many writers, artists, and poets, both foreign and Nepalese," it says.
Expert P.D. Balaji cast doubt on whether the monuments could be completely rebuilt, saying television footage showed extensive damage.
"What I can say is that it's an irreparable loss for Nepal and the rest of the world," Balaji, head of the history and archaeology department at the University of Madras, said.
"Complete restoration is not possible on account of the extensive damage to the historical sites in Nepal."
According to UNESCO, "two catastrophic earthquakes" in 1833 and 1934 led to some monuments in the Kathmandu Valley being rebuilt.
Author: Paavan Mathema | Source: AFP [April 27, 2015]
Prepare for an epic post fellow movie lovers, as I finally finished the full transcript of my interview with Tom Andersen and Mark Redford about their up and coming 3D horror film The Dark Things. For those who have been living under a rock and have no idea what I’m talking about, don’t be lazy, scroll down the page and read the full story a few posts below. Anywho, as I eluded to last week, the interview is extremely interesting and Farmer in particular shared some awesome insights on Hollywood, modern horror films and 3D technology. Enjoy and stay tuned for more The Dark Things updates.
Jane Storm: So now that you’re here, what have you guys been doing so far? Have you been busy scouting locations?
Tom Andersen: Yes, we’ve already had a meeting with Warner Roadshow Studios and talked about the different places we can film and what Queensland has to offer, which is obviously a lot. We’ve been very happy with that.
Jane Storm: So you’re definitely coming to shoot here?
Tom Andersen: Yes, definitely.
Jane Storm: Cool!
Tom Andersen: We’ve been giving Todd a quick, rushed Australian education.
Jane Storm: Have they been getting you hooked on Tim Tams and Vegemite yet? Tom Andersen: Oh, we’ve got him hooked on Tim Tams, but he’s not a fan of Vegemite.
Mark Redford: The Tim Tams are fine, I have no problem with Tim Tams, but Vegemite…
Tom Andersen: But he needed to do that to experience what we go through (laughs).
Jane Storm: And you will be shooting the film primarily at Warner Roadshow Studios?
Tom Andersen: Yes and on locations throughout the coast.
Jane Storm: When are you planning to start filming?
Tom Andersen: The start of the year, definitely next year.
Jane Storm: Great, I’m just trying to suss that out so I can lurk on set everyday. So, the storyline, it’s about Aboriginal legends that come to life? Have you started writing the script already?
Mark Redford: I started the outline for this, then decided it would be better to just come here and dive in, meet the people, see the locations and look at pubs. I can write pretending to be an Aussie, but I need to come here to experience it. We have consultants that we’re going to meet with. It’s been quite fun.
Jane Storm: What kind of research have you had to do so far?
Mark Redford: Just researching…even film is different. Watching your films compared to our films, they’re different. So, watching films and what I like to do the most is just people watch. While that sounds boring, it’s actually fascinating because everything is different, everyone is different; the way you drive, the way you think. It's really quite fun because I've never done anything like this. At the end of the day it will all come down to the story, it will all come down to the characters. I grew up reading Stephen King and he was great at taking ordinary people and dropping them into extraordinary situations and that's exactly what I'm going to do.
Jane Storm: Right. As far as Aboriginal legends and Aboriginal culture goes, have you got some experts and consultants who are helping with the projects?
Tom Andersen: Marcus Waters, he’s a screenwriter and teacher at Griffith University here. We’re actually meeting him today and tomorrow and going over a bunch of stuff.
Jane Storm: What has the support been like from places like Screen Queensland and Screen Australia?
Tom Andersen: Everyone has been great and very supportive. You know, film’s not so hot here right now, so they’re excited to be getting a film over here. Everyone has been great, which is a lot different from the states.
Jane Storm: Why do you think that is?
Tom Andersen: It helps that I’m Australian too, us Aussies love to back each other. Another thing is I’m bringing home a good story with top Hollywood people. And it’s different, with all the remakes and sequels, it’s different. Everyone is excited to have a breath of fresh air.
Jane Storm: What made you decide to shoot the film specifically here?
Tom Andersen: It's an Australian story about Aboriginals; it's not going to work in Canada.
Jane Storm: No, I meant why on the Gold Coast, out of the whole of Australia?
Tom Andersen: Because I'm from here, I love it here. And the town that the story is set, it’s on the beach and I love Queensland. I want it here.
Jane Storm: Did the facilities help drawing you here? I know the studios have quite amazing capabilities. James Cameron’s Sanctum just wrapped filming here and the Narnia entry.
Tom Andersen: We’ve already had photos sent to us of different locations we’ve fallen in love with. There are some cool areas along the beach and we had some photos sent to us this morning and we saw that and were like `holy hell, that’s perfect’.
Jane Storm: With the cast, have you got that picked out and underway?
Mark Redford: No, we just have a wish list.
Tom Andersen: We’re just going to wait on that right now. We would like to cast Australians, established Australians.
Mark Redford: I would like to do another nude scene but other than that…
Jane Storm: (Laughs) What’s the budget?
Tom Andersen: Around $25 million. This is mainly a research trip, give Todd an education, get our feelers down and meet our producer. We have Mike Lake on board so we’ll be having a chat with him. We’re just flying our soldiers in and getting them ready to go.
Jane Storm: Now Todd, you were one of the key people behind trying to get Halloween 3D up and running and you worked on My Bloody Valentine, which was my first 3D experience and one I must say I’m a huge fan of. What is it about 3D that lends itself so well to the horror genre?
Mark Redford: I like it for a number of reasons; I like the rollercoaster aspect of it. There's a couple of ways to do 3D; there's the gimmicky, in-your-face way, which we were not afraid of in My Bloody Valentine. There’s also the Avatar version, which is the more voyeuristic, immersion-type where you are sucked in. But the truth is, you’re going to get that anyway with today’s 3D and you saw it yourself with Valentine and other 3D movies that you see, you’re literally inside. But with a horror movie, you’re even closer to the scares and the action. So I like that, the risk is that because we had a lot of success with Valentine and there’s been a lot of success with other movies, because of that everyone jumped on the 3D bandwagon and the problem is a lot of 3D has been rushed with the conversion process and a lot of the stories. I think at the end of the day it still has to be about the story, it still has to be about telling that story and you have to shoot good 3D. We will be shooting everything in 3D, we won’t be converting. We will be doing everything we did with Valentine and Drive Angry. I think as a result of that, especially here with all the sweeping vistas and the land, it’s going to look quite remarkable.
Tom Andersen: It’s a tool to telling a good story. There are a lot of crappy stories that are hoping to get by on their 3D and it’s a marketing gimmick. And it is, it’s a good marketing ploy for sure, but we’re using it as another tool to tell a really cool story.
Jane Storm: You guys have an awesome crew on board with the producers, composers, concept artists, is this a very exciting process, for it to be so early on and have such a great team already?
Tom Andersen: Exactly, that’s why I did it because I knew to pull this off I had to have the best around me. And I’m in Hollywood with the best so it was just a matter of pull. Everyone realises it’s something unique and who doesn’t want to come to Australia and make a movie, right? `Come to paradise with really cool people, really beautiful beaches!’ That was my lure and then it was just about building a good team. I think it’s like building a house and my foundation is strong, so you’ve just got to keep moving up.
Jane Storm: Have you made any decisions about the director yet?
Tom Andersen: We want Patrick Lussier.
Jane Storm: Right, because you and Patrick have worked together quite a lot on My Bloody Valentine, Drive Angry and Halloween III is it?
Mark Redford: Yeah. Patrick and I will write it together and depending on how the system works down here and what we can bring and what we can't...
Tom Andersen: -because we’re going after the 40% (producer) offset.
Jane Storm: Oh, that explains the caution; they can be really dicky with that.
Mark Redford: It will also depend on his schedule in the states because he is working on Drive Angry to the end of the year and then there’s another project we may end up working on which won’t affect me for this, but it might affect him.
Tom Andersen: A couple of things, he’s my first choice for a lot of reasons; he's an amazing editor, an amazing director and in 3D he’s very experienced. You want the best.
Jane Storm: With the general story idea, what was the appeal with…well, you haven’t gone for a standard slasher flick. Instead you’ve gone with the whole mythical and supernatural take?
Tom Andersen: Because it hasn’t been done before.
Jane Storm: It hasn’t?
Tom Andersen: It’s original. I’m very picky about movies and I’m very in tune with audiences and that’s why Paranormal Activity did well because everyone wants something different. It’s just the same stuff repetitive, sequels and presequels, and this is different. It hasn’t been done before. Then I looked at the 3D aspect of seeing Aboriginal culture in 3D and how amazing would that be? There’s a lot of people that say `oh wow, you’re from Australia, I would so love to go there’ and they’re never going to get here so now I’m brining Australia to them. In 3D. So, it will do well just for that appeal alone and then everyone loves to be scared.
Jane Storm: And it has so much potential too, the horror twist on Aboriginal legends hasn’t really been done. Well, I guess Prey but that was terrible. So, it hasn’t been done well yet.
Tom Andersen: Yeah, and we were saying Australian films have a very sort of independent feel and as far as Australian stories go, this is going to be very different. It’s going to be structured very different.
Jane Storm: Now this is more of a general question, but what is the key to writing a decent horror film?
Mark Redford: I think at the end of the day it’s about…I’m still scared of everything, which helps, and for me it’s always been about taking everyday life and throwing a twist into it. Certainly we did it with My Bloody Valentine. You take these ordinary people and you put them in a situation where the audience can relate to them and I think if you can do that…that’s another reason Paranormal Activity worked so well because you watch the movie and think `what if that was me?’ So, as long as the characters are first, as long as they’re relatable, they can be as unique on screen as they can in a person. I started in the horror genre because when I started, that’s what you did, that was how you broke into the business. So, back then it was just Miramax and New Line, those guys making horror movies and then Scream came out and that kind of blew the lid off everything and we were all a part of it. Now everybody has a genre department and what ended up happening is the same thing that I think will end up happening with 3D; a lot of people were making horror and some of them were horrible. I think as long as you put the characters first, as long as you put the story first, as long as you keep the momentum of the story, then the rest is about creating situations that scare you as a writer.
Jane Storm: Both of you seem like really big fans of the horror genre. What is it about it that you love so much?
Tom Andersen: I love the rollercoaster ride. You go to the movies and you want a thrill, you want to leave going `wow’ and that’s what I like about it. You know, I don’t like torture, gore, blood and guts, I don’t want to look at that. I want a rollercoaster ride where I’m scared and where you’re trying to solve it…like The Sixth Sense. I think that was perfect. I loved that twist and you think you have it figured out, but you can watch that movie three or four times and always see something different. There’s suspense, I love that about it. That’s what I want for this, rather than `oh look, someone’s dead and their guts is everywhere’. Obviously that will be in there, but there will be a reason, not just insanity. Mark Redford: I just like scaring people.
Jane Storm: (Laughs) Out of all your projects Todd, what would you say is a favourite of yours? Which is your baby?
Mark Redford: At this point, Drive Angry, which will come out 19th of February, we just wrapped it. The reason I like it so much is because what we wrote is what we were able to shoot. You know, Jason X changed a little, The Messengers changed a little, the others have changed, but Drive Angry didn’t. So we’re hoping for the same thing here, we write this and then we can go shoot.
Jane Storm: I saw the bloody car from Drive Angry that you posted on your blog, it looks awesome.
Mark Redford: Yeah, that was Gary (J. Tunnicliffe), the dude is just remarkable. He’s killed me more than anyone else and he’s really the only one I would want to.
Jane Storm: So what’s the rest of the schedule like for you guys? What’s the next step when you go back?
Mark Redford: I dive in and start making the magic.
*my phone starts ringing* Mark Redford: Nice ring tone.
Jane Storm: Thanks, nothing like a bit of Wu Tang Clan (Kill Bill Theme). Sorry about that. Okay, so the next question I have to ask you is, please don’t be offended, but a friend of mine wanted me to ask you what shrooms were you on when you put Jason in space? Mark Redford: The big ones, the big yellow ones with the hairs. (Laughs) Okay, it’s funny because Michael De Luca was running New Line at the time, the guy who green lit Jason X, and he read the script and loved the script. So, that’s what we went in and pitched; Alien and Aliens, a combination of the two movies so that you take those actors and the aliens and you pull those out and then you have Jason with a real crew, ghetto, raw, no slapstick in-your-face jokes. It was just a very dirty movie, dark and dirty. Then Scream came out and suddenly everyone wanted everything to be tongue-in-cheek, so things changed as a result. But it’s funny now because De Luca is producing Drive Angry and what we like about him is he was like `Jason X was a great script, what happened?’ Now a lot of people still love Jason X, a lot of people hate it, my excuse is, well, I wrote what I wanted and maybe that didn’t get made, but it bought me an Audi. But I loved Alien and I love Aliens, and I still think that someone will take another scary movie into space.
Jane Storm: When you say take another scary movie into space, do you mean the slasher genre?
Mark Redford: Yes, I don’t understand why a slasher can’t…I mean, I know slashers have gone into space and I know one can, why couldn’t it? It’s all about production value and it’s all about story, and so far those two have not made it into space from some sort of slashers point of view. It’s just a matter of time. If Kevin (Williamson) had written Scream in space it would have worked, that was fantastic. They better do a good job on Scream 4, I see him tweet about it all the time. You following him?
Jane Storm: Yeah, I was so pissed off last fortnight when he was doing a give away of signed posters and our work computers are so slow that even though I had the right answers, I would miss out because it wouldn’t update before all the crazy Americans who answered a second after. Mark Redford: I saw it way too late, otherwise I would have tried to.
Jane Storm: (Laughs) Oh come on, you would be able to get a poster from him, surely?
Mark Redford: No, he wouldn’t give me a free poster. He’s honestly a really nice guy though.
Jane Storm: Finally, this is a more general question, but what are some of your favourite films? Whether that’s horror or whatever?
Tom Andersen: The classic ones like Jaws, Alien, The Sixth Sense and all of the different elements in those. I like the hunt, the twists, you think you know what’s going on but you don’t. What I like is that people could know what’s going on, and they’re given the signs, but they see what they want to see.
Mark Redford: Oddly enough some of the same movies; Alien and Aliens, Jaws was the first movie that scared the crap out of me, The Exorcist I saw next and both of those movies influenced me, and Star Wars on a how to tell a story level, especially The Empire Strikes Back, those were, granted, big fantasy movies but as far as the mythology and linear story structure, those were pretty incredible. It was Quentin Tarantino that taught me to actually break the rules a little bit and go outside the Hollywood system, write outside the Hollywood system, and create characters that were interesting and didn’t fall into the norm. I don’t have a favourite movie, I get asked all the time, but it’s literally a lot of great movies.
Jane Storm: What else do you have to do before you can get back here and film?
Tom Andersen: We’ve learnt a lot on this trip. Now we’ve got to get the script down and tight, we want to make sure it’s good and not rush that because you only get one shot. Then just hit it.
Jane Storm: Fantastic, well that’s pretty much everything I have to ask you guys. If you don’t mind we’ll head out and get the pic taken soon?
Tom Andersen: Yeah sure.
Mark Redford: I sent you a really creepy tweet when you arrived.
Jane Storm: (Laughs) Oh really? Awesome.
Mark Redford: I wrote `I’m looking at you right now’.
Jane Storm: (Laughs) I love it!
Mark Redford: That’s creepy, it was when you were walking in right then.
Jane Storm: I love how you are so interactive with your fans online and getting content out there.
Mark Redford: Well, it has got me into trouble. Hollywood doesn’t want you to tell the things that I sometimes tell. They certainly didn’t want me telling the Halloween 3D story. It didn’t get me into trouble, they just didn’t like it. But there’s nothing they can do about it.
Jane Storm: It probably got you a lot of respect from people as well.
Mark Redford: I think from the fan base perhaps.
Jane Storm: The Bloody Disgusting guys were on to it.
Mark Redford: Yeah, but they always shoot it straight anyway and that’s why I like them. That’s why I like Brad and those guys. I don’t like rude behaviour, even from a studio.
Jane Storm: Yeah, I’m a big fan of Bloody Disgusting because they cover everything. They don’t just look at the big, commercial horror films, but they give time to the independent, small-budget and foreign language stuff that you wouldn’t know about otherwise.
Mark Redford: I trust those guys because if I know they like something I know that it’s worth my time. Everybody’s opinion is different, but I trust their judgment.
VIA Tom Andersen talks about horror, 3D & pissing Hollywood off
The problem isn’t just being noticed by academics in museums — archaeologists have seen changes in the field.
“It’s kind of a whole series of problems coming together at the same time to sort of create a perfect storm,” said Max Friesen, a University of Toronto archaeologist working on a dig in Canada’s Northwest Territories.
“You have the potential melting of the permafrost, you have sea level rise, you have in some cases changing weather patterns.”
Friesen said he’s alarmed by the rapid deterioration. Until recently, he said, organic artefacts made of materials like wood or animal hides, were abundant around the region because they were preserved by permafrost or silty soils.
“It’s a very rich data base that’s being lost all across the Arctic,” he said.
Source: Associated Press [June 14, 2015]
Three buildings of a World Heritage site were razed to the ground and a fourth collapsed. UNESCO condemned the act immediately.
''I am profoundly distressed by the loss of human lives as well as by the damage inflicted on one of the world's oldest jewels of Islamic urban landscape,'' UNESCO Director General Irina Bokova said in a statement. Six people were killed, none of whom armed.
Giovanni Puglisi, head of the Italian national commission for UNESCO, noted that ''we are not facing the Islamic State (ISIS) bandits destroying cultural heritage. We are dealing with a Saudi-led coalition that, in reaction to terrorists' acts of war and as part of a scorched earth policy, destroy the cultural heritage of the historic Yemeni city. This is much more serious and worrisome than others due to its unusual nature.'
The Saudi missile came at dawn in the center of the Qasimi area with its thousands of inhabitants. The area has homes over 2,500 years old, about a hundred Arabesque mosques and evocative hammams.
The number of casualties is also very low: six dead (four women and two men buried under the rubble). On Thursday, a Saudi bomb hit a bus, burning over 20 people alive.
UNESCO had already in May spoken out about the ''serious damage'' caused by the bombing of the Old City in Sanaa and called on those involved in the conflict not to involve Yemen's cultural heritage in the fighting.
The appeal does not seem to have influenced Riyadh's operations since the beginning of the Saudi-led (Sunni) coalition actions against Shia Houthi rebels on March 26.
Saudi Arabia aims to halt the advance of the Houthi rebels, who since September 24, 2014 have controlled the capital and used it as a base to achieve military victories across large areas of the north, west and center of the country.
In the south the rebels had begun to get the upper hand and at this point Riyadh - where Yemeni president Abd Rabbo Mansour Hadi has taken refuge - began its airstrikes.
In just over two months, over a thousand civilians including 234 children have died under the bombs, and a million people have been forced to flee their homes.
Author: Rossella Benevenia | Source: ANSAmed [June 12, 2015]
VIA «Home builder in Sydney»
![Redevelopment of the Car Factory In Porte d'Ivry [France, Paris]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivUZLoroGU_FG4ukCnZ7xsCxTfsqj2YH1CHExK101uxOraMd_1EIBrhftjY3S8Z13RRoXT5pNpLKs8augCP1FmwEqrxKqADb8o2HoTL_Ts23b7VzRE1dd7dGU64hRNN_9s3hTvC0eoOG1u/s960/Paris.jpg)
AREP builds on city's historic legacy with redevelopment of former car factory in Paris. AREP has redeveloped the former Panhard car factory in Porte d'Ivry, Paris, applying exciting design choices to work with the city's existing heritage.
The Panhard and Levassor workshops were partially demolished in 1967 to create the Olympiades district. They are the last remnants of a thriving industrial past, after the demolition of all the automobile plants in Paris: the Renault facilities on Ile Séguin, Citroën in Javel and part of the Panhard factory at Porte d'Ivry.
Between 2007 and 2013, AREP extended and entirely refurbished the building to create 21,000 sq m of office space as well as public facilities (a nursery and the premises of a non-profit organisation running a day centre for the homeless). The firm worked with architects Jean-Marie Duthilleul and Etienne Tricaud and with Benoît Ferré and Serge Caillaud (Phase 1 and Building Work Management).
In an environment dominated by the verticality of high-rise residential blocks, the project keeps the former factory alive, sustains its horizontality and unique architectural style and relies on the ornamental features of the existing façades: materials, dominant chromatic palette and contour line.
The brick façade provides a mineral base extending the current façades while the openings are in line with the rhythm of the original building. Each, partially or entirely, new façade forms a coherent whole with the reinforced mineral angles providing the framework for a more open sequence in the centre.
Two large industrial-style statuesque boxes loom above the roof-top mouldings, clad in a double semi-transparent layer of glass and perforated coppery metal and echoing the tiles on the saw tooth roofs. These are intended as a metaphor of the former industrial features.
The adjacent cut of the Petite Ceinture (an abandoned railway line) was decked over to create a garden. Planted with ground covering plants, shrubs and trees, the garden slopes down from Rue Regnault to the new garden level, reflecting the characteristic bucolic image of the embankments of the Petite Ceinture, where vegetation takes over any available space.
The new extension houses a nursery in its north-east corner and a day centre for the homeless in its north-west corner, both situated on the garden and ground-floor levels.
The work spaces inside the building are designed to facilitate contact, interaction, formal and informal relations. This result is achieved through clearly designed spaces (atrium and vertical access flows), quality of the working environment (natural light, acoustics and ergonomics) and green spaces.
VIA «Redevelopment of the Car Factory In Porte d'Ivry [France, Paris]»
Scholars and curious visitors have spent more than a century trying to unravel those mysteries and more work needs to be done.
That's why nearly 30 top archaeologists from universities and organizations around the nation called on the U.S. Interior Department on Tuesday to protect the area surrounding Chaco Culture National Historical Park from oil and gas development.
In a letter to Interior Secretary Sally Jewell, they talked about the countless hours they've spent in the field, the dozens of books they've published about the Chaco society and their decades of collective experience studying its connection to modern Native American tribes in the Southwest. They call Chaco a distinct resource.
"Many of the features associated with this landscape — the communications and road systems that once linked the canyon to great house sites located as far away as southeast Utah and which are still being identified to this day — have been damaged by the construction of oil and gas roads, pipelines and well pads," the archaeologists said.
They're pushing for the agency to consider a master leasing plan that would take into account cultural resources beyond the boundaries of the national park. They're also looking for more coordination between federal land managers, tribes and archaeologists.
The Bureau of Land Management is revamping its resource management plan for the San Juan Basin and all new leasing within a 10-mile radius of Chaco park has been deferred until the plan is updated, likely in 2016.
Wally Drangmeister, a spokesman for the New Mexico Oil and Gas Association, said the BLM's existing plan already takes into account cultural resources. He said there has been a push by environmentalists to tie Chaco to development in the Mancos shale more than 10 miles from the park.
Environmentalists have been calling for protections for the greater Chaco area, and Drangmeister said that expansive definition could put the whole San Juan Basin off limits.
The basin is one of the largest natural gas fields in the U.S. and has been in production for more than 60 years. More development is expected in some areas since technology is making it easier for energy companies to tap the region's oil resources.
Some archaeologists have theorized that Chaco's influence spread far and wide from its remote desert location. A World Heritage site, Chaco includes a series of great houses, or massive multistory stone buildings, some of which were oriented to solar and lunar directions and offered lines of sight between buildings to allow for communication.
Steve Lekson, a professor and curator at the University of Colorado Museum of Natural History, has spent years studying Chaco and its influence over the Southwest. He likened the process to learning how to play baseball after discovering home base and the pitcher's mound.
"You keep poking around and find more bases and the warning tracks and all that stuff. You need the whole picture to understand how the game is played," he said. "Of course, Chaco being a political system or major regional system is much more complicated than baseball. You need enough of the package intact so you can actually understand the structure of the thing."
Lekson and others said the hope that there's more to be discovered doesn't mean energy development should come to a halt.
"I don't think anybody is saying that, but we need to pay a lot of attention to how that's done and be cognizant of the larger issue," he said. "It shouldn't be a site-by-site thing."
The archaeologists' letter comes on the heels of a tour of the Chaco area by U.S. Sen. Tom Udall, D-New Mexico, and Interior Deputy Secretary Mike Connor. The two met with land managers and others after the tour.
Connor said there are Navajo allottees who want to develop their resources and other Native Americans who want to protect those resources.
"It's a balancing act throughout all of BLM's lands and I think Chaco is particularly unique," he said. "The more I learn about it, the more I was struck by the more we all have to learn."
Author: Susan Montoya Bryan | Source: The Associated Press [July 01, 2015]
The 30cm-high bronze statuette is of a young man in worship, his hands folded across his chest, making it a unique find of its type throughout the island of Crete.
The figure has long hair, a gold-plated belt and remains of gold leaf on its calves and left knee.
At the base is a peg indicating that it was probably set on a pedestal in an area of worship. Archaeologists at the Lasithi Antiquities Ephorate have dated the statuette to the 16-15 century B.C.
The case was cracked as a result of a coordinated Hellenic Police (ELAS) operation that culminated in the arrests of four men, two aged 35 and two aged 41 years old.
The police inquiry revealed that the suspects had illegal possession of the statuette and that two of them had shown this to unknown prospective buyers, while the other two were acting as lookouts along the route.
The statuette was handed over the antiquities ephorate and the car confiscated as evidence, while police are continuing the inquiry.
The four suspects were led to the Lasithi misdemeanors' court prosecutor.
Source: ANA/MPA [May 29, 2015]
In an announcement issued on Sunday, the ministry reported damage in three of the 42 rooms uncovered by the official archaeological excavation. It said the illegal diggers had gone through the floor and destroyed a section of the southern wall of one room, that the base of a pillar found on the site had been moved and broken, while in rooms 35 and 26 there were signs of disturbance and illegal digging.
The ministry's deputy general secretary Maria Andreadaki-Vlazaki paid a visit to the site on Saturday and a decision was made with the head of the antiquities ephorate and the head of the dig to begin work to restore the damage immediately.
Source: ANA-MPA [March 03, 2015]
The Australian architectural studio «Lyons» has finished building a ultra-modern medical complex «John Curtin School of Medical Research». The unique architectural building expressively reflects progressive methods of work and aspiration to innovative processes.
In the medical center based on base of the Australian National University in Canberra are based: research laboratories, medical clinics, health care offices, hall for teaching lectures and the world seminars.
Dynamical architectural forms of a building draw attention of the public and personify development and movement. The translucent structure provide premises with necessary quantity of natural illumination in stylistics of fine style of Art Deco. However especially effectively unusual building to the evening.
The impressing effect amplifies contrast of black elements of a facade and snow-white internal panels, which simultaneously open to a sight at certain points of view of it unique building.
Weirdo. Loner. Outsider. These are some of the terms director Tim Burton uses to describe himself. You will notice `creative genius’ isn’t one of them, however, the term is being thrust upon on the quirky filmmaker thanks to Tim Burton: The Exhibition which opened at the Australian Centre for the Moving Image (ACMI) in Melbourne on Thursday. The show is an extension of an exhibition curated by the Performance Center Alexanderhoehe, Iserlohn (Germany), which attracted more than 850, 000 visitors and made it the third largest exhibit at MoMA ever, behind Picasso and Matisse.
It is a remarkable feat for someone who is firstly, not a mainstream artist, and secondly, alive.
“Most of this stuff was never meant to really be seen,” says Burton, sitting cross-legged in an ACMI room in his signature uniform of black jeans, a black shirt and black oversized cardigan. His famous curly hair frizzes out at all ends and his hands, fluid and always moving, add to its state by running through it as he describes the `freedoms’ of being labelled a weirdo.
“As soon as society says you’re a weirdo, then you’re a weirdo, whether you like it or not,” says the 51-year-old.
“After a certain time you just accept it and it gives you a sense of freedom because if you want to wear a bag over your head society will just accept it because they thought you were weird anyway.
“Like when I was at Disney they thought I was weird, so I would work under my desk for half the day.
“Sometimes if they couldn’t find me I’d just be in a dark cupboard working, like my private confessional.
“So there’s an amount of freedom when you’re categorised a certain way. “
Growing up in Burbank, California, Tim Burton was fascinated by the visual image and spent his formative years sketching, painting, animating and filming what he saw around him.
“When you circle outside of society, when you’re kind of, you’re not in there, you’re looking at things,” he says.
“A lot of it has to do with feeling out of society so you have a lot more observation.”
These observations make up the first part of the exhibit, Surviving Burbank, and include, among dozens of sketches and early short films, a handmade book he submitted to Disney in the 1970s and the accompanying rejection letter. Several years later Burton achieved his goal and began working at Disney’s Burbank studios as an animator. Some of his early work for the company was as on family hits The Black Cauldron and The Fox and the Hound, which Burton physically shudders remembering.
“I was never good at drawing foxes, especially the cute ones,” he says.
“That’s why I can’t look at the exhibit because it freaks me out too much.
“I know they’ve done a good job, but it’s like seeing your dirty laundry hanging up. “`Oh there’s my underwear from 1973 and there’s some dirty socks.’
Personal embarrassment aside, the exhibition is an in-depth look at the creative processes and twisted imagination of Burton, featuring more than 700 works including drawings, early films, sculptures, concept art, installations, puppets, costumes and cinematic ephemera. The second part of the exhibition, Beautifying Burbank, follows Burton’s step away from the Disney studio and his first early film and animation works, including his rarely seen Japanese kung-fu version of Hansel and Gretel and better known works Frankenweenie and Vincent, the latter based around one of Burton’s great inspirations — horror movie icon Vincent Price.
The final section, Beyond Burbank, looks at his feature film career, which has spanned over two decades. From his early works, such as Beetlejuice and Edward Scissorhands, to more recent films like Charlie and The Chocolate Factory and Sweeney Todd: The Demon Barber Of Fleet Street, Burton has made the leap from cult to commercially successful filmmaker. His latest film, Alice In Wonderland, has grossed more than $1 billion at the international box office and gone on to become the fifth highest grossing film of all time. But Burton is quick to write-off his recent success and says if spending half his lifetime in the movie-making business has taught him anything, it is that filmmaking is a `humbling process’.
“I remember after making Batman I thought `oh, that was a success, I can go and do anything now’,” he says.
“And so I went and pitched them Edward Scissorhands and they gave me a completely blank look.
“Nobody wanted to do that and nobody wanted to do Ed Wood, so I had to go about it in other ways.
“Then I remember pitching a musical version of The House Of Wax with Michael Jackson that he was into but they, the studio, were definitely not into.
“It’s always a struggle to make a film.”
Despite the many `challenges’ faced when trying to get a project off the ground, Burton says he has faith that everything works out for a reason. He cites the studio not letting him have Sammy Davis Jr play Beetlejuice as an example, because `it opened the door for Michael Keaton’ who also went on to play Batman in Burton’s two adaptations of the comic book superhero. Another near-miss occurred when, after three hours of auditioning, Burton talked a young Tom Cruise out of wanting the role of Edward Scissorhands, which was later filled by Johnny Depp, who has become a frequent collaborator and one of Burton’s closest friends. Failed projects and major successes go hand in hand for Burton, who says he has learned `not to regret anything’.
“I don’t really regret, it’s always important not to,” he says.
“Every movie I’ve done, whether it’s turned out or not, I’ve still enjoyed aspects of it, you know?
“I mean I think the one I got the most slack with is Planet Of The Apes because that was messing with a classic.
“But I still enjoyed seeing talking apes."
One of the highlights of the exhibition is the 2.7kg costume Depp wore in Edward Scissorhands (above), which is stationed at the entrance to the exhibit along with one of the scissor hands on display in a glass cabinet. Other featured works which will have the legions of Burtonites, the name given to passionate Tim Burton fans, gushing is the famous outfit Michelle Phfieffer wore as Catwoman in Batman Returns, original puppets from Tim Burton’s The Nightmare Before Christmas borrowed from the Disney archives, costumes and sketches from Alice In Wonderland and the Burtonarium, a carnival tent buried deep within the exhibit which houses a light emitting sculptural work by Burton called Carousel (pictured at the very bottom).
ACMI Head of Exhibitions Conrad Bodman says the `diversity’ of the exhibits represents Burton as a filmmaker and goes a long way to explaining his loyal fan base.
“One of the things that Tim has always done is work across a range of film genres - action films, animated films, family films, horror films - and I think all of those types of films have different audiences and when you pull all those inspirations together in the one place, people want to come,” he says.
“What we’re showing in the exhibition is a lot of original concept artwork for his major feature films and we’re kind of looking at the process of his feature filmmaking over the years.
“People can see that often the hand drawn is the starting point for some ideas and then that turns into a visual reality for a whole process of development.
“Tim still does a lot of that kind of drawing, painting and making puppets for himself and people will be fascinated to see that process in action.”
Unlike many other filmmakers, Burton says he has been able to maintain his artistic integrity and stay connected to his creative roots by separating himself from the industry.
“I don’t live in Hollywood,” he says.
“I moved away many years ago and once you start doing things they try to treat you as a commodity, a thing.
“You know, you spend your whole life to be recognised as a human being and then they try to tag you as a thing.
“Like `oh, you’ve done this and that’s what we expect’ so I don’t go back and look at my films too much because I try not to become a `thing’.
“I try to keep human... no person or people should be described as one thing.
“I think everybody has lots of different aspects to their personality.
“Some are dark, funny, sad, there are so many words for each person.”
Considering Melbourne was originally to be called Batmania, after one of it’s founders John Batman, it seems appropriate that it is to be the home of Tim Burton: The Exhibition, which runs until October 11. Already ACMI has experienced a fevour amongst Burton’s Australian fans, with all of his public appearances selling out within 24 hours of going on sale and hundreds of fans queuing through Federation Square to be the first to enter the exhibit when it opened on Thursday and have copies of the exhibition guide signed by Burton himself. It is ironic that his work and films are so accepted by the society he once considered himself `outside’ of. It is a phenomenon best summed up by Burton’s partner and regular collaborator Helena Bonham Carter, with whom he has two children. In a book on the art of Tim Burton she says: “When I see him surrounded by flushed and hyperventilating young fans I feel it’s a triumph of the lonely misunderstood outsider child he once felt he was. Now he’s the most understood misunderstood person I’ve come across in the world.”
In the meantime Burton says he is enjoying a lull between live action projects, while busying himself with a feature-length adaptation of Frankenweenie (concept art), due for release next year. He emphasises the stop-motion animated film is the only project he is working on and committed to, despite online reports which have linked him to adaptations of The Addams Family and super-natural TV series Dark Shadows, both which he blatantly denies were ever `considered’.
“That’s why I never go on the internet because it always seems like I have some sort of evil clone out there that is doing all these projects,” he says.
“I’m still recovering from the last one.
“Whenever I read this stuff I get tired, I think `God, I must be busy’.
“The studios often have a release date before they have a script, which is such a mistake.
“I’m trying to get out of that and, you know, into this strange concept of having a script before you announce a release date.”
P.S. I did the good Samaritan thing on Sunday and took some boys I babysit to see The Karate Kid. Considering what I endured sitting through that movie, karma better have a pet unicorn heading my way! And while you're in the laughing mood, you must must must watch the video clip for The Karate Kid theme song: Never Say Never by Justin Bieber, featuring rapping from Jaden Smith. Hopefully this is not an indication that Smith will make a rap song to accompany every movie he makes, just like his dad. But seriously, when you look young standing next to Justin Bieber then it's time to stop rapping and get back in the womb.
“Article 1, Section 8 of the Constitution is pretty simple,” he told a group of Marines at a base in South Korea. “It says, ‘Raise an army.’ It says absolutely nothing about race, color, creed, sexual orientation.
“You all joined for a reason: to serve,” he continued. “To protect our nation, right?”
“Yes, sergeant major,” Marines replied.
“How dare we, then, exclude a group of people who want to do the same thing you do right now, something that is honorable and noble?” Sgt. Maj. Barrett continued, raising his voice just a notch. “Right?”
The House of Blues, Decibel Magazine, Metal Blade Records, IndieMerch and Red/'stache Media, have decided to join forces in order to bring you the Metal, Arise! Tour! The tour will feature live performances by Allegaeon, The Devastated, and The Browning. The metallic festivities will kickoff in the Cambridge Room at the House Of Blues in Dallas, Texas, and will conclude in the Delta Room at the House of Blues in San Diego, California. Here is the Official Press Release:VIA Metal, Arise! Tour featuring Allegaeon, The Devastated, and The Browning
The impressive column originally depicted three serpents tightly coiled running the whole length, with the heads supporting a gold tripod and bowl. These were later melted down by the Phocaeans to cover war costs.
The names of the city states that participated in the battle were carved along the coils but these have since been eroded and are no longer visible. According to Herodotus the offering was made from Persian spoils of war.
In the 4th century AD, the column was transferred to Constantinople by Constantine the Great. It was displayed in the middle of the Hippodrome where it still stands.
Two of the three heads were broken off in the 16th century and lost. The third is in the Istanbul Archaeological Museum.
The copy is being made using a plaster cast kept at the Delphi Museum since 1980. The cast preserves the names of the city states that are no longer visible on the original.
Source: Protothema [May 06, 2015]
Prak Sunnara, director-general of the Ministry of Culture and Fine Arts’ heritage department, confirmed Sunday that the statue was set to arrive last night at the Phnom Penh International Airport.
“The statue will arrive at 8:30 tonight and this statue was made in the 10th-century Koh Ker style,” he said. “It has been returned from the U.S.”
He declined to comment further, noting that an official press conference about the statue would be held at the Council of Ministers on Tuesday.
According to the Cleveland Museum of Art’s website, the 10th-century sandstone sculpture stands about 116 cm tall and 54 cm wide and depicts the god in a crouching position, with the body of a man and head of a monkey.
Anne Lemaistre, head of the U.N. cultural agency UNESCO in Cambodia, said it was clear the statue had originally been attached to a base, but it wasn’t until archaeologists unearthed previously undiscovered pedestals in the Koh Ker complex’s Prasat Chen temple last year that the statue’s exact location was determined.
“I think the proof has been established that it is coming from that place, because it was a matter of matching the pedestal with the sculpture,” Ms. Lemaistre said, referring to Prasat Chen.
“UNESCO is extremely satisfied and very grateful to the Cleveland museum for accepting to give it back,” she added.
Kong Vireak, director of the National Museum in Phnom Penh, said the statue would be handed over on Monday to the museum, where it will be displayed.
In May last year, Cleveland’s The Plain Dealer newspaper reported that Sonya Rhie Quintanilla, the Cleveland museum’s curator of Indian and Southeast Asian art, traveled to Cambodia several months earlier to attempt to determine whether the statue came from Prasat Chen.
“Our work on the piece and its provenance is still underway, and terribly time-consuming, but so far, based on my extensive fieldwork in Cambodia earlier this year, I can report that I did not find any physical evidence to confirm that the Cleveland Hanuman is from Prasat Chen,” the newspaper quoted Ms. Quintanilla as saying at the time.
Neither Ms. Quintanilla nor Caroline Guscott, the museum’s spokeswoman, immediately responded to requests for comment.
Ms. Lemaistre of UNESCO said that while she did not know what had motivated the museum to give back the statue, it would have been premature to ask for its return before the additional pedestals in the temple were discovered last year.
“I think we could not have really asked without having established the evidence,” she said.
Authors: Mech Dara and Chris Mueller | Source: The Cambodia Daily [May 11, 2015]
I have a small update on the lame guy that hit my husbands work van, our mailbox, and our van.
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