These cool photographs are not marketing for the building (that will be handled by others), nor are they a design tool. They are relics of a ritual. They document a separation. They depict the final state of the building before it is handed over to its owners, a kind of pre-occupancy survey. In this sense, they are mementos for the architects alone. Manifesting a particularly architectural way of visualizing space, they reflect what the architects wish to record of their own work. That they are then available to the public on websites is almost an afterthought, as evidence of having completed (or in German, vollendet, perfected) a project. The oblique relationship between the photographs and their audience makes them particularly interesting. Their uncanny homogenity is not rule based, nor determined by market pressures; it is close to spontaneous, a kind of symptom. Lacking any urgent function, their individual emptiness and collective form reveals to the viewer what they had anticipated of photography, or rather, reveals expectations by denying them. It was perhaps this capacity to be both designed and symptomatic that have made the images, and subsequently the Swiss Pavilion itself, so unsettling. The Swiss Pavilion can be understood as a built response to this research archive of images. This is not the only way to read the pavilion and its installation, but it is one way. In Svizzera 240, the viewer enters a space that looks just like one of the photographs. The visitor walks through rooms in which proportions were preserved, but not the scale, so that the visitor became alternately too big or too small for the rooms that they were in. Like an act of courtesy that unintentionally reveals an ulterior motive, or a film set seen from behind, the Swiss Pavilion quietly and unpolemically reveals both new levels of convention, even automatism, within design, as well as new domains of creative freedom.
Large ranch style home with 3 bedrooms and one bathroom upstairs. There is a large living room with a floor to ceiling window and a wood burning fireplace. The kitchen has white cabinets and a window to look out on the large back yard. Main floor bath has a whirlpool tub, separate shower and lots of counter space at the sink. The large family room has another a gas fireplace and a sliding door that leads to a patio. You can walk out of the basement to the back yard and there is another fireplace and bathroom. Laundry room and storage areas also! Most of the home has been freshly painted in a popular neutral color. Just minutes from Clark Elementary School and Highway 44. This house is ready for you!
From the elegant foyer, the eye is drawn along the nautical barrel ceiling straight to the beach. Refined, yet with a comfortable seaside ambiance, the home’s open concept features a striking great room with coffered ceiling, handsome stone fireplace, Brazilian cherry floors and a wall of French doors with breathtaking vistas.
The range is available in a choice of six contemporary colours from ‘subtle’ white, cream and greyed cedar, to traditional oak and ‘dramatic’ anthracite grey and wine red, all with a 10-year guarantee.
The split, sliding front center armrest allows row-one occupants to individually adjust each half of the armrest to their liking, and concealed underneath it is a cubby with a cupholder and additional storage space. Another cupholder is located under a flush-fitting cover next to the rotary transmission controller.
A single color can be used, but Wiedenfeld said most of his customers want a mix of colors to match their home.
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Every Velar model features LED headlights as standard equipment. As well as superior illumination and energy efficiency compared to Bi-Xenon lights, LED technology has also enabled the designers to create the most slender headlight clusters ever fitted to a production Land Rover vehicle. They wrap dramatically around the front of the vehicle; a full-length black design within emphasizes their narrow width. Distinctive daytime-running lights enhance the assertive road presence that all Range Rover vehicles command.
Webglas GC is a trafficable, gel-coated fibreglass panel that can transmit natural light for skylights, with a totally opaque option for corrosive environments.
Was Svizzera 240 a critical work? Unlike many of the national pavilions in the Biennale, the Swiss Pavilion did not assert its criticality. It also has to be admitted that the joy the installation evoked contained an enjoyable touch of regression; of suddenly arriving in a kitchen and discovering that one had the perspective of a five-year-old child. But a work that offers the pleasures of regression does so temporarily, and once it recedes, can leave a residue of insight. At the entry of the pavilion was not one door, but two. The other door, left open, showed a kind of trompe l’oeil, a false room that looked as if it had been built to correspond with a naively drawn perspective, as if by a child. Pleasures—even infantile pleasures—are not necessarily incompatible with criticality. In the 1960s, Christian Enzensberger translated Alice in Wonderland, and later Alice through the Looking Glass, from English into German. He could not help but translate them as political allegories, and this was how they were received: both as children’s stories and as political stories. The Red Queen, the White Rabbit, all the figures appeared in post-war Germany with an extraordinarily different valence than their role in Victorian England. And Alice, sometimes she grows to the point that she dominates her world, and sometimes when she shrinks, she threatens to disappear within it. Alice is pure potential. Some arguments are made best simply by demonstrating them as physical truths.
Then I wandered into Mr. Anderson’s cafe and ordered what may be the most delicious sandwich I have eaten in my entire life.
The dining room is well-suited for holiday meals and gatherings featuring raised wall panels and a glass pocket door that leads to the kitchen.
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