Grey matters with installation of pvc roofline | Polycarbonate Embossed Sheet

The photograph is often described in art history as if it was a window, but what happens when we step through the window of the picture plane, and into the image itself? Because such images have no natural scale, we might find ourselves suddenly bigger, or smaller, than we expect. For people entering Svizzera 240, this whimsical problem was made concrete. The interior of the pavilion was remapped as a series of rooms whose scale distorted to fill the available space, even as all the fittings, from door handles to wood grain, remained meticulously Swiss standard issue. Visitors would move, increasingly dismayed, from one room to another, feeling themselves smaller, and then larger. With another person in the room—are they standing as far away as we think they are, or are they taller or shorter than we thought? Much like a hike on a glacier in which an inexperienced walker, without the benefit of familiar forms, slowly loses their bearings and is unable to tell if a ridge is an hour away or a day’s march, visitors pleasurably lose their bearings in a space where the objects are familiar, but scale is no longer trustworthy. Architectural historians and critics, walking through the rooms in Svizzera 240, would try to orient themselves via history. Some spoke of mannerism, others of Borromini. The playfulness of the installation, and the pleasure it brought, was also a rejection of functionalism in favor of a baroque, self-reflexive exploration of possibilities, of the rules of a game pushed to its limits. To go, within a few sentences, from minimalism to mannerism (let alone to the Baroque) requires some critical agility. Mannerism and minimalism would seem, on the face of it, to contradict each other. But there is an inner affinity: both mannerism and minimalism explore not just content, but the coordinates of experience. They don’t just make things bigger or smaller, they stretch and compress time and space, wringing meaning out of the grid like some deviant topologist. What the exhibition recalled—for it is a canonical lesson, but one worth retelling—was how the seeming minimalism of the rooms, their sameness, could sensitize the viewer to subtle shifts and could produce on an experiential level a kind of maximalism.

"This $5.85 million estate for sale in Sugar Land is frequently compared to a castle, and not for nothing—the three-acre property boasts decidedly castle-like features, not limited to expansive and park-like grounds, courtyards (with stone balustrades), a circular two-story library, another two-story opera room (with a balcony), travertine marble floors in the chef’s kitchen, a wine cellar, a reception hall with a domed ceiling, and—wait for it—an observation deck for views of adjoining Alkire Lake."

This gorgeous, brick front 2 story w/a 3 car garage is sure to impress! Gleaming hardwood floors welcome you into the inviting foyer, flanked by the formal dining & living rooms. Large open floor plan allows for easy entertaining, w/the spacious family room flowing into the kitchen & breakfast room. Cozy gas fireplace & large bay window compliment the family room. Featuring 42" cabinetry w/molding, center island w/breakfast bar, stainless steel appliances, including the induction stove which boils water in under a minute & cool to the touch, the kitchen is a dream! Upstairs, the master suite offers a lavish retreat; enjoy his & her walk-in closets, sitting area & luxury bath w/double sinks, soaking tub & glass surround shower! Lower level has great potential for add’l living space, complete w/rough-in plumbing for another bath. Thermal window tint throughout the home. Nestled on nearly half an acre, you will enjoy the large, level backyard w/inground sprinklers for easy maintenance!

Team members work twelve hours a day and can’t discuss work with friends. Each project has a lead designer, but almost everyone contributes to every project, and shares the credit. (Who had this or that idea? “The team.”) Ive describes his role as lying between two extremes of design leadership: he is not the source of all creativity, nor does he merely assess the proposals of colleagues. The big ideas are often his, and he has an opinion about every detail. Team meetings are held in the kitchen two or three times a week, and Ive encourages candor. “We put the product ahead of anything else,” he said. “Let’s say we’re talking about something that I’ve done that’s ugly and ill-proportioned—because, believe you me, I can pull some beauties out of the old hat. . . . It’s fine, and we all do, and sometimes we do it repeatedly, and we have these seasons of doing it—”

The protective decals are also installed and the helmet is wrapped, packed and put in a box with the manual and hang tags, ready for shipment to your dealer and eventually on to your head!

In recent months, Sir Jonathan Ive, the forty-seven-year-old senior vice-president of design at Apple—who used to play rugby in secondary school, and still has a bench-pressing bulk that he carries a little sheepishly, as if it belonged to someone else—has described himself as both “deeply, deeply tired” and “always anxious.” When he sits down, on an aluminum stool in Apple’s design studio, or in the cream leather back seat of his Bentley Mulsanne, a car for a head of state, he is likely to emit a soft, half-ironic groan. His manner suggests the burden of being fully appreciated. There were times, during the past two decades, when he considered leaving Apple, but he stayed, becoming an intimate friend of Steve Jobs and establishing the build and the finish of the iMac, the MacBook, the iPod, the iPhone, and the iPad. He is now one of the two most powerful people in the world’s most valuable company. He sometimes listens to CNBC Radio on his hour-long commute from San Francisco to Apple’s offices, in Silicon Valley, but he’s uncomfortable knowing that a hundred thousand Apple employees rely on his decision-making—his taste—and that a sudden announcement of his retirement would ambush Apple shareholders. (To take a number: a ten-percent drop in Apple’s valuation represents seventy-one billion dollars.) According to Laurene Powell Jobs, Steve Jobs’s widow, who is close to Ive and his family, “Jony’s an artist with an artist’s temperament, and he’d be the first to tell you artists aren’t supposed to be responsible for this kind of thing.”

We also did the battery drawdown test with the Pentium N4200 unit, also with the 1,000 nits screen. Interestingly, despite the much lower Thermal Design Power of just 6 watts versus the 15 watts of the Core processor, power draw was between 3% and 9% higher. This may be due to the more sophisticated power savings technologies in 8th gen Core processors or it could simply be an optimization issue in preproduction units.

At the MSRP of $29.99 on Incipio’s site, the DualPro is a decent buy. It gets everything right, and it has a level of fit and finish that I feel makes it deserving of that price point. But over on Amazon, a DualPro for the Pixel 2 or Pixel 2 XL can be had for as little as $15 if you’re willing to live with the boring black color. The navy blue I have here, the red, and the gunmetal are all sitting around $20, with the merlot color still around the $30 MSRP. I’d imagine most of you will go for one of the former, and $20 is a very good price for a case of this caliber. It’s a great all-rounder.

I used a Roll20 on a laptop to control the other tokens and automate some of the npc/creature rolls (saves, attacks etc) which is really easy to do if you have them prepared (Taking20 on YouTube has some great tips on making a Roll20 monster manual you can just drag-n-drop on to a map).

The Apple event ended oddly, with charmless stage banter between Cook and Bono, who spoke coyly of a vast, opaque commercial transaction, involving free music, between their two organizations. Like Mickey Mouse, seen that day on one of the watch faces, U2 has perhaps become more a symbol of entertainment than a source of it. I imagined Ive sighing, “Must I do everything myself?”

Without it, the site first opened to the public in 2015. It featured about 120,000 square feet of new or reconfigured exhibition space; a new cinema; a new two-story Miesian pavilion of wide open gallery spaces, called the Podium, the whole building clad in light, shimmery panels of foamed aluminum, an automotive and medical industry material also used for bomb blast absorption that looks a little like rough stone. There was even a 1950s-style Italian cafe straight out of a Wes Anderson movie.

Asked how much Treetop is spending on the capital improvements, Taylor’s boss Felix Reyes implied it was well over $1 million.