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After the decals are applied, the helmets go through an automated paint booth to have the Nolan “Hi-Brite” clear coat finish applied:

The living room at 1640-1641 Fairfield Beach Road opens to a great room with a coffered ceiling, a stone fireplace and Brazilian cherry floors.

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.

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.

“Now people are sprucing up the exteriors of their garages by adding decorative doors and windows — even dormers.

Nolan gave me complete access to every part of their manufacturing plant and processes and I am deeply grateful for the time and effort put forth by of all the Nolan staff and in their very gracious hosting of my visit.

Global Textile Acoustic Panel market is examined by using a unique research methodology consist of various secondary and primary sources. The data collected from secondary and primary research is measured along with the information from external sources. All the statistics are compiled by using the triangulation method to acquire highly accurate predictions on the global Textile Acoustic Panel Industry.

When I spoke to Cook, he lauded Beats’ music-streaming service and its personnel before praising its hardware. “Would Jony have designed some of the products?” he said. “Obviously, you can look at them and say no.” He went on, “But you’re not buying it for what it is—you’re buying it for what it can be.” Brunner is proud of the Beats brand, but it took him time to adjust to a design rhythm set as if for a sneaker company: “Originally, I hated it—‘Let’s do a version in the L.A. Lakers’ colors!’ ” He laughed. “ ‘Great. Purple and yellow. Fantastic.’ ” When I asked Cook about such novelties, he laughed: “I want Beats to be true to who they are. I don’t want to wave the wand over them in a day and say, ‘You are now Apple.’ Down the road, we’ll see what happens.”

At first, the designers put little on paper. After years of collaboration, “we just get it,” Ive said. “We know exactly what somebody means.” They first discussed the watch’s over-all architecture, rather than its shape. Ive’s position was that people were “O.K., or O.K. to a degree,” with carrying a phone that is identical to hundreds of millions of others, but they would not accept this in something that’s worn. The question, then, was “How do we create a huge range of products and still have a clear and singular opinion?”

Ive had been in charge for two and a half years when the iMac appeared, in the summer of 1998. Jobs later took much of the credit for its conception, although most other accounts, including Ive’s, suggest that the studio had come up with something quite like the iMac before his return. According to Ive, Jobs said, “Make it lickable.” (Craig Federighi, the senior vice-president of software engineering, attended a meeting where executives were shown a late iMac prototype. “Jony was showing off the case,” he recalled. “Steve was poking at the seams, and turning to Jony: ‘Maybe we could do something with the edge.’ ”) The computer’s design had the giddiness of a pardoned prisoner. At Braun, Dieter Rams had relieved consumer electronics of the need to pose as furniture. A radio could be a box. Apple’s instinct, at this moment, was to do the reverse: to domesticate a machine still largely associated with technical tasks and the workplace. (A few years earlier, in a concept design for an all-in-one computer, Ive had hidden its screen behind credenza doors, which is about as close as hardware comes to a quacking ringtone.) The computer, first sold in food-dye blue, had a handle, and curves that cheerfully acknowledged its unwieldy main component, a cathode-ray tube.

There are 4 key segments covered in this report: Geography segment, Type segment, Application segment, and Competitor segment.

The picture on the right was taken with our FLIR ONE Pro thermal imaging camera. It’s an infrared picture of the Pentium N4200 version (top) and the Core i7-8650U version both running the PassMark benchmark suite. The higher thermal load of the powerful Core processor is plainly obvious, as is the heat emanating from its fan vent. That’s the difference between a thermal design power of 6 watts and one of 15 watts.