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“Tranquility abounds as you listen to the relaxing sounds of the garden waterfall,” says the homeowner. “It is so peaceful here.”

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.

Ebony Lee looks forward to being free of the Jones Walker housing project in Fort Myers. She hopes a Section 8 voucher will afford her something better. But will it? The city is is trying to get 80 vouchers so every Jones Walker can move. Patricia Borns, [email protected]

Coupe-inspired premium crossovers aim for a suave appearance, but the design often ends up looking awkward by trying too hard to mix utility with the sweeping rear of a true two-door. However, Land Rover’s new 2018 Range Rover Velar proves that fabulous styling is possible in the segment. The new vehicle will make a big premiere at the Geneva Motor Show and will also be on display in April at the New York Auto Show. Sales in the United States will start this summer.

Looking from the front, the case looks a little strange around the cutouts, where there are little gaps in the white/black color with plain, clear TPU. You might not mind this, but it looks a little lazy to me. The buttons are of this clear variety as well, and they take much more effort than they should to push down. The back is very vulnerable to fingerprints, which is true of every other clear case. It’s difficult to put on and take off, and fits very tightly around the phone.

Commute Mode learns your daily drive and, using both historical and real-time traffic information, can suggest alternative routes to help you to reach your destination on time.

Using capacitive touch with gloves on is a different issue. Since capacitive touch is based on measuring the capacitance between two electrodes, if a glove gets between the finger and the display surface, the touch controller can’t sense the finger and thus can’t measure the capacitance. Xplore likely addressed that by increasing the sensitivity of the touch controller.

The Electric Power-Assisted Steering (EPAS) system equipped on the Velar has been developed for exceptional driver feedback, precision and feel. Optimized friction and inertia compensation algorithms ensure completely intuitive steering responses, and an active return system promotes a natural self-centering effect as the steering returns to the straight-ahead position. The variable-ratio system also ensures that the driver benefits from greater responsiveness the more they turn the wheel.

The guts of the Pocophone may match any flagship you could throw at it, but its external design is quite another matter altogether. Even compared to the cheaper $220 Nokia 6.1 Plus I was using prior, the approximately $300 Pocophone feels far less premium and smooth. That’s largely because Pocophone had one singular goal in mind when crafting this device, which it has executed to near perfection: create the fastest phone possible, for the cheapest price possible.

A door briefly opened, and I saw flashes of color pinned to a wall. (This, Ive later explained, was the conference room where the Apple Watch film was being storyboarded.) Then we stopped in Ive’s office, a twelve-foot square separated from the studio by a glass wall. On shelves, Ive had set his Playmobil likeness and similar gifts, along with dozens of custom sketchbooks that had padded blue covers and silver edging. On the floor, behind a Marc Newson desk, was a rugby ball. Overlapping framed images leaned against the wall: a Banksy print of the Queen with the face of a chimpanzee, and a poster, well known in design circles, that begins, “Believe in your fucking self. Stay up all fucking night,” and ends, many admonitions later, “Think about all the fucking possibilities.”

Further information with regards to the latest news that every company is embroiled in has been elucidated in the research study.

CliffhangerSean Kelly of Sean Kelly Gallery; skny.com. Architecture by Toshiko Mori Architect; tmarch.com.