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This case will be useless and pointlessly restrictive for 95% of the population, but for the 5% that do live a super rugged lifestyle and need a case that is anything-proof, the LifeProof FRE is a good buy. The MSRP of $89.99 is a little absurd, but the going price of around $50 on Amazon is much more reasonable. Of course, it’s still noticeably more expensive than regular cases, but it’s also much more capable.

There’s virtually nothing bad about the Fusion. Protection-wise, it excels thanks to its TPU frame. All four corners are concealed, and the lip on the front is enough to clear a glass screen protector. The optional colored frame makes the case look more premium than it really is. The clear back is actually hard plastic, and it avoids the infamous rainbow effect that plagues so many cases here. However, it is a little bit of a fingerprint magnet.

Google doesn’t seem to have developed a real name for this fabric-covered case, which is a shame since it’s a damn good one. Eye-catching and comfortable to hold, the Fabric Case makes a stylish companion for your shiny new phone. However, it’s on the pricier side at $40.

He won a national student design competition two years running, once for a white desk phone that had a handset with a long handle, like a lorgnette. He pooled two travel scholarships and, in the summer of 1989, after he had received the highest category of degree, he travelled in the United States. Robert Brunner had recently founded a design consultancy, Lunar, in San Francisco. He wanted to hire Ive moments after meeting him: Ive was “a sweet, enthusiastic guy,” and his portfolio was extraordinary, in part because “he had figured it all out.” Although people may think of industrial design “as the concept and renderings and models and all the creative stuff,” Brunner said, it’s ultimately about “delivering something.” Ive had brought a model of his desk phone, which he took apart to show how the internal components coexisted. The model’s outer casing was the exact thickness that it would be in a finished phone. “You never see that from a student,” Brunner said.

Interesting but why not go back to the original game? I’m old school but I really liked the game without all the tech stuff. Now if you can create a hologram that looks realistic and fights monsters et al, I’m certainly interested. TV is cool idea but wouldn’t a large monitor serve the same purpose connected to a laptop? Not knocking it for anyone else, just my personal opinion and you know what they say about that, everyone has one.

Until the mid-1970s, fine dining was associated with ornate, plush fussiness, not stark minimalism. In her book Smart Casual: The Transformation of Gourmet Restaurant Style in America, the design historian Alison Pearlman attributes this choice to the influence of top-rated French restaurants such as Manhattan’s Le Pavillon. Pearlman writes of the decor: “Abundant flower displays, chandeliers and/or sconces, velvet curtains and/or damask wall treatments, tablecloths, and formally structured place settings of fine china and crystal were still typical.” Those choices produced a different acoustic environment: “Sound levels were low enough to magnify not only the tink-tink of glasses and silver but also the manners faux pas.”

With pressure from senators Rubio and Nelson, Jones Walker’s owner Treetop Development is on a tear to rehab over half its units. Will they make their deadline?

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.

In addition to spatially ordering the escaping vapor and returning liquid flows, the epoxy divisions promote the coalescence-induced departure of laterally merging bubbles. Figure 4a shows the coalescence of two ~2 mm bubbles bridging over an epoxy division. As the two bubbles merge the underlying epoxy division between them remains wetted at all times. A thin liquid layer remains on the cold epoxy surface and the non-wetted base areas below each bubble do not merge, collapse, or otherwise move during the entire process. The resulting bubble deforms due to surface tension and is quickly ejected from the surface. The low temperature epoxy inhibits the inward lateral merging of the non-wetted bases, and helps draw replenishing liquid underneath the bubble thus promoting departure. Conversely, Fig. 4b shows time lapse imaging during pool boiling on bare copper surfaces at a comparable heat flux, where three distinct lateral coalescence events are visible. During the 36 ms movie several bubbles are seen coalescing laterally, and in each event the non-wetted base areas merge inward and the resulting bubbles do not depart. The result is a new non-wetted base area beneath the larger coalesced bubble that is still attached to the surface. While this high-speed imaging is conducted at relatively low heat fluxes, it does provide insight into the mechanism driving boiling enhancement on bi-conductive surfaces. The behaviors visualized at low fluxes, along with the pool boiling results shown in Fig. 3, can be used to draw conclusions regarding the nature of enhancement across all boiling regimes up to CHF.

Then I wandered into Mr. Anderson’s cafe and ordered what may be the most delicious sandwich I have eaten in my entire life.

We were in the fast lane of I-280, in squinting low sunshine. When I asked for examples of design carelessness, Ive cranked the conversation back to Apple. He has the discipline to avoid most indiscretions, but not always the facility to disguise the effort. “At the risk of sounding terribly sentimental, I do think one of the things that just compel us is that we have this sense that, in some way, by caring, we’re actually serving humanity,” he said. “People might think it’s a stupid belief, but it’s a goal—it’s a contribution that we can hope we can make, in some small way, to culture.”

On a recent late-summer Saturday, as the fall sets into the trees and empty lots near the end of Girard Avenue in Fishtown, Kurant Tap House is hopping.