Last year around this time, Dwight Garner was decimatingRuth Reichl’s novel Delicious! in the pages of The New York Times. Here’s a brief reminder:
It’s a gauzy ode to the liberating virtues of pleasure, glazed with warmth and uplift, so feebly written and idea-free that it will make you wonder if the energy we’ve been putting into food these last few decades hasn’t made us each lose, on average, a dozen IQ points.
Garner’s slam of the one-time NYT journalist’s effort reverberated far and wide, prompting for example Los Angeles magazine a few days later to itemize the review’s “5 Most Cringeworthy Slams.” A year later, Reichl tells the Wisconsin State Journal that memories of the crit-eek! still sting:
Not only was it the nastiest take-down of anything she’d ever written, Reichl said it was the worst review she’d ever read…
“It was devastatingly bad. I’ve never read a worse review of anything,” Reichl, 67, said by phone from the home in New York City she shares with her husband, Michael Singer, a retired CBS News producer. The couple has a 26-year-old son, Nick, who works as a filmmaker.
As Journal reporter Samara Kalk Debry notes, the Times ran a second review of Delicious! a few weeks later by Kate Christensen. That one was much nicer.
Reichl is co-presenting a Tuesday lunchtime fundraiser in Madison for the Madison Public Library Foundation’s Wisconsin Book Festival. Attendees will sample food and drinks made by local female chefs and mixologists, as well as receive a signed copy of Delicious! The author will also speak and read from her book that same night at the Central Library.
In the article, former Gourmet magazine critic Reichl also shares some interesting thoughts on today’s U.S. household tendency towards take-out and restaurant meals.
Voici une sélection de photos de mode réalisées par l’artiste américain Jackson Hallberg où il met en scène de jeunes femmes vêtues tout en couleurs par le biais de set design conceptuels, ou de manière plus abstraite par des clichés où les modèles courent dans un champ enfumé de projection nacrées.
Both the jagged profile of Norway’s mountain ranges and the gabled elevations of traditional houses informed this angular housing development in Stavanger (+ slideshow).
Designed by Danish studio AART architects and local firm Studio Ludo, the 19,500-square-metre Waterfront project is one of Europe’s largest wooden residential developments – fitting for a city with the highest concentration of wooden buildings in northern Europe.
Situated in the city’s harbourfront area, the site accommodates 128 freehold flats and a range of communal facilities designed in a style that references Stavanger’s heritage of wooden architecture from the 18th and 19th centuries.
“In many ways, it expresses the essence of the city by refining the city’s wooden architectural tradition, while also interpreting the Norwegian landscape,” said the design team in a statement.
The architects decided to vertically stretch sections of the facades, resulting in irregular forms.
“It blurs the boundary between the urban space and the dramatic Norwegian landscape by appearing as a mountain range of wood on the edge between the city and the sea,” said the team.
The complex was arranged as a continuous sequence of spaces that extend along the angular edge of the waterfront.
Separate units are divided up by narrow gaps that reference the city’s traditional winding streets. There are also several large public plazas and walkways offering views out to sea.
Corners were sliced off the edges of the units to reduce their visual mass, but also to ensure that appropriate surfaces are angled towards the sun as it passes across the sky.
Public spaces around the periphery of the buildings include a promenade that extends along the sea-facing side of the development and continues all the way to the city centre.
“The promenade creates a clear line and a natural flow between the recreational atmosphere at the waterfront and the urban and historical atmosphere in the city centre,” said AART architects.
Sheltered areas between the structures house a community square, a play area and spaces that will be planted to become green parks.
Large concrete staircases connect the promenade with the raised square, encouraging the public to either explore the spaces or sit and look out towards the sea.
Ground-floor units facing the promenade accommodate cafes and shops that will further enhance the vitality of the area surrounding the accommodation.
“By promoting social interaction and piquing the pedestrian’s curiosity, the cafes and shops carefully articulate a form of ‘moments’, which, together with the wooden facades, give the building complex a human scale and a rich architectural quality,” the architects said.
A large communal room at first-floor level overlooks the public square, the promenade and the sea, providing an additional space for social gatherings.
Single-storey apartments are located on the lower levels of the buildings, with duplexes housed above. The irregular shapes of the buildings allow for a variety of floor plans, resulting in residences of different shapes and sizes.
The development is constructed with timber frames and cladding made from a heat-treated wood harvested from Scandinavian forests.
A second phase of construction is scheduled to complete later this year.
In the summer of 2014, the Virginia Quarterly Review (VQR) published Esther Kaplan’s investigation “Losing Sparta: The Bitter Truth Behind the Gospel of Productivity.” The article illuminates the topic of globalization through the prism of a lighting-fixture plant in central Tennessee that was launched in 1963 and shut down by Dutch giant Philips in 2012, despite being profitable at the time and anointed by Industry Week magazine as one of North America’s ten “Best Plants.” From the article:
The Philips lighting plant was the last union plant in the county — a loss repeated across the state, where, according to Lawrence Mishel of the Economic Policy Institute, unionization has dropped from about 25 percent in the 1970s to a mere six percent today. For years, negotiations over wages and benefits at the plant set the standard at other big factories in town. “We were the benchmarks,” Jim Gray, a Detroit transplant, told me one night over dinner with several other refugees from the plant.
On Friday, at a ceremony in Austin MC-ed by actress Kathleen Turner, Kaplan was awarded The Texas Observer’s 2015 MOLLY National Journalism Prize for the piece, edging out finalists from the Chicago Tribune and BuzzFeed News. From the announcement:
The competition recognizes great American journalism and honors the memory of Molly Ivins, the legendary reporter, columnist and former editor of The Texas Observer. One judge praised Kaplan for her reporting “on the economics that many feel have damaged the fabric of America,” saying “the depth of reporting is impressive, the breadth of vision remarkable.”
Kaplan, based in Brooklyn, is the editor of The Investigative Fund at The Nation Institute and also co-hosts Beyond the Pale, a weekly WBAI 99.5 FM program about Jewish culture and politics. The MOLLY award comes with a $5,000 cash prize.
Markos R. Kay est un artiste résidant à Londres, spécialisé dans le numérique, qui a été commissionné par Pentagram afin de réaliser des illustrations 3D basées sur le travail du Prix Nobel Eric Betzig, pour le magazine HHMI Bulletin. « Microscopic Leaps » révèle des figures complexes qui simulent ce qu’on appelle la « microscopie fluorescente ».
Le photographe français Victor Habchy s’est rendu au festival Burning Man en 2014, dans le désert de Black Rock dans le Nevada. Il en est revenu avec des clichés déjantés, à l’image de l’évènement, qui réuni chaque année des dizaines de milliers de personnes en provenance du Monde entier.
Layers of fibreglass, resin, polypropylene and other synthetic materials were then built up to form the exaggerated shapes.
The virtual reality (VR) headsets are fixed inside so the full devices fit snugly over the wearers’ heads.
“Each of the sculptures is the result of a very elaborate manual process – a strong contrast to the digital tools that we started the design process with in the studio,” said Glahn.
“And yet, the iterative steps of moulding, shaping, layering and carving are quite similar in 3D tools and simulations as in manual processes.”
In each of the sculptures, the VR headsets offer different interactive audio-visual experiences that are intended to present journeys and emotions of three personas – representing aggression, sensitivity and inquisitiveness.
“Viewers dive into a graphical galaxy filled with sound and music, which they control with their arm gestures and viewing direction: a continuous process of creation, modification and destruction of a visual and sound composition,” Glahn said.
FIELD created the software used to produce the immersive sounds and imagery. Participants wear a wristband sensor that recognises arm gestures using acceleration and gyroscope data.
The solo exhibition, presented by digital art platform Sedition, also includes a series of four animations and four digital prints titled Forays.
“The works represent landscapes, architecture and objects of the future as seen by the artist, and foreshadow the change in the perception of reality by future generations through the influence of contemporary technology,” said FIELD.
Violescence is taking place at The Hospital Club in London’s Covent Garden from 29 to 31 May 2015.
The two sets of rooms don’t line up, but their facades both curve back and forth like ribbons. Windows were also added to create views between rooms.
“The design consists of two levels, they individually drape around the existing columns and unfold themselves towards the windows,” explained Graux. “This curtain gradually absorbs light and separates the individual rooms of the living spaces.”
“The uniqueness of place is created by variations of concave and convex lines, cantilevers and double-height ceilings,” he said.
The four old windows are left exposed at the front of the home, allowing plenty of light to filter into the open-plan living space, dining area and kitchen – all positioned around the columns.
“ The design of this loft is an exercise in filtering light,” added Graux. “The undulating surfaces capture the light and let it gradually shift into shadow.”
To enable the elaborate construction, a new steel structure was installed. Plasterboard walls were used to conceal it, providing curved surfaces that could be coated in a layer of pigmented lime plaster.
The existing wall and ceiling surfaces were unified with white paint, as were the columns.
Bedrooms are located on the upper floor, while rooms on the lower level include a study, a laundry room and a storage closet.
Nouveau focus sur le talentueux photographe Rus Anson. Avec des mises en scène tout à fait différentes de sa précédente série de portraits féminins, on retrouve ici néanmoins des costumes rétro s’apparentant à l’univers du rêve. On découvre la vie d’un jeune couple de pêcheurs vivant sur la plage en compagnie d’un orignal hybride.