DIYDPW #75
Stop 4 Turtles. New Paltz, NY. September 2024 đą Turtle Crossing. New Paltz, NY. September 2024 Slow Down đą. New Paltz, NY. September 2024 TurtleđąX-ing. New Paltz, NY. September 2024…
Jenny’s Art, Design and Architecture blog: Images help us ‘see’: The Refugee Project: an interactive map
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photo by Heaferl: Demo “Gleiche Rechte fĂŒr alle” (Refugee-SolidaritĂ€tsdemo) am 16. Februar 2013 in Wien |
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‘Every day, all over the world, ordinary people must flee their homes for fear of death or persecution. Many leave without notice, taking only what they can carry. Many will never return |
They cross oceans and minefields, they risk their lives and their futures. When they cross international borders they are called refugees.
The Refugee Project is an interactive map of refugee migrations around the world in each year since 1975. UN data is complemented by original histories of the major refugee crises of the last four decades, situated in their individual contexts’.
The Refugee Project
http://www.therefugeeproject.org/
(Best viewed in Chrome and Firefox)
Click the About tab (top right ) to read  how to navigate the map.Â
You will discover where refugees come from, where they go and articles documenting their stories and the political contexts to their plight.
Streaming: Kneecap and the best hip-hop movies | Movies
The list of hip-hop acts who have starred in their own biopic is a short one, and it has perhaps its unlikeliest entry in Kneecap. The spiky Belfast trioâs pro-republican protest rap â much of it pointedly in the Irish language â has made them cult figures on home turf, and comedian turned film-maker Rich Peppiattâs ebullient film, simply titled Kneecap, aims to do the same internationally. Avoiding a lot of self-important biographical tropes as it depicts their scrappy rise to fame and lays out their blunt political principles, it could easily be mistaken for fiction, with its knockabout tone and heightened comedy, though that just helps it as a mythmaking exercise. As in much of rap culture, being a little larger than life is the point.
In the ranks of hip-hop cinema, Kneecap is certainly sui generis â as is the band itself â though its emphasis on hard-up roots and streetwise authenticity of voice still put it in line with more conventional examples of the genre. Textured and empathetic, Curtis Hansonâs 2002 film 8 Mile exercised considerable less humour in lightly fictionalising the Detroit trailer-park beginnings of rap star Eminem, who plays a version of himself (here dubbed âB-Rabbitâ) with rather more grit and humanity than anyone might have expected at the time, steering the film out of vanity-project territory. His protege Curtis â50 Centâ Jackson wasnât nearly so lucky in his own thinly disguised semi-biopic, Get Rich or Die Tryinâ, improbably directed by Jim Sheridan, which was all blank macho posturing and steely brand management.
A decade later, hip-hop got the more standard prestige biopic treatment with Straight Outta Compton, an absorbing, well-acted chronicle of NWAâs rise and eventual disintegration in the late 80s and early 90s â though it lacked the edge and dynamism of the groundbreaking group it portrayed. Hip-hop biopics can be more playful when dealing with subjects who arenât household names. Roxanne Roxanne (Netflix) is a lively, propulsive portrait of trailblazing but oft-overlooked female rapper Roxanne Shante that has something of her musicâs rude wit and bounce, while the documentary Bobi Wine: The Peopleâs President (Disney+) engagingly examines Ugandan singer-rapper Bobi Wineâs shift from protest musician to actual politician.
Hip-hop movies often capture the thrill and pulse of the music most effectively when they work in outright fiction. Bassam Tariq created a new classic of the genre â and certainly a British peak â with Mogul Mowgli, making good on the musical credentials of co-writer and star Riz Ahmed, positively electric as a British-Pakistani rapper living with an autoimmune disease. Terrence Howard and Taraji P Henson made a name for themselves in Hustle & Flow, a story of a Memphis pimp and aspiring rapper that covered a somewhat cornily moralistic tale with sweaty atmosphere, strong performances and an on-point soundtrack.
In what remains a male-dominated genre, a few female rapper portraits have addressed that imbalance in recent years â notably Geremy Jasperâs Patti Cake$, a winning portrait of a hard-bitten white New Jersey bartender with blingy hip-hop dreams, and The 40-Year-Old Version (Netflix), in which Radha Blank vibrantly riffs on her own life in a story of a despondent playwright turning to rap as middle age looms. Moroccan film-maker Nabil Ayouchâs fluorescent pavement musical Casablanca Beats, meanwhile, invites everyone to the party in its uplifting portrayal of a ragtag group of Casablanca teens uniting to form a socially conscious rap collective under the slogan âYou have to change it because you didnât choose itâ. Kneecap could borrow that, translated into Irish of course.
All titles in bold are widely available to stream unless otherwise specified.
Also new on streaming
Itâs Whatâs Inside
(Netflix) In the biggest deal of Sundance, Netflix paid a whopping $17m for Greg Jardinâs clever, high-concept horror comedy â in which a group of former college friends are torn asunder by a mysterious body-swap device â only to bypass a cinematic release entirely. It doesnât dig that deep into its smart premise, but deserved to be a bigger crowdpleaser.
Close to You
Elliot Pageâs compelling, heart-on-sleeve performance as a trans man negotiating a brittle reunion with his estranged family is the whole raison dâĂȘtre of this affecting but slightly pastel-shaded drama from celebrated British TV director Dominic Savage.
Twisters
Not so much a sequel to the 1996 disaster-movie smash as a very efficient rehash of its most nail-biting hurricane set pieces, Lee Isaac Chungâs film will suffer more than most of this summerâs blockbusters in its transition to home viewing, but is fun just the same.
Blending Greek Modernism with Riviera Retro: Inside Ace Hotel Athens
Manent’s mural is part of the hotelâs ambitious art program; a hallmark of every Ace location. Developed in close collaboration with art consultant and long-time collaborator Matthieu Prat, Aliki Lampropoulos of Mare Studio and the groupâs in-house creative studio, Atelier Ace, the program offers a comprehensive exploration of the contemporary Athenian art scene in all its vibrant polyphony. Uniting prominent figures from this dynamic landscape, the collection includes 18 artists working across various mediums, presenting a diverse array of pieces that encompass disciplines such as sculpture, murals, tapestry, photography, painting, and drawing.
The lobby in any Ace hotel is the place to be, and its Athens outpost is no different. Extending across two rooms, the spacious, light-filled lobby is a vibrant meeting place, offering ample seating, served up with craft cocktails, wines by the glass and shareable small plates throughout the day. Itâs also where the hotelâs art program culminates, with a gallery-worthy array of artworks adorning the space. CiguĂ«âs interior designâa contemporary take on Greek Modernism characterized by clean lines, simple geometric forms, and a muted palette of white and earthy huesâprovides a striking yet understated backdrop for the works of James Fuller, Eleni Psyllaki, and Alexandra Masmanidi, among others.
Other highlights include a tapestry by The Callas (a.k.a. brothers Lakis and Aris Ionas, founding figures of the Greek DIY scene), a large-scale hammered aluminium piece by Dutch artist Bregje Sliepenbeek, and a vintage serigraph by Greek-American artist Chryssa. The diverse range of artistic mediums is complemented by a textural medley of materialsâthink terrazzo and travertine floors, wood cabinetry, marble counters, ceramic tiles, and plaster reliefsâserving both as a counterpoint to the schemeâs elegant simplicity and as a homage to Greek craftsmanship.
The Peter Hujar Archive, Artists…
© All Images: The Peter Hujar Archive, Artists Rights Society
âWhen one has a picture taken, the photographer says âPerfectâ Just as you are! That is death.â âŠâLIfe is a movie. Death is a photograph.ââSusan Sontag
In 1976, Portraits in Life and Death, by the artist Peter Hujar was published. The book was not well received at that time, and Hujar, who was never commercially successful or as well known as some of his contemporaries in the downtown NYC scene (e.g. Robert Mapplethorpe), struggled to make a living. To be gay, an artist, poor and living a marginal lifestyle was possible in the NYC of the 1970âs and the 1980âs. Now Iâm not so sure.
The original monograph published during his lifetime would go on to become posthumously, especially for photography collectors, a sought after classic. Some books do. Some work stands the test of time.
Now, Liveright Publishing/W.W. Norton & Company, nearly fifty years later, have graciously reissued Portraits in Life and Death for a 21st Century audience. With fresh digital scans from Hujarâs archive, a new essay by Pulitzer Prize winning author, Benjamin Moser along with Susan Sontagâs original introduction, this new publication is a fitting tribute to Peter Hujarâs legacy.
Appreciating Hujarâs work, today, requires intention. We are all simply overwhelmed, saturated even, with images. This monograph takes time. It must be slowly savored to respect the intimacy and the connection Hujar had with his subjects. The careful composition of the portraits. The atmosphere. The openness. The longing.
While the classical concept of memento mori shadows Hujarâs work, notably with his pictures at the Capuchin monastery in Palermo. To my mindâparadoxicallyâit illuminates more. I imagine this is why he included these earlier images in the book. It is through the acceptance of death, that we embrace life. Peter Hujarâs work remains powerful to us today because of this tension. His work, timeless and beautiful, connects us to both. –-Lane Nevares
Insights: upcoming theater productions by Northern Michigan University – WZMQ
Insights: upcoming theater productions by Northern Michigan University WZMQ
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Eighteen treated for severe nausea in Stuttgart after opera of live sex and piercing | Germany
Eighteen theatregoers at Stuttgartâs state opera required medical treatment for severe nausea over the weekend after watching a performance that included live piercing, unsimulated sexual intercourse and copious amounts of fake and real blood.
âOn Saturday we had eight and on Sunday we had 10 people who had to be looked after by our visitor service,â said the operaâs spokesperson, Sebastian Ebling, about the two performances of Sancta, a work by the Austrian choreographer Florentina Holzinger. A doctor had been called in for treatment in three instances, he added.
Holzinger, 38, is known for freewheeling performances that blur the line between dance theatre and vaudeville. Her all-female cast typically performs partially or fully naked, and previous shows have included live sword-swallowing, tattooing, masturbation and action paintings with blood and fresh excrement.
âGood technique in dance to me is not just someone who can do a perfect tendu, but also someone who can urinate on cue,â Holzinger told the Guardian in an interview earlier this year.
Sancta, Holzingerâs first foray into opera, premiered at the Mecklenburg state theatre in Schwerin in May, and is based on Paul Hindemithâs 1920s expressionist opera Sancta Susanna, which has its own history of controversy.
Hindemithâs original opera tells the story of a young nun who, aroused by a tale told by one of the nunneryâs older women, steps on to the altar naked and rips the loincloth from Christâs torso. An encounter with a large spider leads her to repent her action and beg the other nuns to wall her up alive.
It was originally meant to premiere at Stuttgartâs state opera in 1921, but was not put on stage until 1922 after protests against its allegedly sacrilegious content.
The version that unsettled audience members in Stuttgart this year supplanted the original musical performance with naked nuns rollerskating on a movable half-pipe at the centre of the stage, a wall of crucified naked bodies and a lesbian priest saying mass.
After Holzinger brought Sancta to her native Vienna in June, bishops from Salzburg and Innsbruck criticised it as a âdisrespectful caricature of the holy massâ.
The Austrian artist has previously suggested that her opera was less designed to mock the church than explore parallels between the conservative institution on the one hand, and kink communities and BDSM subcultures on the other.
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âWe recommend that all audience members once again very carefully read the warnings so they know what to expect,â Ebling told the Stuttgarter Nachrichten newspaper. Visitors to the adults-only show were alerted in advance to a long list of warnings for potential triggers including incense, loud noises, explicit sexual acts and sexual violence.
âIf you have questions, speak to the visitor service,â Ebling added. âAnd when in doubt during the performance, it might help to avert your gaze.â
Reports of medical treatment in the auditorium do not appear to have done Holzingerâs Sancta any commercial harm. All five remaining shows at the Stuttgart state opera, as well as two performances at Berlinâs VolksbĂŒhne in November, have since sold out.
An interview with SFBâs Ulrik Birkkjaer
This week, San Francisco Ballet returns to London after a 7-year absence.ĂÂ On displayĂÂ at Sadler’s Wells are many of the new works premiered last year during the company’sĂÂ Unbound Festival,ĂÂ plusĂÂ Ratmansky’s exhilaratingĂÂ Shostakovich Trilogy.ĂÂ So,ĂÂ what toĂÂ look for inĂÂ each of the four programmes?
- Programme BĂ is the most eclectic in terms of mix of styles. We haveĂ contemporary chic in Edwaard Liang’s The Infinite Ocean alongside Cathy Marston’s mini narrative gem, Snowblind, and the fantastically surreal Björk Ballet by Arthur Pita to close. Unmissable.ĂÂ
- The irresistible Hurry Up, WeĂąâŹâąre Dreaming – the Justin Peck work in Programme CĂ – is pure joy, and is paired with a nice Liam Scarlett piece, Hummingbird, which had its European premiere duringĂ SFB’s 2014 tour to Paris. We’re less intoĂ Programme D, with all the swirling bodies in the Wheeldon and Dawson works, butĂ still worth checking it out for the beautiful lines of Sofiane Sylve (Anima Animus).ĂÂ
- The ambitious Shostakovich Trilogy forms the must-watchĂÂ Programme A. We discuss some aspects of the work in this interview with principal dancerĂÂ Ulrik Birkkjaer:
TBB: You are cast as the lead in Chamber Symphony, the second work in RatmanskyĂąâŹâąs Shostakovich Trilogy. How are rehearsals going?
Ulrik Birkkjaer: It has been really amazing because I am big fan of AlexeiĂąâŹâąs work. He claims itĂ is an abstract piece, but I find so many backstories to itĂąâŹÂŠ itĂąâŹâąs a very RussianĂ work and IĂąâŹâąve been reading a lot about Shostakovich, so I have this feeling that I would want him to see the ballet Alexei has created, because he was so censored and he was not really a free artist at his time, which in turn might also have inspired him. It could have been a good/bad thing for his art ultimately, yet it is so apparent in his work and I feel that is what Alexei shows in this piece. I find it so touching and especially for Shostakovich, it would have been great for him to see these ballets because I think they reflect his own inspiration for the compositions.
Mathilde Froustey, Sasha de Sola, Yuan Yuan Tan and Ulrik Birkkjaer in Ratmansky’s Chamber Symphony. Photo: Ă© Eric Tomasson
TBB: What can you tell us about your three muses in the ballet?
UB:Ă The piece is super autobiographical. Shostakovich had three loves in his life: the first, whom he didnĂąâŹâąt marry, was his young love during the war. The second one, with whom he had two children, was the main love of his live and when he was older he met his third wife, who was actually only 27 at the time (he was in his late 50s), and who took care of him and supported him. So that is why I donĂąâŹâąt see it as an abstract piece, as the pas de deux are very clearly about them. ThereĂąâŹâąs the youngĂ love (Sasha de Sola), and then Mathilde Froustey comes along and there is this flirtatious pas de deux and later she dies, and the angels take her away and that is my favourite part of the ballet. And after that, with the last wife (Yuan Yuan Tan) there is this feeling of deep, supportive love. At the end of the piece, he organises the company members in a formation, and he composes his last note, his last composition and goes to rest. He sets them up and moves them around as if he was composing and then there is one note, gesture, and then the ballet ends. It is so cool…
TBB: …And quite an imaginative choreographic response to something like Chamber Symphony, which is so complex.
UB: It is also veryĂÂ interesting that we are coming straight from performingĂÂ Neumeier’sĂÂ The Little MermaidĂÂ and, in that ballet, I was performing the role of the poet, and it is also kind of autobiographical, so in that sense the roles are similar. Obviously, they areĂÂ very different in tone and I try to keep a fresh take on it, so it is not the same person twice, when we rehearse back to back like that.
San Francisco Ballet in Alexei Ratmansky’s Chamber Symphony. Photo: Ă© Eric Tomasson
TBB: AreĂÂ you involvedĂÂ in any of the other two ballets?
UB: I am also involved in Symphony No. 9. I am preparing the second couple pas de deux in that one. The piece features such a dream couple. It is this Soviet dream couple, a “propaganda poster” couple, and the second couple is maybeĂ the opposite… the couple that doesnĂąâŹâąt work in that society, and that is trying to either find a way out or is just not functioning. And I find it such a unique theme, not fitting in a society. The fact Alexei can show that in a ballet is amazing. That is when ballet becomes the right medium for that expression.
TBB: Since coming to San Francisco Ballet, you have beenĂÂ cast in lots of different roles and have had roles choreographed on you. At this stage in your career, how do you feel about being here?
UB: When I first joined, it was literally at the start of the Unbound Festival so my first three months with the company were spent creating four new ballets, so that was an amazing experience. It is a dream to start like that in a company, not having to fill old shoes. I feel very luckyĂÂ about that, and it is funny becauseĂÂ I have met people who asked me if I missed the storytelling aspect of ballet, because the image of a North-American company like SFB is more contemporary. But then, I find myself in a situation where I can do a lot of storytelling anyway and a lot of other artistic development, so I am really enjoying that.
Ulrik Birkkjaer, Yuan Yuan Tan and Wei Wang in John NeumeierĂąâŹâąs The Little Mermaid. Photo: Ă© Eric Tomasson
TBB: It is interesting you mention this contrast, because the other Ratmansky ballet we saw you in (some time ago) was The Golden Cockerel, which is pure storytelling.
UB: I thinkĂÂ that might have been the last one, but when I was growing up, RatmanskyĂÂ was a Royal Danish Ballet principal. I must have been 14-15 years old, and I admired him greatly as a dancer, and then he also started choreographing in Copenhagen. I remember he got this last minute gig. A director pulled out from The Nutcracker and he stepped in, with just a few months to prepare. So I was part of that when I was 16, dancing in the corps de ballet. I did a mouse and one of the bees in his Waltz of the Flowers.
TBB: Is his Nutcracker for RDB similar to the one he did for American Ballet Theatre then?
UB:Ă I havenĂąâŹâąt seen the whole of ABT’s version, but IĂąâŹâąve seen clips of it. We did that Nutcracker for a number of years and then IĂ understudied the central pas de deux, so I know that old version quite well. IĂąâŹâąve now watched some clips of ABTĂąâŹâąs NutcrackerĂ on YouTube and my reaction is ‘oh my God, that is the same, but it looks so much harder now’. It must be one of the hardest pas de deux ever.
TBB:ĂÂ ComingĂÂ back toĂÂ The Golden Cockerel, you created the role of Prince Guidon?
UB: The Golden Cockerel was a very Russian piece – the sets were so colourful and extreme – and maybe theĂ RDB was a little bit like ĂąâŹËhuh?ĂąâŹâą. So I remember him telling us to forget about small, natural gestures, thatĂ they had to be ĂąâŹËBolshoi gesturesĂąâŹâą. I remember when I created Guidon, the solo was so intense. Working with him in the studio was the best, he is such a demanding balletmaster!
Sarah Van Patten, Ulrik Birkkjaer and Mathilde Froustey in Cathy Marston’s Snowblind. Photo: Ă© Eric Tomasson
TBB: Do you have any current side projectsĂÂ or future plans?
UB: MyĂÂ immediate future plan is that we are going to be at the Joyce Theatre in New YorkĂÂ this July, with a group of dancers from the Royal Danish Ballet, which I am actually organising because I already did something similar there, theĂÂ Bournonville Celebration, which we also did in London (in 2015).
TBB: We remember it and it was an amazing evening!
UB:Ă The Joyce asked us to do it again. So we want to bring it back, but not just repeat the programme completely, which is a little difficult because you could in theory take other work that hasnĂąâŹâąt been performed in a long time, but if the dancers havenĂąâŹâąt done it recently, it would take a while to put together. We are still bringing the second act of LaĂ Sylphide, because it still is BournonvilleĂąâŹâąs mostĂ important work, and we are also doing Napoli.Ă Besides that, we are doing different ballets which are also currently in rep at the company.
What I found effective last time was the simplicity of the message: what it is about Bournonville that makes him special in the dance world. One thing is the sense of community on stage, and also in a lot of ballets, like Kermesse in Bruges, you have the “love pas de deux” taking place in front of the whole village per se. All these typical villagers coming together and within that there is a story about normal people taking place. So I wanted to do with this programme as well, so we will try. For this year, the first part of the programme represents the darkness, going through some trouble and finding the positive at the end. So we are starting with LaĂÂ Sylphide Act 2. And the secondĂÂ part of the programme will take place in a village setting, with the love story of the Kermesse in Bruges that everyone watches, and then the lovers become the wedding couple from Napoli.
Dores AndrĂ© and Ulrik Birkkjaer in Benjamin Millepied’s Appassionata. Photo: Ă© Erik Tomasson
TBB: In London you had dancers like Gudrun Bojesen, who are no longer performing. Who is coming this time, a new generation?
UB:ĂÂ That is also the challenge, and part of the reason why I chose Kermesse, because it has a younger feel. Some of the younger dancers can excel in that. And tours like that are important for them to realise howĂÂ vital Bournonville is to the Royal Danish Ballet.
TBB: YouĂąâŹâąve had a long career performing so many different roles from so many genius choreographers. Are there any other ballets left to conquer?
UB:Ă Of course,Ă Mayerling and Onegin for instance,Ă I havenĂąâŹâąt done. But I think it is important not to wish you were anywhere else in a sense, because if you are always striving, saying ‘if only I were like that’ or ‘if only this happened to me, then I would be happy, and then I would be the artist I want to be’. Ultimately, it is about whatever process you are in. So yes, I would love to try Mayerling and Onegin, but it is way more about process and who you are working with, balletmasters or partners, rather than any ballet. Smaller works can also be amazing experiences.
Then that becomes a real experience, and if you are always dreaming away from the moment you are in, then you wonĂąâŹâąt really experience it. And you might get to do Onegin, but you might not get along with your partner, or the person who sets the ballet doesnĂąâŹâąt like you. There are so many variables and then it can be a horrible experience even if itĂ is an amazing ballet. So IĂ try to live by that, at least. It is about making every day your life.
San Francisco Ballet is at Sadler’s Wells, London until 8 June 2019. For tickets and more information on the four different programmes being presented, visit theĂÂ Sadler’s WellsĂÂ website.
A Japanese Coastal Villa on Akiya Beach Inspired by the Ocean
Overlooking Akiya Beach in Yokosuka-city, Japan, Villa A, designed by teamSTAR, offers a blend of nature, architecture, and luxury living. Located on the picturesque Akiya Beach, near the historically rich town of Hayama â famed as the birthplace of Japanese yachting â the villa perfectly balances modern luxury with the calming presence of the Pacific Ocean. The villaâs design is inspired by the surrounding natural elements, and every detail of its structure works to enhance the sensory experience of living by the sea.
At the heart of Villa Aâs design is the distinctive vaulted roof, which mirrors the undulating waves of the ocean. The series of arches flowing across the roof creates an organic, wave-like rhythm, capturing the essence of the sea in architectural form. This structural feature not only defines the villaâs visual identity but also plays a key role in shaping the interior spaces, contributing to an atmosphere of openness and tranquility. Every element is meticulously planned to invite natural light and ocean breezes, making the boundary between the inside and outside feel fluid and ever-changing.
One of the villaâs most striking features is its adaptation to the challenging topography of the site. Situated on a southwest-facing hillside, the structure conforms to the natural slope, minimizing disruption to the environment. Rather than leveling the land, the design embraces the elevation changes, which allowed the architects to create a multi-tiered layout that offers diverse perspectives of the surrounding landscape. Each level of the villa is carefully calibrated to provide a unique visual experience â whether itâs the panoramic views of Mount Fuji from the west or the serene blue expanse of the Pacific that seems to stretch endlessly from the living areas.
The entryway, located on the basement level, sets the tone for the architectural experience. With its smooth, white surfaces reminiscent of an ocean floor, the spiral staircase, evocative of a seashell, leads visitors upward. Upon arrival to the main floor, an expansive view of the ocean greets you, creating a moment of awe and transition as you move from the enclosed space of the lower level to the open, airy upper floors. The villaâs floor plan follows the natural slope of the land, minimizing environmental impact and ensuring a gentle integration into the landscape. The multi-leveled structure allows each space, from the living room to the loft, to showcase distinct ocean views.
The living room, dining area, kitchen, and loft are all arranged at varying elevations, and each space opens up to the vastness of the ocean in its own unique way. The design of the windows and terraces emphasizes these connections. The large corner sash windows in the living room, for example, open fully to create a seamless transition between the interior and the world outside. When open, these windows erase the boundary between the spaces, allowing the salty breeze and the sound of the waves to flow effortlessly into the home.
The interior design of Villa A is equally inspired by the sea. The main levelâs floor is a striking emerald green, reminiscent of the vibrant colors of coral reefs and shallow waters. The color palette throughout the villa reinforces the feeling of being immersed in a marine environment, with soft blues, whites, and greens reflecting the shifting hues of the ocean and sky. The space is designed to evoke the feeling of being on a yacht, where every surface and every view connects you to the water.
Beyond its visual and spatial connections to the ocean, Villa A is equipped with luxurious amenities that elevate it to the status of a private resort. The expansive terrace, accessible from several rooms within the villa, features an infinity pool that blends visually with the ocean, creating the illusion of water stretching out endlessly to the horizon. A wood-burning sauna offers a space for relaxation, while the outdoor kitchen and jacuzzi provide a perfect setting for entertaining guests.
Technologically, the villa incorporates advanced construction techniques that push the boundaries of modern architecture. The roof, while visually delicate, is a feat of engineering. Constructed from cross-laminated timber (CLT) panels measuring 7 meters in length, the roofâs arches are both strong and flexible, allowing for the sweeping curves that define the buildingâs silhouette. The wooden roof structure required precise craftsmanship, and its installation demanded a high level of expertise to ensure both the aesthetic and structural integrity of the design.
Sustainability is another key aspect of the project. By adapting the buildingâs footprint to the natural contours of the hillside, the architects minimized the need for extensive excavation and soil displacement. This thoughtful approach not only reduces environmental impact but also enhances the villaâs integration into its surroundings, making it feel like an organic extension of the landscape rather than an imposition on it.
For more information on teamSTAR, visit starchitects.info.
Photography by Kenya Chiba.
Tamara de Lempicka | Apollo Magazine
Painted in Paris in the 1920s and 30s, Tamara de Lempickaâs glamorous portraits of the cityâs socialites have become synonymous with art deco. Though these are considered the defining works of the artistâs career, Lempickaâs oeuvre demonstrates an impressive breadth, comprising sensual nudes, subdued floral still lifes and melancholic religious scenes. More than 150 of these works are brought together at the de Young Museum in San Francisco, which is putting on the first major retrospective of the Polish artist in the United States (12 Octoberâ9 February 2025). The exhibition is divided into four sections, each reflecting a different period of Lempickaâs colourful life: for instance, âTamara Rosa Hurwitzâ (the artistâs birth name) explores her experimental early years in Paris, while âBaroness Kuffnerâ (the title she took after her second marriage), covers the less eventful decades she spent in the United States and Mexico.
Find out more from the de Young Museumâs website.
Preview below | View Apolloâs Art Diary
Young Girl in Green (Young Girl in Gloves) (c. 1931), Tamara de Lempicka. Centre Pompidou, Paris. Photo: © CNAC/MNAM, Dist. RMN-Grand Palais/Art Resource, New York; © 2024 Tamara de Lempicka Estate, LLC/ADAGP, Paris/ARS, New York
Arums (1935), Tamara de Lempicka. Centre Pompidou, Paris. Photo: © CNAC/MNAM, Dist. RMN-Grand Palais/Art Resource, New York; © 2024 Tamara de Lempicka Estate, LLC/ADAGP, Paris/ARS, New York
The Communicant (1929), Tamara de Lempicka. Centre Pompidou, Paris. Photo: © CNAC/MNAM, Dist. RMN-Grand Palais/Art Resource, New York; © 2024 Tamara de Lempicka Estate, LLC/ADAGP, Paris/ARS, New York
Artist Contracts, Studio Loans, and Collaboration
âI started to think about how I could transition the work that I was doing for other jobsâarchitects, music publishers, investment makersâtake those skills and put them to work for artists.â
âI wanted to formalize a way of getting that information to people and helping them through the process⊠not providing artists with giant lists that caused them to do more work, but really eliminating a lot of the work.â
â ⊠Artists were saying, âNo, I donât use contracts. I am embarrassed to ask for them.ââ
âI had this idea that it would be great to create a bulletin board where these people could find each other. And then if they want to share space, loan out⊠somebody wants to loan out their studio and somebody wants to borrow a studio, they can be protected by using a contract.â
âNetworking, to me, is not about telling other people about me. Itâs getting to know my community ⊠just so that I have that information.â
âArtists are creative problem solvers, and it doesnât always have to be something very complicated.â
Rest In Peace Matthew Kissel -PONE156
On August 31st we lost our friend and brother Pone156. He was a true survivor, a great friend and he will sorely be missed.
Matthew Yandell Kissil, age 45, of Bayonne, NJ died Sunday, Aug. 31, 2014 following a lengthy illness. He was born June 1, 1969, in Summit, NJ, but lived most of his life in Morristown graduating from Morristown High School in 1988. He received a BA from Jersey City State University in 1994. He was a practicing artist in Jersey City and New York City for many years.
In recent years, he worked as a library assistant at the Morristown/Morris Township Public Library. He married Carol Kissil (Yi-Mei Chang) in 1995. As an adult living with Cystic Fibrosis, he successfully underwent a double lung transplant in 2000.
