Podcasts about Le Corbusier

Sit back and relax but pay attention to my conversation with Gee Ranasinha. Gee lives in the Northeast part of France. As he puts it, his marketing experience goes back to the “days of dial-up internet and AOL CDs”. During our conversation Gee tells us how he progressed from working with film, (do you know what that is?), to now working with the most advanced digital and other technological systems.   He is the CEO of his own marketing company KEXINO. He talks a bit about what makes a good marketing firm and why some companies are more successful than others. He says, for example, that most companies do the same things as every other company. While labels and logos may be different, if you cover up the logos the messages and ways to provide them are the same. The successful firms have learned to distinguish themselves by being different in some manner. He practices what he preaches right down to the name of his company, KEXINO. He will tell us where the company name came from. You will see why I says he practices what he preaches.   Gee gives us a great history of a lot of marketing efforts and initiatives. If you are at all involved with working to make yourself or your company successful marketing wise, then what Gee has to say will be especially relevant to you. This is one of those episodes that is worth hearing more than once.     About the Guest:   Gee has been in marketing since the days of dial-up internet and AOL CDs. Today, he's the CEO of KEXINO, a marketing agency and behavioral science practice for small to medium-sized businesses. Over the past 17 years KEXINO has helped over 400 startups and small businesses in around 20 countries grow awareness, reputation, trust - and sales. A Fellow of the Chartered Institute Of Marketing, Gee is also Visiting Professor at two business schools, teaching Marketing and Behavioral Science to final-year MBA students. Outside of work Gee loves to cook, listens to music on a ridiculously expensive hi-fi, and plays jazz piano very badly.    Ways to connect with Gee:   KEXINO website:  https://kexino.com LinkedIn:  https://linkedin.com/in/ranasinha YouTube:  https://www.youtube.com/c/Kexino Instagram:  https://instagram.com/wearekexino TikTok:  https://tiktok.com/@kexino Threads: https://www.threads.net/@wearekexino BlueSky:  https://bsky.app/profile/kexino.com     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:16 Well and a gracious hello to you, wherever you may be, you are now listening to an episode of unstoppable mindset. I am your host, Mike or Michael. I don't really care which hingson and our guest today is Gee Ranasinha, who is a person who is very heavily involved in doing marketing and so on. Gee has been marketing for a long time, and reading his bio, he talks about being in marketing since the days of dial up and AOL and CDs. I remember the first time I tried to subscribe to AOL. It was a floppy disk. But anyway, that's okay. The bottom line is that does go back many, many years. That's when we had Rs 232 cables and modems. Now people probably don't mostly know what they are unless they're technically involved and they're all built into the technology that we use. But that's another history lesson for later. So Gee, I want to welcome you to unstoppable mindset. We're really glad you're here. This should be a fun subject and thing to talk about.   Gee Ranasinha ** 02:27 Well, thank you very much for inviting me, Michael, I do. I do appreciate it.   Michael Hingson ** 02:31 Well, I'm looking forward to it and getting a chance to talk. And love to hear some of your your old stories about marketing, as well as the new ones, and of course, what lessons we learned from the old ones that helped in the new ones. And of course, I suspect there'll also be a lot of situations where we didn't learn the lessons that we should have, which is another story, right?   Gee Ranasinha ** 02:50 Yeah, history does tend to repeat itself, unfortunately, and   Michael Hingson ** 02:55 that usually happens because we don't pay attention to the lessons.   Gee Ranasinha ** 02:59 Yeah, yeah, we, we, I think we think we know better. But I mean, it's, it's, it's funny, because, you know, if you look at other other industries, you know, if, if you want to be an architect, right, you would certainly look back to the works of, you know, Le Corbusier or Frank Lloyd Wright or Renzo Piano, or, you know, some of the great architects, and you would look back on their work, look how they did it. And you would, you know, turn back the the annals of history to to see what had gone before. But for some reason, in our industry, in marketing, we we don't think we can learn from the lessons that our erstwhile peers have had in the past, and we've so as a result, we tend to sort of rename things that have gone before, so that the newer generation of marketers will actually pay attention to them. So we give things new names. But actually, if you, if you scratch the surface and look a little bit deeper. It's actually nothing new at all. And I don't quite know why that is. I think people think that they know better than the people who've gone before them, because of the technology, because you know so much of the execution the promotion side of marketing is technology based. They I'm guessing that people don't see a relevance to what happened in the past because of the technology aspect being different, right? But what I contend is that the the essence. Of marketing is about understanding human behavior and their reactions to particular inputs, impulses, right? Um, in which case, we have plenty to learn from the people who've you know, who've walked in our in the walk this path before, and we should be a little bit, maybe a little bit more humble and open minded into accepting that we don't know everything, and we maybe don't even know what we don't know.   Michael Hingson ** 05:36 I always remember back in what was it, 1982 or 1983 we had a situation here in the United States where somebody planted some poison in a bottle of Tylenol in a drug store. I remember that, yeah, and within a day, the president of the company came out and said, This is what we're going to do to deal with it, including taking all the bottles of all the pills off the shelves until we check them over and make sure everyone is clean and so on. And he got right out in front of it. And I've seen so many examples since of relatively similar kinds of crises, and nobody takes a step to take a firm stand about how we're going to handle it, which is really strange, because clearly what he did really should have taught us all a lesson. Tylenol hasn't gone away, the company hasn't gone away, and the lesson should be that there is relevance in getting out in front of it and having a plan. Now I don't know whether he or anyone really had a plan in case something happened. I've never heard that, but still whatever he got right out in front of it and addressed it. And I just really wish more marketing people, when there is a crisis, would do more of that to instill confidence in consumers.   Gee Ranasinha ** 07:07 He did the right thing, right? He did, he did what you or I would have done, or we would like to think we would have done in this place, right? I, I'm, I'm guessing it was probably, not the favorite course of action, if this had been debated at board stroke shareholder level. But like I said, he he did what we all think we would have done in his place. He did the right thing. And I think that there are many instances today, more instances today than maybe in the past, where the actions of an individual they are. An individual has more freedom of expression in the past than they've had in the in the present, and they don't have to mind their P's and Q's as much. I mean, sure we know we're still talking about profit making organizations. You know, we're living in a pseudo capitalist, Neo liberal society. But surely we're still there still needs to be some kind of humanity at the end of this, right? You know, reputations take years, decades, sometimes, to build, and they can be knocked down very quickly, right, right? There's so I think some somebody, somebody, somebody a lot older and wiser than me, well, certainly wiser older. Said a brand's reputation was like a tree. It takes ages to grow, but can be knocked down very quickly, and there are plenty. You know, history is littered with examples of of organizations who haven't done the right thing.   Speaker 1 ** 09:16 Well, the Yeah, go ahead. No, go ahead. Tell me   Michael Hingson ** 09:20 the I observed this actually not too long ago, on a podcast, this whole discussion to someone, and they made an interesting point, which I think is probably relevant, which is, today we have a different environment, because we have social media. We have so many things, where communications go so quickly, and we we see so many people putting out information right or wrong, conspiracy or not, about anything and everything that comes up, that it causes people maybe to hesitate a little bit more to. Truly study what they want to say, because everyone's going to pick up on it. But at the same time, and I appreciate that at the same time, I think there are basic marketing principles. And as you point out, and as you're well aware, there is such a thing as human behavior, and while people want instant gratification, and they want to know right now what happened 20 minutes ago. The reality is we're not necessarily going to get that. The media doesn't help because they want to put everything out and get the story. But still, the reality is human nature is human nature, and ultimately, Truth will win out. And what we need to do is to really work more toward making sure that that happens.   Gee Ranasinha ** 10:48 I, I actually don't agree with that. Okay, in in, you know, in the, in the with the greatest respect, firstly, I think, I think as a cop out to use social media, information channels, news cycles, that sort of thing, because, if anything, because of the pace of the news cycle and The, you know, the fire hose of social media today, me, we're in a better position to say what we mean and not regret it, because it's forgotten it 20 minutes. Yeah, so it works, it's, it's an argument for what we're talking about not, not against   Michael Hingson ** 11:41 it, yeah. I agree. Yeah, go ahead,   Gee Ranasinha ** 11:45 yeah. And the second thing you said, truth will out. And I think truth does not without and there are plenty of people who continue to spout out misinformation and disinformation, yeah, constantly at every level of corporate at a corporate level, at a political level, at a geopolitical level, or at a local level, right? I don't want to sort of go down that rabbit hole, right, but there are, there are plenty of misquotes, myths, truths, which are never, never withdrawn and never counted, never excused and live out there in the ether, in perpetuity.   Michael Hingson ** 12:35 Yeah, it's true, but I also think that in the end, while some people continue to put their inaccurate information out, I think there are also others who have taken the time, or do take the time they put out more relevant information, and probably in the long run, more people buy into that than to misinformation. I'm not going to say it's a perfect world, but I think more often than not, enough positive information comes out that people eventually get more of the right answer than all the yammering and bad information. But it may take time.   Gee Ranasinha ** 13:18 I would love to believe that, Mike, I really would maybe I'm just too cynical, right?   Michael Hingson ** 13:27 I hear you, I hear you, and you know, I don't know I could be just as wrong. I mean, in the United States today, we've got a government with people who are definitely talking about things and saying things that most of us have always felt are untrue, but unfortunately, they're being said and pushed in such a way that more people are not opposing them. And how quickly that will change remains to be seen. And for all I know, and I think, for all I know, maybe some of what they're saying might be right, but we'll see.   Gee Ranasinha ** 14:05 I think that's the issue. I mean, I, as I said, I don't really want to jump down that politics rabbit hole, but no, not really. I think, you know, the issue is, if you say a lie enough times, people believe it. Yeah, right, yeah. And the fact that nobody's fact checking this stuff, I'm like, I said. I'm not. I'm not singling out politics. I'm singling out messaging in its widest in its widest interpretation, right, false messaging of any sort, if left unchecked. Yeah. Correct. I think the people who know an alternative reality or know that it's a lie know that it's an untruth by not publicly facts checking it, by not calling these. People out are complicit in spreading the lie.   Michael Hingson ** 15:03 Yeah, well, I think that's true, and you're right. It doesn't matter whether it's politics. It doesn't matter whether it's well, whatever it is, it's anything. And I think there's one of the beauties of of our country, your country. And I didn't explain at the beginning that G is in the you said, northwest part of France, right? Northeast, northeast, well, east, west, northeast part   Gee Ranasinha ** 15:29 of Yeah, well, near enough, you know, if you go, if you go, if you go east, far enough times you get, you get to West Anyway, don't you? Well, you get back where you started. Or maybe you don't, I don't know if, depends who you listen   Michael Hingson ** 15:39 to, right? If the Earth is flat. Well, even the Flat Earthers have had explanations for why the earth is flat and people don't fall off, but that's okay, but yeah, so northeast part of France and and I hear, I hear what you're saying, and I think it's important that people have the freedom to be able to fact check, and I, and I hope, as we grow more people will find the value of that, but that in all aspects, but that remains to be seen.   Gee Ranasinha ** 16:14 Well, I think especially in you know, perversely, now that we have the ability to check the veracity of a piece of information a lot easier, right? Almost in real time. Yeah. I think the fact that we can means that we don't, you know, you probably know the quote by what was his name? Edwin Burke, who may or may not have said that, you know, evil triumphs when good men do nothing or something like that. Along that sort of lines, some people say that he didn't say that. He did say, it doesn't matter who said it, right? It's a great quote. It's a great quote. It's a great quote. And that's what I mean about being complicit, just by the fact of not calling this stuff out, feeds the fire. Yeah, to the to the point where it becomes and especially, I'm talking with people who maybe are a little bit younger and haven't and are more likely to believe what they see on screens of whatever size, simply because it's in the public domain, um, whereas The older strokes more cynical of us may may question a lot more of what's thrown in front of our eyes. So I think all of us have a responsibility, which I don't think all of us understand the power that we yield or we're afraid to or afraid to? Yeah, absolutely.   Michael Hingson ** 18:08 So tell me a little about kind of the early Gee growing up and so on, and how you got into this whole idea and arena of marketing and so on.   Gee Ranasinha ** 18:18 Well before this, I was the CMO of a software company. I was there for seven years, and before that, I was working for a company in London, working with in the print and publishing industries. So I've been around media for most of my working life, and after, after being at the software company for seven years, sort of hit a little bit of a ceiling, really. I mean, the company was a small company, and it could only grow at a certain rate, and so I wasn't really being challenged anymore. I had to wait a little bit until the company could fill the bigger shoes that had been given, if you like. You know, I mean growing pains. It's very common for companies of all sizes to go through this sort of thing. So to be honest, I probably was treading water a bit too long. But you know, you get you get complacent, don't you, you get comfortable in in the, you know the corporate job, and you know a salary at the at the end of every month, and you know corporate travel and company BMWs and expense accounts and all of that sort of trappings. And you know, I, I fell for all of that. You. Um, but I finally realized that something needed to happen. So at the end of 2007 beginning of 2008 Me and a couple of colleagues decided to start the agency, which, as you will remember, 2008 was not exactly the best time to start a marketing agency. Good time to start any agency,   Michael Hingson ** 20:29 to be honest. The other hand, there were a lot of opportunities. But yeah, I hear you. Well, yeah,   Gee Ranasinha ** 20:34 glass half full. Glass half empty, right? Yeah. But you know, luckily, with with a number of very, very supportive clients in those early days, you know, we weathered the post recession? Yeah, slow down. And 17 and a half years later, here we are. We've now. We started off with three. We were three. We're now 19. We're in nine countries. Nine of us were in the US. The rest are in Europe, South Africa, Japan, and two people in Australia. That's that, that's, that's who we are. So, you know, we're a a team of marketing, creative and business development specialists, and we work with startups and small businesses primarily in the US, even though we're based all over the place, and we combine marketing strategy, proper strategy, with a thing called behavioral science, which works with organizations to increase their awareness, their reputation, their trust, and most of all, of course, sales Right? Because sales is name of the game. Sales is what it's all about. So yeah, I'd say probably 80, 90% of our clients are in the US and, well, certainly North America anyway, and it's all sorts of industries, all sorts of sizes. We've we've got, we certainly had in the past. You know, solopreneur type businesses, small businesses and larger businesses, up to around 40 to 50 mil to revenue that sort of size, anything bigger they usually have, usually got, you know, quite well, working teams within the organization. So we're, you know, the amount of effective contribution that we can add to that is, it's obviously going to be as a percentage, much lower. So it's, it's, it's really for that, that smaller sized profile of organization, and it's not sort of limited by particular industry or category. We've, you know, we work with all sorts. We've worked in sports, healthcare, FinTech, medical, professional services, software, publishing, all sorts, right across the board.   Michael Hingson ** 23:34 What got you started in marketing in the beginning, you you know you were like everyone else. You were a kid and you grew up and so on. What? What really made you decide that this was the kind of career you wanted?   Gee Ranasinha ** 23:46 Marketing wasn't my first career. I've had a few others in the past. I actually started off my first first company, and I founded, way back when was a media production company. I was a professional photographer, advertising photographer, working with advertising agencies as well as direct corporate commissions. This is in the days of film. This was way before digital image capture.   Michael Hingson ** 24:20 So this is going back to what the 1980s   Gee Ranasinha ** 24:23 it's going to late 80s to early 90s. Yeah, and I was working with eight by 10 and four by five view cameras, sometimes called plate cameras. It was mainly studio stuff. I was happier in the studio that we did location stuff as well. But studio was where I was happiest because I could control everything. I suppose I'm on control freak at the end of the day. So I can control every highlight, every nuance, every every part of the equation. And. And and that's where I started. And then after doing that for a while, I came I got involved with professional quality digital image capture. Is very, very it is very, very beginning. And was instrumental in the the adoption of digital image capture for larger print and publishing catalog fashion houses who were looking for a way to streamline that production process, where, obviously, up until then, the processing of film had been a bottleneck, right? You couldn't, you couldn't process film any quicker than the film needed to be processed, right the the e6 process, which was the the term for using a bunch of chemicals to create slides, die, positives, transparencies. I think it used to take like 36 minutes plus drying time. So there was a, you know, close to an hour wait between shooting and actually seeing what what the result was. And that time frame could not be reduced up until that point in time, the quality of digital image capture systems wasn't really all of that, certainly wasn't a close approximation to what you could get with with film at The time, until a number of manufacturers working with chip manufacturers, were able to increase the dynamic range and the the total nuances that you could capture on digital Of course, the problem at that time was we were talking about what, what were, What today is not particularly large, but was at the time in terms of file sizes, and the computers of the day would be struggling to deal with images of that high quality, so It was always a game of catch up between the image capture hardware and the computer hardware needed to to view and manipulate the image and by manipulate it was more more manipulation in terms of optimizing the digital file for reproduction in print, because obviously that was the primary carrier of, yeah, of the information. It was for use in some kind of printed medium. It wasn't like we were doing very much with with email or websites or anything else in the in the early 90s. So the conversion process to optimize a digital image captured file, to give the best possible tonal reproduction on printed material has always been a little bit of a black art, even when we when we were digitizing transparency films, going to digital image capture made things a lot more predictable, but it also increased the computational power needed, number one, but also for photographers to actually understand a little bit more about the photo mechanical print process, and there were very few photographers who understood both, both sides of the fence. So I spent a lot of time being a pom pom girl. Basically Mike. I was, I was, I was waving the pom poms and preaching large about the benefits of digital image capture and how and educating the industries, various in photographic industries, about, you know, possible best practices. There weren't any sort of standards in place at the time,   Michael Hingson ** 29:41 and it took a while for people to really buy into that they weren't visionary enough to understand what you were saying. I bet   Gee Ranasinha ** 29:48 Well, we were also taught very few were enough, and there were two reasons. One of them was financially based, because. We were talking about a ton of money, yeah, to do this properly, we were talking about a ton of money. Just the image capture system would easily cost you 50 grand. And this, you know this, this was in the days when 50 grand was a lot of money,   Michael Hingson ** 30:18 yeah, well, I remember my first jobs out of college were working with Ray Kurzweil, who developed Omni font, optical character recognition system. Oh, my goodness me, I did not know that. And the first machine that he put out for general use, called the Kurzweil data entry machine, was only $125,000 it worked. It still took a while to make it to truly do what it needed to do, but still it was. It was the first machine, and a lot of people just didn't buy into it. It took a while to get people to see the value of why digitizing printed material was so relevant, some lawyers, Some law firms, some banks and so on, caught on, and as people realized what it would do, then they got interested. But yeah, it was very expensive,   Gee Ranasinha ** 31:14 very expensive. And I think the other reason for the reticence is just nature, to be honest. Mike, I mean, you know, as as people, as human beings, most of us are averse to change, right? Because change is an unknown, and we don't like unknowns. We like predictability. We like knowing that when we get up in the morning, the sun's gonna come up and we're gonna go through our our usual routine, and so when something comes along that up ends the status quo to the point where we need to come up with adopting new behaviors that's very uncomfortable for many people. And you know, the adoption of digitization in, you know, any industry, I think, in everybody who's worked in any particular industry has has plenty of anecdotal evidence to show how people would consciously or unconsciously dragging their feet to adopt that change because they were happier doing stuff that they knew,   Michael Hingson ** 32:32 who went out of their comfort zone, right?   Gee Ranasinha ** 32:35 Absolutely, it's natural, it's, it's, it's who we are as as as human beings, who most of us are as human beings with, obviously, we're talking about the middle of the bell curve here. I mean, there are plenty of wackos on either side just go out and do stuff, right? And, you know those, you know, some of those get, you know, locked up with in straight jackets. But the other ones tend to, sort of, you know, create true innovation and push things forward.   Michael Hingson ** 33:04 Steve Jobs, even Mark Zuckerberg, Bill Gates, good examples of some of the people who did things that most people didn't think could be done.   Gee Ranasinha ** 33:18 You know, the true innovation always happens at the periphery, but we tend to over emphasize the median. We know we try to make averages of everything, yeah, but averages aren't what moves the needle, right? No. And you know Britain, you know, for even for marketing, obviously, that's very much, very, very much my sort of thing. Um, most organizations, most business owners, certainly most marketing managers, find comfort in in executing their marketing in ways in which they are comfortable, in ways which are somewhat expected within the industry. But the problem is, it doesn't get you noticed. It doesn't get you attention. If you're in the middle, right? You know the worst, the worst place to walk on the in the street is in the middle of the road right, pick a side, but don't walk in the middle.   34:27 Not a good idea yet.   Gee Ranasinha ** 34:30 That's our our job is to is to, number one, generate attention, because there's no way we can communicate a message unless we have someone's attention. Everything starts from the attention side of things. Now there are very, you know, various ways that we can attract attention, but attention needs to come and needs to come from somewhere. And you know the definite. Of creating attention is to to create some kind of visual, audio, or combination of the two, experience which is somewhat outside of the norm, and create some kind of emotional response that our brains want to pay attention to, right? Want to notice? Because if you're not noticed, then there's no it doesn't matter how great your product is, doesn't matter how wonderful your customer service is, or it's available in 27 colors, or it's free delivery, or what you know, all the rest of it doesn't matter, because you know, unless people know who you are, what you do, who it's for, and why they should give a crap, then you know anything else you do after that Time is is moot, is irrelevant.   Michael Hingson ** 36:00 I read an interesting email this morning from someone who was talking about why speakers don't tend to be as successful as they should be. And this person talked about you could have the greatest speech in the world. You could be   Michael Hingson ** 36:17 talking and getting standing ovations and so on, but you're not getting a lot of speaking engagements, and his comment was the reason you're not is that your talk isn't necessarily relevant. I thought that was interesting. I think there's some things to be said for relevance, but I think it's also that you're not helping to get people to think and realize that being different and getting people to think and value that is more important than we tend to want to recognize as well.   Gee Ranasinha ** 36:59 I would, I would, I would wholeheartedly agree relevance is a very important component. But, you know, I maintain that it starts with attention. Yeah, relevance, I think, within the speaking world, I yes, there's so much we can do with relevance by by coming at a subject matter topic from a totally different perspective. Yeah, right. You know, just because you have the same message as 100 other competitors doesn't mean they have to say something in the same way, right? And so even if the core message is similar, the way that we choose to present that can be, you know, 100 101 different ways. And I think that is something that we forget, and I think that's one of the reasons why so much of the marketing that we see today is ignored. Yeah, you know, there's a there's a marketing Well, I wouldn't say the marketing model. There's a communication model, okay? Sales model actually called Ada, Ida, a, I D, A, okay. So even if you've not, not worked in sales or marketing at all, if you've even seen the film Glengarry Glynn Ross, or the play that it was based on. It's actually playing in New York City at the moment. I believe, yeah, a, I D, A, which is tracking the customer experience in four steps. So the idea is you have awareness, interest, desire and action, right? A, I, D, A, and it's understanding that there are four steps to getting to the position of negotiating the deal with a prospective buyer, but number one starts with awareness. You know they need, they need to be aware that you exist and nobody's going to buy from you if they don't know who you are. They need to know who they need to know who you are before they'll buy from you. Right then obviously needs to be an interest a product market fit what you're selling is something that they could conceivably use in terms of solving a particular problem that they perceive as having the desire. Why should they buy from you, as opposed to somebody else? Why do they. Need to buy your product, as opposed to a competitive product, and then finally, action, right? So that's what we might call sales, activation or performance marketing, or, you know, sales in the old terms, right? As they would say in that film, it's getting the getting the buyer to sign on the line that is dotted. But all of this stuff starts with attention and when we're not doing a very good job, I think as a mark, as an industry, we used to be really good at it, but I think we've taken our eye off the ball somewhat, and hoped that technology would fill in the gaps of our incompetence at being able to, excuse me, being able to shape the way that we market to customers, to buyers, in ways which create the memory structures in the brain to a sufficiently acute level so that when they are in The position to buy something, they think of us, as well as probably a number a handful of other suitors that solve their problem. And this is why, I think this is the reason why, because of the over reliance of technology, I mean, this is the reason why so much of our marketing fails to generate interest, sales to generate the tangible business results that are expected of it. Because we're, we're marketing by bullet point. We're expecting buyers to buy off a fact sheet. We've, we've exercised the creativity out of the equation. And we're and, and we were just producing this vacuous, generic vanilla   Michael Hingson ** 42:12 musach, yeah, if you   Gee Ranasinha ** 42:14 like, Okay, I mean, again, you know, think of any particular industry, you can see this. It's pretty much endemic. You can have two totally different organizations selling something purportedly solving the same problem. And you can look at two pieces of you can look at a piece of marketing from each company. And if you covered up the logo of each person of each company's marketing output, 10 will get you five that what's actually contained in the messaging is as equally valid for company A as it is for Company B, and that's a real problem.   Michael Hingson ** 43:00 It's not getting anyone's attention or creating awareness.   Gee Ranasinha ** 43:03 It's not creating attention or awareness. And worse, it's creating a level of confusion in the buyer's mind. Because we're we're looking for comparisons, we're looking at a way to make an educated decision compared to something else, and if we can't see why product A is miles ahead in our minds of Company B or product B, what often happens is rather than make a wrong decision, because we can't clearly differentiate the pros and cons between the two products, what we end up doing is nothing. We walk away. We don't buy anything, because we can't see a clear winner, which impacts company A and company B, if not the entire industry. And then they turn around and say, Oh, well, nobody's buying. Why? Why? Why is our industry lagging behind so many others? It's because we're just on autopilot, creating this, this nonsense, this generic sea of sameness in terms of communication, which we just don't seem to have a grip on the fundamental understanding of how people buy stuff anymore. We used to Yeah, up and up and up until probably the 90s. We used to know all this stuff. We used to know how get people going, how to stand out, how to create differentiated messaging, how to understand. Or what levers we could pull to better invoke an emotional reaction in the minds of the target buying audience that we're looking to attract. And then for some for, you know the if we plotted these things around two curves, you know, the point at which these curves would cross would probably be the adoption of technology,   Michael Hingson ** 45:29 whereas we came to reproduce the same thing in different ways, but you're still producing the same thing. The technology has limited our imagination, and we don't use re imaginations the way we used to.   Gee Ranasinha ** 45:43 We we've we're using, we're using technology as a proxy for reach. And getting in front of 1000 eyeballs or a million eyeballs or 100 million eyeballs doesn't necessarily mean any of those eyeballs are fit in the ideal customer profile we're looking to attract. Right? More doesn't mean better, and what what we're doing is we're trying to use technology to to fill in the gaps, but technology doesn't understand stuff like human emotion, right, and buying drivers and contextual messaging, right? Because all of this stuff human behavior is totally contextual, right? I will, I will come up with a and I'm sure you're the same thing. You will have a particular point of view about something one day and the next, the very next day, or even the very next hour, you could have a totally different viewpoint on a particular topic, maybe because you've had more information, or just maybe for the for the hell of it, right? We know we are we are not logical, rational, pragmatic machines that always choose the best in inverted commas solution to our issue.   Michael Hingson ** 47:23 Do you think AI will help any of this?   Gee Ranasinha ** 47:29 I think AI will help in terms of the fact that it will show how little we know about human behavior, and so will force forward thinking, innovative marketers to understand the only thing that matters, which is what's going on between the ears of the people we're trying to attract. I think AI is already showing us what we don't know, not what we know,   Michael Hingson ** 48:04 right? And it's still going to be up to us to do something about that and use AI as a tool to help possibly create some of what needs to be done. But it still requires our thought processes ultimately, to make that happen,   Gee Ranasinha ** 48:23 AI can't create. All AI can do is remix what has already been in existence, right? Ai doesn't create what AI does. The thing is, we're using AI for the wrong stuff. AI is really good at a ton of things, and it sucks big time at a load of other things. But for some reason, we want to throw all our efforts in trying to make it better at the things it's not good at, rather than use it at the things that it's really, really good   Michael Hingson ** 49:04 at, such as,   Gee Ranasinha ** 49:08 such as interpreting large data sets, Creating models of financial models, marketing models, marketing matrix, matrices, spotting, spotting trends in data, large, huge, like huge models of data, which no human being could really, in reality, Make any head in the tail of finding underlying commonalities in in the data to be able to create from that, to be able to draw out real, useful insights on that data to create new. New messaging, innovative products, services that we haven't thought of before because we haven't been able to see the wood for the trees,   50:13 if you like, yeah, right   Gee Ranasinha ** 50:17 for that sort of stuff, for the grunt work, for the automation. You know, do this, then do this, and all of that sort of stuff, A, B, testing, programmatic stuff, all of that stuff, banner ads and, you know, modifying banner all of that stuff is just basic grunt work that nobody needs, needs to do, wants to do, right? Give it all to AI it. Most AI is doing it, most of it anyway. We just never called it AI. You know, we've been doing it for 25 years. We just called it software in those days, right? But it's the same. It's the same goddamn thing. Is what we were doing, right? Let it do all of that stuff, because it's far better. And let's focus on the stuff that it can't do. Let's find out about what levers we need to pull at an emotional level to create messaging that better resonates in the minds of our buyers. That's what we need to do. Ai can't do that stuff right.   Michael Hingson ** 51:16 Where I think AI is is helpful today, as opposed to just software in the past, is that it has been taught how better to interact with those who use it, to be able to take questions and do more with it, with them than it used to be able to do, but we still have to come up with the problems or the issues that we wanted to solve, and to do it right, we have to give it a fair amount of information which, which still means we've got to be deeply involved in the process.   Gee Ranasinha ** 51:53 I mean, where it's great. I mean, if we're looking at, you know, Text, type, work, right, right, or I, or ideas or possibilities, or actually understanding the wider consideration set of a particular problem is that the hardest thing is, when you're staring at a blank piece of paper, isn't it? Right? We don't need that's the hardest thing, right? So we don't need to stare at a blank sheet anymore with a flashing cursor, right? You know, we can engage in a pseudo conversation that we need to take into consideration that this conversation is taking place based upon previous, existing ideas. So the chance that we'll get something fresh and original is very, very small. And as you just mentioned, you know, the quality of the prompt is everything. Get the prompt wrong and without enough granularity, details, specificity, whatever else you get just a huge piece of crap, don't you? Right? So in other words, having a better understanding of how we as humans make decisions actually improves our prompting ability, right, right?   Michael Hingson ** 53:12 And I think AI, it is not creative, but I think that AI can spew is probably the wrong word, but AI can put out things that, if we think about it, will cause us to do the creating that we want, but it's still going to be assets involved in doing that.   Gee Ranasinha ** 53:35 The problem is, and what we're seeing, certainly in the last couple of months, maybe even longer, maybe I just haven't noticed. It is just we were, you know, there's this old saying, you know, just because you can doesn't mean you should, right? I just see an absolute tsunami of vacuous, generic nonsense being spouted out across all types of channels, digital and otherwise, but mainly digital, all of it AI generated. Sometimes it's images, sometimes it's videos, sometimes it's both, sometimes it's text, whatever. But we we're adding to the noise instead of adding to the signal. So the inevitable result of all of this is going to be numbness. We're going to becoming different to marketing of all sorts, the good stuff as well as the bad. You're going to be it's we're just gonna get numb. So it's going to make the attention stuff. That's why I've been banging on about attention all this time, right? It's gonna, it's, yeah, there's, see, there is a method to my madness here. So the the point is that creation and maintaining. Attention is going to be even harder than it would have been before. Yeah, and, and we, you know, we're getting to the point where, you know, you've got agentic AI, where you've got agents talking to other agents and going around in this feedback loop. But we're not, we're not, we're not creating any emotional engagement from a, from a from a buyer perspective, from a user perspective, yes, it all looks great. And as a, as an exercise in technology, it's fantastic. So wonderful, right? But how has it increased sales? That's what I want to know has has it reduced or altered the cost of acquiring a customer and maintaining that customer relationship, because that's where the rubber hits the road. That's all that matters. I don't care whether it's a technological masterpiece, right, but if it hasn't sold anything, and actual sales, I'm not talking about likes and comments and retweets and all of that crap, because that's vanity metrics. Is nonsense   Michael Hingson ** 56:11 signing a contract. It's, you know,   Gee Ranasinha ** 56:16 there needs to be as an exchange of money at some point in time. Yeah, right. Is that happening? And I contend that it's not. And I think there are loads of people, loads of business owners, who are throwing money at this in the vain hope they you know that basically they're playing the numbers. They just need one horse to come in, 100 to one to be able to justify what they've spent on all of this stuff, right? Yeah, but I think those odds are getting longer and longer as each month goes, yeah. Well, you I think there's going to be an inevitable backlash back to stuff that actually resonates with people at a human level, at an emotional level, a psychological level, it has to   Michael Hingson ** 57:08 you started your marketing company 17 and a half years ago, caxino. Where'd that name come from?   Gee Ranasinha ** 57:18 From nothing? Okay, it doesn't mean anything I needed. I needed to have something which number one, that the domain was available. Of course, I needed to have something which was short, something that didn't mean, you know, something incongruous in another language and and so after a lot of to ing and fro ing, there were two schools of thought. At the beginning, we didn't know whether to go with something abstract, like caxino or something which was, you know, based based upon the the butting up of two existing words you know, like you see, you know, so many times, you know, big red table, or, you know, whatever. So we did, we decided to go with something abstract, so that we weren't encumbered by language.   Michael Hingson ** 58:22 You practiced what you preach pretty much. You're different, yeah, but why don't you call it? You don't refer to it as a digital marketing agency. Why is that?   Gee Ranasinha ** 58:34 No, I don't see us as a digital marketing agency, because digital marketing is not all we do. And not only that, I think, Well, I think there's, there's a number of reasons. Number one, I think we're using the word digital is, is a curveball. Firstly, because everything that we do is digital, right? Everything is already digital. Print is digital, TV is digital, billboards are digital. So saying digital is like saying electrical, electrical marketing agency, it makes as much sense to be honest. So that's number one. But I think the bigger issue is that by categorizing a marketing agency as being a digital marketing agency does a disservice to its work and indeed its outlook, because The object is not to be digital in your marketing, it's to do marketing in a digital world, which are two very different positions, okay? Because digital, the way that we're talking about it, is not a attributive noun, and it's certainly not an adjective. You. In the context that we're talking about it, digital is a channel. It's simply one way of getting in front of our audience. But it's not the only way of getting in front of our audience. Okay? So, yeah, along with many other reputable agencies, we happen to use the most appropriate channel of communication that makes sense to address a particular target audience group, and that's it. Okay, if that's digital, great. If that's walking down the street with an A frame with something written on the front of it, that's also great, okay, but it's, it's, it's not about it's not about the channel. It's about you being in the places where our target target audience group expects us to be. And so that's why I don't think of us as a digital marketing agency, because digital is only part of what we do, right? And we do many other things. And also, I think it puts it, it puts blinkers on things right? Because if you know, supposing, supposing you go to a Facebook marketing agency, of which there are many. Now, if you go to a Facebook marketing agency and you say, Okay, I want to do some ads. Where should I advertise? What are they going to tell you? Right, maybe Facebook, right? So there's, there's a thing called Maslow's hammer. Okay, in Maslow, as in the hierarchy, the Hierarchy of Needs Maslow. Okay to say, Maslow. He came up with this idea of Maslow's hammer. It's also known as the law of the instrument. And basically what it means, we can distill it down, is, if all you have is a hammer, then everything looks like a nail, okay? And what that means is, you're looking to solve any problem that comes along by the tools that you have in your toolbox, regardless of whether that's the best way of moving forward, which I think is a very short term and myopic view. So that's why we we don't like to think of ourselves as the marketing agency, because there are many other there are many ways of solving a particular problem, and it doesn't necessarily have to be   Michael Hingson ** 1:02:50 digital,   Gee Ranasinha ** 1:02:51 digital or promotional or, you know, it's, it's like, you know, are we a video marketing agency? No. Does that mean we don't do video, not at all. Of course, we do it, right? We're not an AI marketing agency, right? In the same way, okay, when we're not a we're not a YouTube marketing agency,   Michael Hingson ** 1:03:11 you're a marketing agency. We're a marketing agency, right? What are some of the biggest mistakes that small businesses make when it comes to marketing?   Gee Ranasinha ** 1:03:21 I think the single biggest mistake, and I speak to business owners pretty much on a daily basis, right? I think the single biggest issue that comes up again and again and again is something which I call self diagnosis, which is the business owner, approaches the marketing agency, or even digital marketing agency, approaches the marketing agency, and says, You know what, I need you to do this for me. Whatever that this is, okay. So you know, maybe it's some digital ads, maybe it's some videos, maybe it's a website, maybe it's a whatever. It doesn't matter what it is, but basically, the business owner is coming to us, coming to the marketing agency, dictating what the tactic is to be, which presumes a number of things, not least, that they think they have come to the conclusion that this particular tactic is going to solve their marketing problem based upon usually waving a wet finger in the air, yeah, or they've seen a YouTube video or something, okay, it's not based on any marketing knowledge experience or education, because, with the greatest respect, these people do not have any marketing knowledge experience. Into education, right? And why would they? Because they're running a business, right? They don't, you know, they it doesn't mean that they've had to do this marketing stuff. So they're, they're, they're presuming that a particular tactic is going to solve a business problem, a marketing tactic is going to solve a business problem. And so what what happens is the the particular tactic is is executed. Nothing changes revenue wise. And so the business owner says, well, that marketing agency was crap. Let's go to another marketing agency and ask them to do something else. So it's playing pin the tail on the donkey. Really, just trying stuff and hoping so. The point is that. The point is that if you're going to pay somebody who does this for a living, the idea that you know more than they do is already setting the relationship on a uneven kill, right? Yeah, you know, if I, if I go, if I go and see my doctor, and I say, and I wake up in the morning and I've got a pain in my chest, and I thinking, oh my goodness, I go and see the doctor, right? So on the way to the doctor's office, I do the worst thing possible, which is go on the internet and say, Okay, what does pain in my chest mean? Right? And I go into the doctor's office, and I sit down and I say, Okay, I've got a pain in my chest, doctor, that means I've got angina. Can you give me some heart medication, please? What's the doctor gonna tell you? Doctor's gonna tell you, shut the hell up. Yeah, I'm the doctor in the office. I'm the actually, where's, Where's, where's your medical degree doesn't exist, does it? No, and   Michael Hingson ** 1:07:00 just because you have a broken rib, we're not going to talk about that. Are we right?   Gee Ranasinha ** 1:07:04 So, What? What? So what's the doctor going to do? The doctor is going to ask you a bunch of questions, right? What did you do the last couple of days? Right? What did you eat? Did you go to the gym and over exert yourself? What's your history? Do you is there a history of heart disease in the family, you know, maybe there's is going to he or she is going to take some blood, maybe they're going to run a few other sort of tests. They're going to do a diagnosis, and at the end of this diagnosis, the doctor is going to come back to you and say, You know what? So, based upon all the questions that you've kindly answered, and based upon the blood work and all these other tests and scans we've done, it turns out that the the pain in your chest is nothing to do with angina. The reason you got a pain in the chest is because you had some spicy food last night. So you don't have you don't have Anjali, you have gas. Yeah, right, right, so I prescribe you a couple of packs of Tums. Yeah, sorted, right. And that's the point. The point is the doctor knows what he or she is doing, and you have to have confidence in that particular medical practitioner to diagnose the issue and prescribe a solution to that issue, right? Your job is not to say what you think is wrong with you at this stage of the conversation. Your job is to tell me where it hurts. That's it right now, I'll come back to you with a list of things which I think we need to do to move forward. Now you can go and get a second opinion, just like at a doctor's office. You may think I'm full of crap, which is absolutely your prerogative. Or you may say, I know better than you. I'm going to do my own thing, which, again, it's your time Absolutely. But if it all goes to crap, you can't turn around and say, well, if only this person had said this, or, you know, If only, if only, if only, and play the victim, because that's also just not going to wash. And I see this time and time and time again. You know, we've tried, well, we've tried a number of different agencies, and none of them have been able to help us. And then you sort of dig a bit deeper, and it's because they're never allowed to do what they're supposed to do, because they've always been second guessed. Yeah, that is probably the single biggest issue that I see coming up again and again and again with small business in market now, if and if it's a question of not having faith in that. Uh, agency, then you shouldn't have been employed. You shouldn't have that agency in the first place.   Michael Hingson ** 1:10:05 Get a second opinion.   Gee Ranasinha ** 1:10:07 You know, not all, not all agencies are great, just like not all plumbers are great. Not all mechanics are great. Same thing, right? It takes time to find the good ones, right? Um, but just because you found a bad one, because I don't know they were cheap, or they were local, or they were whatever, you know, whatever, whatever criteria you tend to use to base your decision upon, right? You can't, you can't criticize what they did if you didn't allow them to do what they were actually being paid to do.   Michael Hingson ** 1:10:47 Well, speaking of that, if people want to reach out to you, how do they do that?   Gee Ranasinha ** 1:10:53 Best way to get hold of me. Gee is on LinkedIn. I spend most of my time on LinkedIn. I post twice a week. I post videos about some of the sorts of things that we've been talking about today, and they're only sort of 60 seconds long, 90 seconds long. It's not sort of taking up anybody's time very much. You can find me there. Would you believe, Mike, there is only 1g runner scene on LinkedIn. Can you imagine fortuitous? How fortuitous is   Michael Hingson ** 1:11:27 that? Yeah, really, and G is spelled G, E, and how do you spell your last name?   Gee Ranasinha ** 1:11:33 You could eat. I'm sure all of this still, the stuff will be put in. It will, but I just figured it we could. But yeah. G, renasina, you can find me there. Otherwise, obviously you can find us on Kexino, k, e, X, I, N, o.com, which is the website, and there's plenty of information there textual information, there are videos, there are articles, there are all sorts of bits and pieces that you can find more about us   Michael Hingson ** 1:12:04 there. Well, this has been absolutely wonderful, and I really appreciate you taking more than an hour to chat with us today. And I hope this was fun, and I hope that people will appreciate it and will reach out to you and value what we've discussed. I think it's been great love to hear from all of you out there. Please feel free to email me. Michael H, i@accessibe.com so that's m, I, C, H, A, E, L, H, I at A, C, C, E, S, S, i, b, e.com, and love to hear from you wherever you're listening. Please give us a five star rating. We value those ratings very highly, and we'd love to to to hear and see you rate us and get your thoughts. If you know of anyone else who might be a good guest for unstoppable mindset. Gu as well, we'd sure appreciate your referring them to us. Introduce us. We're always looking for more people to to chat with, so please do that and again, gee, I just want to thank you one more time for being here. This has been great,   Gee Ranasinha ** 1:13:02 absolute pleasure, delighted to be invited.   Michael Hingson ** 1:13:10 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

L'Eglise au milieu du village est un podcast issu de l'émission Le Club de l'été sur Europe 1. - Présentation : Gavin's Clemente Ruiz  - Diffusion : Estelle Lafont et Clara Leger   Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Découvrez la Cité internationale universitaire de Paris, fondée en 1925, un lieu où se mêlent patrimoine, histoire, architecture et cultures du monde entier. Un lieu qui permet de voyager à travers ses maisons d'étudiants construites par de grands architectes, comme Le Corbusier ou Lucien Bechmann, et ses fondations emblématiques : Fondation Deutsch de la Meurthe, Maison de la Suisse, Maison du Brésil...La Cité internationale universitaire n'est pas seulement un campus étudiant : c'est aussi un lieu de mémoire marqué par la Seconde Guerre mondiale, les grands travaux de Paris et l'évolution du paysage urbain avec le périphérique. Véritable “ville dans la ville”, elle accueille encore aujourd'hui des milliers d'étudiants internationaux venus de plus de 150 pays, dans un esprit de paix, d'échanges et de rencontre entre les cultures.La Cité internationale universitaire propose des visites guidées: informationsAccompagnements musicaux: Lighter shades © Evert Z, Tender remains ©Myuu, Romantic winter day ©Jan Baars, QuietTree ©Thoribass, Anticipating you©Antony Vega, ,Sunrise ©Antony Vega, Special Times©Antony Vega, Academy ©MrKey, Sleep- ©Scott Buckley, Keys of Moon@The Epic Hero, Make your Mine@Mina, Swans In Fight@Asher Fulero, stage pop@Abel Kjartan, noir a minimalist and emotive piano melody for relaxation@Abel Kjartan Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Scott Kerr sits down with Luca Fuso, CEO of Cassina, the renowned nearly century-old luxury Italian furniture brand that blends tradition, innovation, and collaboration with world-famous architects and designers. Luca discusses how Cassina pioneered innovative industrial production methods that fused craftsmanship and advanced technologies and how its long history of collaborating with the masters like Le Corbusier, Gio Ponti, Philippe Starck, Charlotte Perriand became crucial to its brand identity. He also talks about Cassina partnering with luxury Italian fashion houses on exclusive products or installations, the 'Cassina Perspective' philosophy that defines its creative vision, how Cassina actively shapes the discourse around design, and monitoring the impact of cultural shifts on our living spaces. Plus: Impact of the U.S tariffs on Cassina's businessFeaturing: Luca Fuso, CEO of Cassina (cassina.com)Host: Scott Kerr, Founder & President of Silvertone ConsultingAbout The Luxury Item podcast: It's a podcast on the business of luxury and the people and companies that are shaping the future of the luxury industry.Stay Connected: scott@silvertoneconsulting.comListen and subscribe to The Luxury Item wherever you get your podcasts. Tell a friend or a colleague!

Vores huse vokser. Vi river ned og bygger nyt og større, samtidig med at vores byer vokser og bliver tættere. Og måden, vi bor på, har enorm betydning for, hvordan vi har det, og om vi kan enes. Den franske arkitekt, byplanlægger og filosof Le Corbusier talte om "bomaskinen", som han ville optimere til bedst mulig menneskelig trivsel. Har du et godt liv i din bomaskine? Medvirkende: Karl Christiansen arkitekt, professor emeritus v Arkitektskolen, Aarhus og Niels Bjørn urbanist, ph.d. i urban kompleksitet, forfatter. Tilrettelægger og vært: Carsten Ortmann.

Montserrat Villaverde Rey és historiadora de l'art, investigadora i professora universitària, especialista en patrimoni arquitectònic i paisatge. Combina la recerca amb la docència i la divulgació. Actualment, dirigeix el cicle "Cinc arquitectes i les seves circumstàncies" organitzat per ICOMOS Catalunya en el marc del projecte de recerca Bywomen, i amb col·laboració del Museu d'Història de Catalunya. Nascuda a la Vall Fosca, en un poble de només 20 habitants, Montserrat ens parla d'una infantesa feliç en un entorn matriarcal, del seu amor per la lectura i de com la curiositat l'ha portat a treballar en projectes internacionals a Cuba, l'Iran, el Magreb i el Mediterrani. La seva mirada analitza i estudia les múltiples vides dels edificis, els contextos que els envolten i els paisatges que ens conformen com a societat. També treballa en fer visibles trajectòries de dones que han liderat i que són desconegudes entre el gran públic. “No és que estiguin darrere o al costat d'un home, sinó que són elles les que van o han anat al davant.”, ens diu, reivindicant-les. La seva trajectòria docent i investigadora està lligada a l'ETSA La Salle i desenvolupa la seva activitat professional des del seu estudi àqabaBcn. Destaca que és important preservar el nostre patrimoni. “Les coses que tenim, no en propietat sinó les que gaudim i trepitgem, són també nosaltres mateixos. Si no les cuidem, què podem esperar dels altres?”. A la secció "Dones amb història", recuperem la figura de Manuelle Rocher, fotògrafa, cineasta i psicòloga, que va documentar amb una sensibilitat extraordinària l'arquitectura tradicional del Sahel i del sud d'Algèria. La seva obra va inspirar arquitectes com Le Corbusier, però el seu nom va quedar eclipsat. Montserrat reivindica la seva mirada i el seu llegat. podcast recorded with enacast.com

Lʹappartement-atelier de Le Corbusier, conçu à Paris entre 1931 et 1934, est le premier immeuble dʹhabitation de verre de lʹhistoire de lʹarchitecture. A lʹoccasion des 60 ans de la disparition de Le Corbusier, Monumental sʹintéresse à lʹimmeuble Molitor avec Giulia Marino, architecte, professeure à lʹUniversité catholique de Louvain ainsi quʹà lʹEPFL et Franz Graf, architecte et professeur à lʹEPFL.

Esta série de programas especiais será um espaço para dialogarmos sobre o mercado de trabalho existente para o/a profissional de cenografia em várias regiões brasileiras. Queremos conhecer sobre as diversas realidades existentes no país. Para isso, chamaremos alguns convidados e convidadas no Goiás para compor essa “mesa” de diálogos.- Vanessa Cássia Rodrigues Silva, nome artístico Vanessa Croft, é multiartista, goiana, doutoranda no programa de Pós- Graduação em Artes, Culturas e Tecnologias - (MEDIALAB UFG), mestra pelo Programa de Pós-Graduação em Artes da Cena na linha de pesquisa em Estudos transversais em teatro, dança e direção de Arte pela Universidade Federal de Goiás, bacharel em Direção de Arte pela mesma Universidade. Também foi professora no curso de Direção de Arte e Artes Cênicas na Universidade Federal de Goiás – UFG - 2016/2017 e na Escola do Futuro em Artes Basileu França. Atuou como diretora de arte no Primeiro Festival Internacional de Ópera de Goiânia (2018), e teve seu trabalho de mestrado selecionado e exposto na Quadrienal de Praga (2023), evento dedicado à arte da cenografia no mundo.- Carolina Mendes é diretora de arte e cenógrafa, com atuação em cinema, publicidade e cenografia. Formada em direção de arte pela UFG e pós-graduada em design de ambientes, tem trabalho e pesquisa focada na criação universos visuais que conectam narrativas, sensações e experiências. Atualmente, lidera o departamento de arte da produtora audiovisual Plural Imagem e Som, em Goiânia.- Luis Guilherme Barbosa dos Santos é Arquiteto e Urbanista, Mestre e Doutor em Performances Culturais (UFG), orientado pelo Prof. Dr. Robson Corrêa de Camargo (mestrado e doutorado). Atua como professor na Escola do Futuro de Goiás em Artes Basileu França, em Goiânia, no Curso Superior de Tecnologia em Produção Cênica. Professor das disciplinas Laboratório de Espaço Cênico, Cenografia e as Novas Tecnologias, Teorias da Arte e Fotografia. Pesquisa relações entre Arquitetura e Cenografia a partir do encenador britânico Edward Gordon Craig, do arquiteto franco-suíço Le Corbusier e do arquiteto e professor finlandês Juhani Pallasmaa. Nessa interdisciplinaridade: observações, reflexões e práticas para teatro em suas possibilidades técnicas, artísticas, históricas, materiais, multissensoriais e simbólicas, também a partir de croquis esquemáticos e maquetes volumétricas para cenografia teatral.- Johnathan Gonçalves tem 8 anos de experiência no mercado de cenografia, atuando como cenotécnico. Nesse tempo, trabalhou diretamente na montagem de cenários para comerciais de publicidade e vídeo clipe, contribuindo para produções de diferentes portes e estilos.Sua atuação vai desde a leitura dos projetos cenográficos até a execução prática, com foco em agilidade, acabamento, segurança e fidelidade ao conceito criativo. Já participou de trabalhos para marcas nacionais e internacionais, sempre em parceria com a direção de arte- Wagner Gonçalves é cenógrafo.

Tel un signe du destin, Dimitri Roussel, fondateur de l'agence d'architecture DREAM (Paris-Nice), ancien basketteur professionnel de haut niveau, est né dans l'hôpital Le Corbusier de Firminy (69). Il ouvre aujourd'hui l'année 2024 de Com d'Archi versus interview, 2024 année olympique ! Un nouveau signe du destin?Car en effet, l'agence de Dimitri Roussel livre15 000m2 dans le cadre du Village des Athlètes des Jeux de Paris 2024. Il est aussi l'un des architectes du fameux Arbre Blanc de Montpellier. Il a entrepris très jeune et reconnait aujourd'hui qu'à aucun moment "cela n'a été un plan". Animé par des valeurs d'écologie sociale, notamment à travers son association REVE, dans ce Com d'Archi, il nous livre généreusement sa "success story" d'architecte, réussite singulière et récit sur fond de défis sportifs, accompagnés de digressions gourmandes ! Soif de vivre oblige.Dream, un profil de jeune agence d'architecture de renom (déjà), et pleine de promesses, à découvrir absolument !Image teaser DR © Loïc PoechIngénierie son : Julien Rebours____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir votre regard sur le sujet.Bonne semaine à tous! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

"C'est en France" met à l'honneur Le Corbusier, père de l'architecture moderne, à l'occasion du 60ᵉ anniversaire de sa mort. Visionnaire, il a posé les bases d'une nouvelle ère avec son essai révolutionnaire de 1923, "Vers une architecture", un ouvrage-référence pour les architectes d'aujourd'hui. Mais son héritage est aussi controversé, notamment en raison de révélations sur ses liens présumés avec des groupes fascistes. Retour sur son parcours avec Jennifer Ben Brahim et Nina Masson.

Nicht bei jedem Projekt werden wir bedauern, dass die Realisierung unterblieb, sagt Künstlerin und Kunsthistorikerin Martina Pippal. Gestaltung: Alexandra Mantler – Eine Eigenproduktion des ORF, gesendet in Ö1 am 27.08.2025

Rebbert, Anke www.deutschlandfunkkultur.de, Studio 9

Charles-Édouard Jeanneret dit Le Corbusier disparaissait il y a 60 ans. Ses constructions ont été aussi bien admirées que détestées. C'est l'occasion pour Marc Bourreau de revenir sur l'architecture qui ne laisse pas indifférent Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Er prägte das Bild des modernen Bauens wie kaum ein anderer: Le Corbusier entwarf nicht nur spektakuläre Häuser und Städte, sondern wollte mit klaren Formen, offenen Grundrissen und der Idee der "Wohnmaschine" die Gesellschaft verändern. Rebbert, Anke www.deutschlandfunk.de, Kalenderblatt

„Le Corbusier“, wie er sich selbst nannte, durchdachte alles neu: Möbel, Kindergärten, Villen, Wohn- und Verwaltungskomplexe, ja ganze Städte, sagt Künstlerin und Kunsthistorikerin Martina Pippal. Gestaltung: Alexandra Mantler – Eine Eigenproduktion des ORF, gesendet in Ö1 am 26.08.2025

Den Österreichischen Bildhauer Wotruba und den schweizerisch-französischen Architekten Le Corbusier verbindet mehr als nur der gemeinsame Todesmonat August, sagt Künstlerin und Kunsthistorikerin Martina Pippal. Gestaltung: Alexandra Mantler – Eine Eigenproduktion des ORF, gesendet in Ö1 am 25.08.2025

Švicarsko-francoski vsestranski umetnik Charles-Édouard Jeanneret (1887–1965) je od leta 1920 znan pod psevdonimom Le Corbusier. Rodil se je v francoskem delu Švice, a je leta 1930 z naturalizacijo pridobil francosko državljanstvo. Njegova ustvarjalna pot je trajala pet desetletij in je obsegala različna umetniška področja, kot so slikarstvo, kiparstvo, urbanizem, dizajn, Le Corbusier je bil tudi odličen risar in pisec, predvsem pa je bil arhitekt, saj je prav v arhitekturi pustil močan, prepoznaven in neizbrisljiv pečat – danes namreč velja za enega od začetnikov moderne arhitekture, njegovi projekti pa so bili realizirani v Evropi, na Japonskem, v Indiji ter v Severni in Južni Ameriki. Če želimo razumeti Le Corbusierjeve projekte, moramo poznati njegova radikalna in strogo strukturirana stališča. Pri tem pa je bistveno, da on ni želel zgolj graditi hiš ali mest – želel je preoblikovati način življenja ljudi. Le Corbusier je namreč dojemal sodobni svet kot kaotičen in neučinkovit, in je verjel, da lahko arhitektura ponovno vzpostavi socialno harmonijo. Ob 60. obletnici njegove smrti pretresamo njegovo delo – kaj je zanj značilno, kaj vse zaobsega in ali je prestalo test časa. Gosta sta arhitekta prof. dr. Aleš Vodopivec in izr. prof. Aljoša Dekleva. Foto: Wikipedija

Das Schulzentrum, das Rathaus, der Wohnblock: Beton lässt niemanden kalt. Auch in Bayern provoziert er Abscheu und Faszination. Warum polarisiert Beton? Und wie beeinflusst er unsere Ideen von Schönheit, Urbanität und Gesellschaft? Zum 60. Todestag von Le Corbusier, dem Meisterarchitekten des Beton - ein Bayerisches Feuilleton von 2023. Zum Anschauen: Das Konzerthaus von Blaibach in den BR Dorfgeschichten: https://www.ardmediathek.de/video/dorfgeschichten/das-wunder-von-blaibach/br-fernsehen/Y3JpZDovL2JyLmRlL3ZpZGVvL2U0NGU1NjU4LTE1ZjUtNGQ3YS04MDE2LTQyMTJjMGE5OWRlMg Architekt und Betonfan Peter Haimerl hat auch ein Granithaus entworfen: https://www.br.de/br-fernsehen/sendungen/traumhaeuser/traumhaeuser-ein-haus-aus-granit-100.html

This week marks the beginning of our August round-ups where we choose our favorite episodes from the prior year as we gear up for our new season. We're revisiting two of our personal favorite authors and subjects: craft. Tune into Jane Alison and Jeannine Ouellette to glean insight and inspiration about your writing and the structures, forms, playfulness, and directions it can take when you're attuned to all the possibilities and permutations. Don't miss Janet Fitch's August 19th class. Details are online here. Jane Alison is the author of four novels, as well as Change Me, translations of Ovid's stories of sexual transformation, and Meander, Spiral, Explode, about the craft and theory of writing. Her newest novel is Villa E, about the collision of architects Eileen Gray and Le Corbusier. She is Professor of Creative Writing at the University of Virginia. Jeannine Ouellette is the author of the bestselling Substack Writing in the Dark, a creative community of almost 18K people strong. Her lyric memoir, The Part That Burns, was a 2021 Kirkus Best Indie Book and a finalist for the Next Generation Indie Book Award in Women's Literature, and her essays and short fiction have appeared widely in anthologies and journals, including Narrative, North American Review, Los Angeles Review of Books, and others. Learn more about your ad choices. Visit megaphone.fm/adchoices

La Grande-Motte est une station balnéaire française créée par lʹarchitecte Jean Balladur. Il existe, dans le monde, 3 villes entièrement dessinées par un architecte : Chandigard de Le Corbusier, Brasilia dʹOscar Niemeyer et La Grande-Motte…  Cette ville est donc lʹun des projets touristiques et urbanistiques les plus importants réalisés en France et en Europe à cette période. Pour en parler, Johanne Dussez sʹentretient avec Gilles Ragot, historien de l'art, spécialiste de l'architecture contemporaine et auteur du livre " La grande Motte, patrimoine du XXe siècle " éditions El Viso

For full episode and all deep dive episodes please subscribe Part one of a two-part deep dive into the grid and how it has quietly shaped our personal and social realities throughout history. From the invention of the brick to the birth of the spreadsheet, tracing the grid's influence across architecture, urban planning, culture, and technology.Starting with the brick-“equal parts mortar and module,” tied to the proportions of the human hand—and follow its logic through systems like the tablet, gridiron city plans (like Mohenjo-daro), maps, musical notation, ledgers, the screen and the moveable type, setting the stage for digital forms to come.Along the way, we talk Le Corbusier, the Swiss grid system of Josef Müller-Brockmann, the design of Instagram, and Lotus 1-2-3. This is a mellow research-based episode on how grids both liberate and constrain the ways we live, think, and create.Cited: Hannah B. Higgins The Grid Book

Nihal Arthanayake's nomination for the Trapped History Hall of Fame is a great one. The lost, forgotten and overlooked Sri Lankan architect Minnette de Silva. She was the first Asian woman elected to the Royal Institute of British Architects and a friend of Le Corbusier and Picasso. But she's been overshadowed by those men and by other Asian male architects.So tune in to hear her story and why she means so much to Nihal.

In this special episode, contemporary artist Amba Sayal-Bennett joins EMPIRE LINES live, to trace the migrations of rubber seeds between South America, London, and British colonies in South Asia in the 19th century, plus the role of soil in anticolonial resistance, through their digital drawing and sculpture, Kern (2024).Rubber is a commodity that was once so highly demanded that its value surpassed that of silver. In a mission facilitated by the British government, Henry Wickham stole and trafficked 70,000 rubber seeds from the Amazon rainforest in Brazil in 1876. Transported to Kew Gardens in London, they were then dispersed across Britain's colonies for cultivation. Its plural uses and potential for profit led to its proliferation across the globe - yet the soil in India, then known as the British Raj, refused to take the seeds, which the artist puts forward as a form of environmental resistance to the colonial project.Amba Sayal-Bennett's wall-based sculptures Kern (2024) and Phlo (2024) are part of their investigations into the migrations of forms, bodies, and knowledge across different sites. Presented in SEEDLINGS: Diasporic Imaginaries, currently touring Scotland with Travelling Gallery, we discuss this visual research into how colonial practices often decontextualise and appropriate forms. Amba delves botanical and anatomical drawings, and how these illustrations have been used to commodify and control plants, environments, and people. We consider through the construction and overlapping uses of terms like ‘native' and, ‘invasive', ‘indigenous', ‘naturalisation', and ‘dispersal', to challenge binaries between human and more-than-human beings, and consider ideas of home, identity, and belonging in the context of diasporas. Amba details her relationship with ornamentation, abstraction, and displacement, and how she translates her digital drawings into sculptural forms, rendered with biodegradable, but ‘unnatural', industrial plastics. Drawing on her site-specific works for Geometries of Difference (2022) at Somerset House, and Drawing Room Invites... in London, we also delve into Amba's critical engagement with sci-fi and modernist architecture, travelling to Le Corbusier's purpose-built city of Chandigarh in Punjab, the birthplace of her maternal grandparents, to explore tropical modernism.This episode was recorded live at Somerset House Studios in London, as part of the public programme for SEEDLINGS: Diasporic Imaginaries, curated by Jelena Sofronijevic with Travelling Gallery in Scotland. The group exhibition, featuring Emii Alrai, Iman Datoo, Radovan Kraguly, Zeljko Kujundzic, Remi Jabłecki, Leo Robinson, and Amba Sayal-Bennett, is touring across Scotland, culminating at Edinburgh Art Festival (EAF 2025) in August 2025.For more information, follow Travelling Gallery and EMPIRE LINES on social media, and visit: linktr.ee/SEEDLINGSTG2025Drawing Room Invites…: Anna Paterson, Alicia Reyes McNamara, Amba Sayal-Bennett is at the Drawing Room in London until 27 July 2025.For more about Between Hands and Metal (2024), a group exhibition featuring Amba Sayal-Bennett, Alia Hamaoui, and Raheel Khan at Palmer Gallery in London, read my article in gowithYamo:. gowithyamo.com/blog/palmer-gallery-maryleboneFor more science fiction and sci-fi films, hear Tanoa Sasraku on her series of Terratypes (2022-Now) at the Royal Albert Memorial Museum (RAMM) in Exeter: pod.link/1533637675/episode/3083096d6354376421721cfbb49d0ba7For more from Invasion Ecology (2024), co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor, visit: ⁠⁠⁠⁠radicalecology.earth/events/invasion-ecology-exhibition⁠⁠⁠⁠ and instagram.com/p/C7lYcigovSNPRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠⁠⁠instagram.com/empirelinespodcast⁠⁠⁠Support EMPIRE LINES on Patreon: ⁠⁠⁠patreon.com/empirelines

Die Irin Eileen Gray war Anfang des 20. Jahrhunderts eine der bemerkenswertesten Frauen überhaupt: erst gefeierte Möbeldesignerin, dann Architektin. Ihr Debut-Haus E-1027 erregte viel Aufmerksamkeit, auch bei anderen zeitgenössischen Architekten wie Le Corbusier. Wie der sich schließlich in ihrem Haus selbst verewigte, warum sie das als Vergewaltigung empfand und was du heute hier sehen kannst: Das erzählen dir Kathrin Sander und Inka Schmeling, die beiden Gründerinnen der Reise-Plattform plazy.travel, in dieser Episode wie immer in unter 10 Minuten.

Le Corbusier: biografia e opere di uno degli architetti più famosi del Novecento con approfondimento su villa Savoye e sulle sue teorie riguardo l'architettura.

Le Corbusier's Unité d'habitation in Marseille remains one of the most polarising architectural landmarks of the 20th century. A bold experiment in modernist housing, it envisioned a radical new way of urban living, one that was both efficient and communal. While celebrated by many architects for its innovation, it has also faced criticism for disregarding the social and cultural complexities of real cities.In this episode of Light Cities Architecture, writer and editor Justine Costigan and practising architect Antony DiMase delve into the legacy, mythology, and reality of this Brutalist icon. Was it a revolutionary step forward, or an idealistic vision that fell short? And, given the choice, would either of them choose to live there? Tune in to find out.Links:Fondation Le Corbusier https://www.fondationlecorbusier.fr/en/Unité d'Habitation tours https://www.marseille-tourisme.com/en/discover-marseille/culture-heritage/discover-the-sites-and-monuments-in-marseille/cite-radieuse-of-le-corbusier/Instagram: @lightscitiesarchitectureLinkedIn:https://www.linkedin.com/in/justine-costigan/https://www.linkedin.com/in/antony-dimase/Credits:Editor: Suzanne McLeodThis episode was recorded at Image online, Abbotsford, Australia.

Le brutalisme est un mouvement architectural.Le terme "brutalisme" vient du français béton brut, utilisé par l'architecte suisse Le Corbusier pour décrire l'aspect brut du béton après décoffrage. C'est dans les années 1950 que le mouvement prend son essor avec les architectes Alison et Peter Smithson, qui revendiquent une architecture honnête, où les matériaux et la structure ne sont pas dissimulés sous des finitions décoratives.Dans les années 1960 et 1970, le brutalisme devient un style dominant, notamment pour les bâtiments publics (universités, mairies, bibliothèques) et les logements sociaux. Son influence s'étend à travers le monde, particulièrement en Grande-Bretagne, en France, en Union soviétique et aux États-Unis.Principales caractéristiques du brutalisme1. Béton brut exposé : Pas d'enduit, pas de peinture, les bâtiments affichent directement la texture du béton. 2. Formes massives et angulaires : L'architecture brutaliste privilégie des volumes imposants, des lignes droites et des structures souvent monolithiques. 3. Matériaux apparents : Outre le béton, on trouve de la brique, de l'acier et du verre, laissés à l'état brut. 4. Fonctionnalité et minimalisme : Les bâtiments sont conçus pour répondre à un usage précis, sans ornementation superflue. 5. Expression de la structure : Les éléments architecturaux (escaliers, piliers, poutres) sont volontairement exposés et mis en avant. Exemples emblématiquesLa Cité radieuse (1947-1952, Marseille) de Le Corbusier Le Barbican Estate (1965-1976, Londres) La Bourse du Travail (1972, Bobigny) Le siège du Parti communiste français (1971, Paris) par Oscar Niemeyer Déclin et renouveauDans les années 1980, le brutalisme est critiqué pour son aspect froid et oppressant. Beaucoup d'édifices brutalistes sont détruits ou délaissés. Pourtant, depuis les années 2010, il connaît un regain d'intérêt, notamment dans l'art contemporain et le design urbain, où son esthétique radicale inspire de nouveaux projets.Aujourd'hui, le brutalisme est reconnu comme un courant architectural majeur du XXe siècle, apprécié pour son audace et sa force expressive. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Join Keri Smith and Mystery Chris for a LIVE #PoppedCulture on Wednesday, August 17th, 2022 at 8pm CDT as we try to walk through a history of the worst of the worst in architecture. We'll touch on Modernism, New International Style, Le Corbusier, the Bauhaus school, Futurist and Fascist architecture, Post-Modernist architecture and even Batman and Gotham City.

Il Brutalismo è tornato sotto i riflettori grazie al film The Brutalist, candidato a ben 10 premi Oscar. Ma cosa rende così iconico questo stile architettonico? Nato nel secondo dopoguerra in Inghilterra, il Brutalismo è caratterizzato dall'uso del calcestruzzo a vista e da forme geometriche imponenti, spesso percepite come "pesanti" o grezze. In questo video esploriamo la storia di questa corrente, le sue origini con Le Corbusier e il concetto di Béton Brut, fino a chiederci: ha davvero senso, dal punto di vista strutturale, realizzare edifici di questo tipo? Abbonati per supportare il nostro progetto Missione Cultura e diventare mecenate di Geopop: https://geopop.it/Muh6X Learn more about your ad choices. Visit megaphone.fm/adchoices

Faye Toogood is perhaps best known for her Roly-Poly chair, among the more famous pieces of furniture to come out of the 2010s and take over the zeitgeist, but the London-based designer's artistry and craft runs much deeper and spans much wider. She began finding, collecting, cataloging, producing, and editing her “assemblages” long before she ever had a name for them, and her design career has been marked by exactly that, beginning with the debut of Assemblage 1 (2010) and through to her latest, Assemblage 8: Palette (2024). On the whole, Toogood's creations serve as material investigations and discipline-defying attempts to better understand herself. Without formal training in design, Toogood—who was the Designer of the Year at the Maison&Objet design fair in Paris this past January and the Stockholm Furniture Fair's Guest of Honor in February—uses what she describes as the feeling of being “a fraud in the room” to her advantage. Through her work, she is an enigma; with projects across furniture, interiors, fashion, and homewares, she's unwilling to be defined by a single output and has instead built a multilayered practice and belief system that allows her to be “all heart and hands.” On this week's Time Sensitive—our debut of Season 11—Toogood talks about the acts of creation and connection, and how each underscores the enduring play that's ever-present in her work.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Faye ToogoodToogood[3:49] Assemblage 1[7:43] Assemblage 7[13:28] Seamus Heaney[14:50] Isamu Noguchi[14:50] Kan Yasuda[17:23] Roly-Poly chair[18:06] Rachel Whiteread[20:07] Barbara Hepworth Museum and Sculpture Garden[22:45] Matisse Chapel[25:40] “Ways of Seeing”[29:57] “Womanifesto!”[36:55] Assemblage 8[52:17] “The World of Interiors”

This week David and Marina of FAME Architecture & Design discuss David's 3 favorite buildings. The two touched on the Ronchamp Chapel; the emotional impact of architecture; Le Corbusier's architecture; The Eiffel Tower; the difference between a building, sculpture, and monument; the Taliesin West Building; the Bird Nest; craftsmanship and experimentation in architecture; and more. This episode is supported by Integrated Projects • Autodesk Forma & Autodesk Insight • Programa • Learn more about BQE CORE SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Office  • Instagram • Facebook  • Call or text questions to 213-222-6950 SUPPORT Leave a review  EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.  •  Project Companion: Informative talks for clients.    •  Fellow Designer: Tips for designers.  •  After Hours: Casual conversations about everyday life. •  Design Reviews: Reviews of creative projects and buildings. The views, opinions, or beliefs expressed by Sponsee or Sponsee's guests on the Sponsored Podcast Episodes do not reflect the view, opinions, or beliefs of Sponsor.

La Grande-Motte est une station balnéaire française créée par l'architecte Jean Balladur. Il existe, dans le monde 3 villes entièrement dessinées par un architecte : Chandīgarh de Le Corbusier, Brasilia d'Oscar Niemeyer et La Grande-Motte… Cette ville est donc l'un des projets touristiques et urbanistiques les plus importants réalisés en France et en Europe à cette période. Pour en parler, Johanne Dussez s'entretient avec Gilles Ragot, historien de l'art, spécialiste de l'architecture contemporaine et auteur du livre " La grande Motte, patrimoine du XXe siècle " aux éditions El Viso. Sujets traités : La Grande-Motte, station, balnéaire, Jean Balladur, architecte, Le Corbusier, Oscar Niemeyer Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

La Grande-Motte est une station balnéaire française créée par lʹarchitecte Jean Balladur. Il existe, dans le monde, 3 villes entièrement dessinées par un architecte : Chandigard de Le Corbusier, Brasilia dʹOscar Niemeyer et La Grande-Motte…  Cette ville est donc lʹun des projets touristiques et urbanistiques les plus importants réalisés en France et en Europe à cette période. Pour en parler, Johanne Dussez sʹentretient avec Gilles Ragot, historien de l'art, spécialiste de l'architecture contemporaine et auteur du livre " La grande Motte, patrimoine du XXe siècle " éditions El Viso

(00:00) In der Stadt Luzern steht das Luzerner Theater vor einer ungewissen Zukunft. Die Stimmberechtigten haben gestern einen Sonderkredit von knapp 14 Millionen Franken deutlich abgelehnt. Mit diesem Geld hätte ein neues Theater gebaut werden sollen. Daraus wird nun nichts. (04:41) Bunt, glitzernd und voller Leidenschaft: Barrie Kosky zeigt am Opernhaus Zürich Puccinis «Manon Lescaut» - unser Kritiker ist begeistert. (10:21) Was war zuerst. Huhn oder Ei? Ein Forscher der Uni Genf will das Rätsel gelöst haben. (14:35) Architektur als Experiment: Das Zentrum Paul Klee in Bern würdigt Le Corbusier und beleuchtet auch kritische Aspekte seines Schaffens. (19:00) Rettungsaktion aus dem Ghetto in Theresienstadt – wie vor 80 Jahren 1200 jüdische Häftlinge in die Schweiz kamen. (23:40) 1200 Jahre alt und Millionen wert: Das Museée jurassien d'art et d'histoire in Delémont zeigt die kostbare Bibel von Moutier-Grandval, die zwischenzeitlich auf einem Dachboden schlummerte.

Gampert, Christian www.deutschlandfunk.de, Kultur heute

In this episode, we talk about early AEC exposure to high school students with a discussion of the ACE Mentorship Program. We share personal experiences and insights from mentoring high school students, talk about the program's value in exposing young minds to architecture, construction, and engineering. The conversation covers the challenges and rewards of volunteering, the importance of communication in teamwork, and how practical exercises can simulate real-world architectural practice.Additionally, we have a bit of follow up on the Le Corbusier conversation from the last episode and the complexities of his legacy. This episode is a must-see for anyone passionate about architecture education and youth mentorship.Episode Links:Pierre Jeanneret - Corbu's cousinModern Man by Anthony Flintaskarchispeak.com - our new Q&A websiteACE Mentor Program websiteEpisode Sponsor - TimberTechDiscover how TimberTech is redefining synthetic decking with precision-engineered materials that balance enduring aesthetics with superior performance and sustainability. TimberTech's advanced technologies replicate natural wood's allure while minimizing maintenance and environmental impact. Request samples, read case studies or download our architectural white paper here.-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Clever Confidential is Clever's offshoot series, where we dig into the darker side of design - the shadowy, sometimes sordid tales hiding under a glossy topcoat of respectable legacy.In Ep. 5 we explore the haunting tale of E-1027, an architectural masterpiece born of love but marred by betrayal, obsession, and tragedy. From its creation by Eileen Gray to its desecration by Le Corbusier, and its descent into decadence during World War II, this house has borne witness to some of humanity's darkest and most beautiful moments. Hosts Amy Devers and Andrew Wagner uncover the secrets etched into its walls and the spirits that linger within.Many thanks to this episode's guest expert Anthony Flint, author of Modern Man: The Life of Le Corbusier, Architect of Tomorrow and host of the Land Matters podcast.Special thanks to our sponsor, Porkbun! Go to https://porkbun.com/CleverBun to get a .PRO domain for only $1 for the first year with promo code DIGITALPRO at Porkbun!See images and read the transcript!Please help us out by completing a short LISTENER SURVEYHead to cleverpodcast.com for over 200+ more episodes of Clever, and the 4 previous episodes of Clever Confidential.Subscribe to our substack newsletter for updates, bonus content, and new episode alerts.Please say Hi on social! X, Instagram, Linkedin and Facebook - @CleverPodcast, @amydeversIf you enjoy Clever Confidential we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you!Credits: Hosts: Amy Devers & Andrew WagnerWriting and research: Amy Devers, Andrew Wagner, Ilana NevinsGuests: Anthony FlintEditing and Sound Design: Mark ZurawinskiTheme Music: “Astronomy” by Thin White Rope courtesy of Frontier RecordsLogo design: Laura Jaramillo remixed by Graham HauserProduction: Devers Endeavors Hosted on Acast. See acast.com/privacy for more information.

In this episode, we discuss Cormac's excitement about the Detroit Lions making the playoffs and explore the significant transformation happening in Detroit. We examine how the city's struggles have led to a new era of development and restoration. The main focus of our conversation centers on Le Corbusier and the often-overlooked contributions of his cousin Pierre Jeanneret, who helped make Corb's innovative designs technically feasible. We also announce our new Q&A website, askarchispeak.com, where listeners can submit questions for future episodes.Episode Links:Announcing askarchispeak.com - our new Q&A websiteModern Man by Anthony FlintPierre Jeanneret - Corb's cousinThe Image of the City by Kevin LynchA Pattern Language by Christopher AlexanderThe Timeless Way of Building by Christopher Alexander250 Things Architects Should Know by Michael SorkinPhilip Johnson's Glass HouseEpisode Sponsor - TimberTechDiscover how TimberTech is redefining synthetic decking with precision-engineered materials that balance enduring aesthetics with superior performance and sustainability. TimberTech's advanced technologies replicate natural wood's allure while minimizing maintenance and environmental impact. Request samples, read case studies or download our architectural white paper here.-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

durée : 00:47:29 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires sensibles « Le Corbusier, fasciste ! » - réalisé par : Stéphane COSME

Si les grands ensembles et les quartiers populaires étaient autrefois synonymes de progrès et de modernité, à l'image des cités radieuses conçues par Le Corbusier, ils ont vu depuis quelques décennies leur image s'effondrer dans notre imaginaire collectif.Pour tenter de changer la donne, les pouvoirs publics, par la voix d'Emmanuel Macron, ont annoncé une consultation architecturale d'envergure baptisée "Quartiers de demain". Dans dix quartiers dits prioritaires, les cabinets les plus prestigieux s'affronteront tout au long de l'année dans un concours d'architectes afin de proposer 10 nouvelles cités radieuses.Mais avant de suivre ce concours au fil des mois à venir, Thomas Rozec, accompagné de Marie-Christine Jaillet, géographe et sociologue, et de Renaud Epstein, sociologue, a tenté de comprendre le désamour qu'ont vécu les quartiers populaires.Merci à L'Europe des Projets Architecturaux et Urbains (EPAU) avec qui nous avons fabriqué cet épisode.Programme B est un podcast de Binge Audio présenté par Thomas Rozec. Réalisation : Clément Morel. Production et édition : Charlotte Baix. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez.

In this episode, I sit down with Nicholas Fox Weber, art historian and Executive Director of the Josef and Anni Albers Foundation. He is also the author of fifteen books, among them iBauhaus, Le Corbusier, Balthus: A Biography, and Patron Saints. Weber is a gradu­ate of Colum­bia Col­lege (B.A., major in Art History), Yale Uni­ver­sity (M.A., Art History; Fellowship in American Art), and the University of Groningen (PhD).  He lives in Connecticut, Paris, and Ireland. Despite all his professional accomplishments, Nick's heart is focused on his humanitarian work in Senegal. Nick is the founder of Le Korsa, a not-for-profit organization in Senegal. I admire Nick so much. We all see things in life that we wish we could change or people that we'd like to help – yet we are all so busy with our own lives that it is the rare among us that does something – Nick is one of those people. After a trip to Senegal with a Parisian doctor about twenty years ago, Nick saw communities that needed access to health care, education, and basic amenities. Ever since, Nick has worked tirelessly to support clinics, schools, and other life-saving initiatives in Senegal through Le Korsa.     My son John and I visited Senegal in February of 2023, and we witnessed Nick's incredible work firsthand. Every bit of resources directed toward Le Korsa make such an impact. Donations to Le Korsa go directly to projects in Senegal, from digging wells to buying academic supplies to helping patients receive medical care. In this conversation, Nick and I discuss his work in Senegal, how and why he got started, and about his spectacular and purposeful life as an art historian, author, and humanitarian. This episode is just the kind of inspiration that is so fitting this holiday season! To learn more about Le Korsa, visit https://www.aflk.org/ If you enjoy the show, please rate and review. Be sure to follow us on Instagram @TheInterviewWithLeslie. A new podcast is released every Wednesday.

Graham Arrowsmith visited India with his wife, Dawn, in November 2024. This podcast recollects the experience and discusses MeclabsAI's Customer-Facing Devices.Summary of PodcastThis podcast discusses Graham's trip to India and explores applications of MeclabsAI, particularly Customer-Facing Devices (CFDs).Key TakeawaysGraham visited India, observing stark contrasts in urban development, pollution, and economic growth.Through CFDs, MeclabsAI offers powerful marketing, data analysis, and customer interaction capabilities.The technology has potential applications in finance, due diligence, and enhancing customer experiences.Security and data privacy are prioritised in MeclabsAI's approach, addressing concerns about data usage.India Trip ObservationsDelhi: Estimated 35 million population, severe smog issues impacting healthChandigarh: Planned city by Le Corbusier, more organised than other Indian citiesTraffic: Chaotic, with various vehicles weaving through lanes.Economic contrast: Educated professionals alongside significant poverty in slums.Growth: India is recognised as one of the fastest-growing economies globally.MeclabsAI CapabilitiesCustomer Facing Devices (CFDs): Advanced AI agents that can replace traditional chatbots.Data analysis: Can process financial reports, identify trends, and provide insights.Content creation: Ability to generate podcasts, articles, and marketing materials.Personalisation: Can create tailored experiences for customers, e.g., in jewellery shoppingIntegration: Potential to replace or enhance existing website functionalities.Business ApplicationsDue diligence: Analysing pitch decks and financial data for investors.Finance presentations: Improving how financial data is communicated to non-finance audiences.Marketing optimisation: Leveraging 30 years of marketing research to enhance conversions.Lead generation: Creating engaging user journeys that capture customer information effectively.Technical AspectsSecurity: Emphasis on data privacy and secure handling of uploaded information.Customisation: It is easy to add proprietary information to create tailored AI libraries.Ongoing development: Regular updates and improvements to the system's capabilitiesThe Next 100 Days Podcast Co-HostsGraham ArrowsmithGraham founded Finely Fettled ten years ago to help business owners and marketers market to affluent and high-net-worth customers. MicroMailings is his new low-risk, done-for-you marketing solution for companies seeking high-net-worth leads. He is also the founder of MicroYES, a Partner for MeclabsAI, which combines the world's biggest source of 10,000 marketing experiments with AI. Find Graham on LinkedIn.Kevin ApplebyKevin specialises in finance transformation and implementing business change. He's the COO of GrowCFO, providing community and CPD-accredited training designed to grow the next generation of finance leaders. You can find Kevin on LinkedIn and at

Clever Confidential is Clever's offshoot series, where we dig into the darker side of design - the shadowy, sometimes sordid tales hiding under a glossy topcoat of respectable legacy.In Ep. 5 we explore the haunting tale of E-1027, an architectural masterpiece born of love but marred by betrayal, obsession, and tragedy. From its creation by Eileen Gray to its desecration by Le Corbusier, and its descent into decadence during World War II, this house has borne witness to some of humanity's darkest and most beautiful moments. Hosts Amy Devers and Andrew Wagner uncover the secrets etched into its walls and the spirits that linger within.Many thanks to this episode's guest expert Anthony Flint, author of Modern Man: The Life of Le Corbusier, Architect of Tomorrow and host of the Land Matters podcast.See images and read the transcript!Please help us out by completing a short LISTENER SURVEYHead to cleverpodcast.com for over 200+ more episodes of Clever, and the 4 previous episodes of Clever Confidential.Subscribe to our substack newsletter for updates, bonus content, and new episode alerts.Please say Hi on social! X, Instagram, Linkedin and Facebook - @CleverPodcast, @amydeversIf you enjoy Clever Confidential we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you! Hosted on Acast. See acast.com/privacy for more information.

Architectural Assistant Mair Hughes, talks to James about the gatekeeping of architectural history and standardisation of the curriculum at the end of the 19th century, castles and cathedrals with dubious origin dates, Le Corbusier and all manner of shocking architectural myths. ↓ ↓ ↓ Here is the link for this week's product https://nutrahealth365.com/product/libido-boost/ ↓ ↓ ↓ Buy James a Coffee at: https://www.buymeacoffee.com/jamesdelingpole The official website of James Delingpole: https://jamesdelingpole.co.uk x

Learn about the life of self-taught architect Eileen Gray, whose groundbreaking modernist designs faced vandalism, loss, and ultimate rediscovery, with reflections from guest architect Emily Farnham._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Documentary — Gray Matters: Architect and Designer Eileen Gray (2014)Book — Eileen Gray: Her Life and Work by Peter AdamBook — Eileen Gray: Design and Architecture 1878–1976 by Philippe Garner (Taschen)About EileenEileen Gray (1878–1976) was a groundbreaking designer and architect whose work pioneered modernism in the 20th century. Originally born in Ireland, she spent her career in France, becoming a self-taught architect and an innovator in furniture design. She's known for blending functionality with bold, avant-garde aesthetics. Her early career began with mastering lacquer work, a craft she honed despite its physical challenges, and she became a leading figure in Art Deco. Gray's most iconic work is the E-1027 house, a modernist masterpiece designed with meticulous attention to detail and human-centered design principles. Despite her contributions, her achievements were often overshadowed by her male contemporaries, including the controversial vandalism of her work by Le Corbusier. Gray's designs, like the Bibendum Chair, the E-1027 table and her modular lacquer screens, continue to inspire today. Rediscovered in her later years, she is now celebrated as a trailblazer who forged her own path, proving that vision and resilience can leave a lasting mark on the world of design. About EmilyEmily Farnham is the founder of Emily Farnham Architecture, a Los Angeles-based practice known for its innovative and holistic approach to residential design. With an impressive career that spans architecture, interiors, and custom design, Emily's projects balance aesthetics, function, and personalization. She holds a Master of Architecture degree from Harvard's Graduate School of Design and a Bachelor of Science in Architecture from the University of Virginia's School of Architecture. Before establishing her practice in 2014, Emily honed her skills at several leading design firms in Los Angeles, New York, Boston, and San Francisco. This diverse background equipped her with the expertise to tackle projects of varying scales and complexities, from residential spaces to large-scale civic and educational buildings. Emily is a licensed architect in California and a LEED-accredited professional, known for her meticulous attention to detail and deep understanding of the construction process.Follow Emily:Instagram: @emilyfarnhamarchitectureWebsite: emilyfarnham.com  ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Seen from above, Sofia, Bulgaria, looks less like a city and more like a forest. Large "interblock park" green spaces between big apartment structures are a defining characteristic of the city. They're not so much "parks" in the formal sense, with fences and gates, just open green areas growing up in interstitial spaces left behind.But as green as it still looks today, Sofia used to be even greener.  Since the fall of Bulgarian communism in the late 1980s, Sofia has lost more than half of its green space. To understand why, one has to look back to the founding of the city in the Soviet era.Between the Blocks