Podcasts about Renzo Piano

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.

Parte oggi la 65ª edizione del Salone Nautico Internazionale di Genova, in programma fino al 23 settembre. L’evento si svolge nelle nuove aree del Waterfront di Levante progettato da Renzo Piano, con spazi espositivi direttamente in acqua e una panoramica che va dai gommoni ai maxi yacht. In mostra oltre 1.000 imbarcazioni, 23 nuovi cantieri, espositori da 45 Paesi, 123 novità e 96 première. All’inaugurazione hanno partecipato, tra gli altri, il viceministro Edoardo Rixi, la ministra del Turismo Daniela Santanchè e il presidente di Confindustria Emanuele Orsini. Nei prossimi giorni previsti il Forum dell’industria della blue economy e la sesta edizione del Design Innovation Award. Il settore nautico ha chiuso il 2024 con un fatturato record di 8,6 miliardi di euro (+3,2% sul 2023), ma in rallentamento rispetto agli anni precedenti. Cresce il segmento dei superyacht, mentre la piccola nautica registra un calo intorno al -10%. L’Italia si conferma primo Paese esportatore con 4,3 miliardi di euro di export (+7,5%), pari al 90% della produzione nazionale. Ne parliamo dai nostri studi con, Pietro Lucchese, Ceo Mr.Blu Yacht & Ship e Riccardo Cavarzan, CEO SupermarineIntervista al presidente di Confindustria Emanuele Orsini(nellafoto il secondo da sinistra)Yoox, terza fumata nera al tavolo, licenziamenti restanoTerzo incontro senza esito tra Yoox Net-a-Porter e sindacati, questa volta convocato in Regione Emilia-Romagna. L’azienda ha confermato 211 licenziamenti, di cui 165 a Bologna, nell’ambito del piano di ristrutturazione del gruppo tedesco LuxExperience per ridurre perdite da 2 miliardi. Previsto anche il trasferimento di 40 dipendenti da Landriano. In totale il piano coinvolge circa 700 persone tra Italia e Germania. Inizialmente si era parlato di ammortizzatori sociali, ma la dirigenza ha scelto di procedere con i tagli. I sindacati hanno confermato gli scioperi del 16 e 17 settembre. Nuovo appuntamento il 23 settembre a Roma, con la supervisione del Ministero delle Imprese. Interviene per fare il punto Marta Casadei, Il Sole 24 Ore

Domani prende il via la 65ª edizione del Salone Nautico Internazionale di Genova, che durerà fino al 23 settembre. Radio24 sarà in diretta dalla Banchina A. La manifestazione, arricchita dalle nuove aree del Waterfront di Levante progettato da Renzo Piano, ospiterà oltre 1.000 imbarcazioni, 23 nuovi cantieri e espositori da 45 Paesi, con 123 novità e 96 première. Dopo l’evento inaugurale con Salvini, Santanchè e Orsini, seguiranno incontri come il Forum sull’economia del mare e il Design Innovation Award. Nonostante i dazi e le tensioni geopolitiche, il settore ha registrato nel 2024 un fatturato record di 8,6 miliardi (+3,2%), ma il sentiment per il 2025 resta debole. Ne parliamo con Piero Formenti, Presidente di Confindustria Nautica - Marco Fortis, Vicepresidente Fondazione EdisonGermania: Corte dei conti boccia la manovra del governoLa Corte federale dei conti tedesca critica duramente la manovra economica del ministro delle Finanze Klingbeil, accusando il governo di vivere al di sopra delle proprie possibilità e di finanziare quasi un terzo delle spese future con nuovo debito. Il piano prevede 851 miliardi di nuovo debito entro il 2029, con un deficit di 170 miliardi ancora aperto. Secondo i revisori, questa strategia allontana la Germania da una gestione solida e rischia di frenare le riforme necessarie. Affrontiamo il tema con Giuseppe Russo, economista e direttore del Centro Einaudi.

On this episode, Tom goes "On the Aisle" with Tania Castroverde Moskalenko, Chief Executive Officer of the Sarasota Performing Arts Center, who reminisces about her multifaceted career in the performing arts. From her Cuban immigrant roots and early love for ballet to holding executive roles at prominent arts organizations across the US, Tania shares her journey. She discusses her significant contributions to institutions like the Center for the Performing Arts in Carmel, Indiana, the Auditorium Theater in Chicago, and Miami City Ballet. Now, as the Chief Executive Officer of the Sarasota Performing Arts Foundation, she talks about her latest exciting project involving renowned architect Renzo Piano. Alongside her professional insights, Tania offers personal stories about her family, including her marriage to former Bolshoi Ballet dancer Alexei and raising twins with rich cultural influences. This episode offers an engaging perspective on arts leadership, personal growth, and the transformative power of the arts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nel cuore di Manhattan si trova uno dei luoghi più affascinanti e meno conosciuti di New York: la Morgan Library & Museum.In questo episodio vi racconto la storia del suo fondatore, il potente banchiere J.P. Morgan, e soprattutto quella di Belle da Costa Greene, la direttrice visionaria che custodì e ampliò la sua collezione, nascondendo però un segreto legato alle leggi razziali dell'epoca.Scoprirete com'è nata la biblioteca, come è stata trasformata nei decenni — anche grazie all'intervento di Renzo Piano — e perché vale assolutamente la pena visitarla oggi.

Depois de cinco anos de negociações e estudos, foi assinado em Paris um acordo entre o Centro Georges Pompidou e o governo estadual do Paraná para a construção em Foz do Iguaçu da primeira filial das Américas do museu de arte moderna e contemporânea da França. Patrícia Moribe, em ParisO responsável pelo projeto do Centro Pompidou Paraná é o arquiteto paraguaio Solano Benítez, Leão de Ouro da Bienal de Arquitetura de Veneza em 2016, entre outros prêmios. Benítez é conhecido pelo uso inovador de materiais simples em construções sustentáveis. O trabalho tem a colaboração do arquiteto brasileiro Angelo Bucci.Solano Benítez nasceu em 1963, em Assunção, Paraguai, e é cofundador do estúdio Gabinete de Arquitectura. Seu escritório se destaca em explorar possibilidades de materiais simples, como o tijolo cerâmico e valorizar a mão de obra local. Seu trabalho é também é marcado pelo comprometimento social, aliando soluções de baixo custo e alto impacto arquitetônico.Um dos eixos do projeto, explica Solano Benítez, foi o tema da aprendizagem. Ele se mostra bastante animado em usar a sua disciplina, o seu ofício, em prol de um museu. “Em tempos em que tudo muda tão rapidamente, é difícil imaginar como será o futuro”, disse à RFI. Ele acha fascinante a possibilidade de dispor as pessoas de um aprendizado que possam utilizar no futuro. “Temos que fazer com que o ensino esteja acima e que estimule a capacidade das pessoas”, acrescenta.“Fazer um museu como uma oportunidade única de instrução é também coletar experiências que já é nosso capital, como receitas para se enfrentar o futuro, como uma oportunidade para lembrarmos a nós mesmos que somos nós que temos de construir o novo tempo”, diz o arquiteto.Benítez destaca também que o museu vai oferecer uma nova relação com a natureza, uma vez que vai ser instalado no limite exato onde começa a reserva florestal do Parque Iguaçu. “O museu pretende fazer interconexões diferentes com a natureza, estabelecendo novas pautas e relações”, sem esquecer que ao lado há uma “gigantesca fábrica de arco-íris que são as Cataratas”.“Os últimos anos viram um desenvolvimento excepcional de materiais de última tecnologia, lâminas de titânio, um material muito sofisticado, gerando uma admiração diante do que é vinculado a um bom fazer”, relata Benítez."Tudo ao contrário"“O que pretendemos é desandar e fazer tudo o contrário. Que a condição do extraordinário permaneça, mas se conseguirmos transcender e fazer com que a tecnologia de um material tão simples na aparência seja causa de admiração das pessoas, com um relacionamento cuidadosamente construído, então acho que teríamos condições de oferecer um futuro melhor a todos”.Solano Benítez nasceu em 1963, em Assunção, e formou-se pela Faculdade de Arquitetura da Universidade Nacional de Assunção (FAUNA). Ele é cofundador do Gabinete de Arquitectura, que desde 1987 se destaca por explorar possibilidades construtivas de materiais simples, como o tijolo cerâmico e por favorizar a mão de obra local, com comprometimento social e sustentável.Com o Pompidou Paraná, Benítez passa a fazer parte de um grupo de renomados arquitetos internacionais que assinam os projetos do museu, começando pelo italiano Renzo Piano e o britânico Richard Rogers, autores do Centro Georges Pompidou, também conhecido como Beaubourg, construído no local do antigo mercado municipal de Paris. A estrutura de tubos coloridos no exterior causou polêmica no início, mas logo se formalizou como um cartão postal da capital.A filial de Metz, França, foi assinada pelo japonês Shigeru Ban, além de Jean de Gastines (França) e Philip Guruchdjian (Reino Unido). O de Málaga, na Espanha, teve como arquitetos responsáveis Javier Pérez de la Fuente e Juan Antonio Marín Malavé, que trabalharam com a intervenção artística de Daniel Buren (França), na fachada.O Centro Pompidou x West Bund Museum Project, em Xangai, na China, foi projetado pelo escritório David Chipperfield Architects. Além do Pompidou de Foz do Iguaçu, há um outro projeto em desenvolvimento, do de Seul, na Coreia do Sul. O Centro Pompidou Paraná tem previsão de ser inaugurado em 2027.

Through her “archaeology of the future” design approach, the Lebanese-born, Paris-based architect Lina Ghotmeh has firmly established herself as a humanist who brings a profound awareness of past, present, and presence to all that she does. In the two decades since winning her breakthrough commission—the Estonian National Museum in Tartu—her practice has taken off, with Ghotmeh swiftly becoming one today's fastest-rising architectural stars. Just a week after we recorded this episode of Time Sensitive, she was named the winner of a competition to design the British Museum's Western Range and, shortly after that, she was announced as the architect of the new Qatar Pavilion in the historic Giardini of Venice; she is also the designer of the Bahrain Pavilion at the just-opened 2025 Osaka Expo. Across her high-touch, high-craft projects, whether a brick-clad Hermès leather-goods workshop in Normandy, France, completed in 2023; the timber-framed 2023 Serpentine Pavilion in London; or the concrete-walled Stone Garden apartment tower (2020) in Beirut, Ghotmeh celebrates the hand.On the episode, Ghotmeh reflects on the long-view, across-time qualities of her work and outlines what she believes is architecture's role in shaping a better world ahead.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lina Ghotmeh[5:01] “The Shape of Time: Remarks on the History of Things”[5:01] George Kubler[5:01] Trevor Paglen[8:41] “The Long View: Why We Need to Transform How the World Sees Time”[8:41] Tim Ingold[11:15] “Windows of Light”[11:15] “Lecture: Lina Ghotmeh”[12:06] Beatriz Colomina[12:06] “Are We Human?”[19:58] Gaston Bachelard[24:04] Olga de Amaral[24:04] Cartier Foundation[24:04] Juhani Pallasmaa[24:04] “The Eyes of the Skin”[26:39] Luis Barragán[31:09] Stone Garden (2020)[31:09] Hermès Workshops (2023)[36:36] Peter Zumthor[36:36] “Atmospheres”[41:53] Khalil Khouri[44:51] Jean Nouvel[44:51] Norman Foster[44:51] Estonian National Museum (2016)[46:41] Renzo Piano[46:41] Richard Rogers[46:41] Maya Lin[46:41] Dan Dorell[46:41] Tsuyoshi Tane[50:45] “The Poetic, Humanistic Architecture of Lina Ghotmeh”[51:40] Rimbaud Museum[54:48] “Light in Water” (2015)[54:48] The Okura Tokyo[59:22] Les Grands Verres, Palais de Tokyo (2017)[59:44] Zero-Carbon Hotel Concept (2019)[59:42] Serpentine Pavilion (2023)[1:04:11] Osaka Expo Bahrain Pavilion (2025) 

Nathalie Obadia « L'art contemporain ; Des esprits conquérants » (Le cavalier Bleu)L'art contemporain, tel qu'il est apparu depuis la fin des années 60, est indissociable des logiques de mondialisation et de softpower qui fédèrent de multiples acteurs et autant de figures majeures au service de la création et de sa diffusion.En premier lieu, les artistes avec des figures comme Gerhard ­Richter, Louise Bourgeois, Damien Hirst ou Yayoi Kusama, mais aussi les curat­ors dont Harald Szeemann est un précurseur et la Cheikha Hoor Al Qasimi une incarnation des sensibilités du Sud Global, les galeristes avec Larry Gagosian et Marian Goodman, les foires dont ­l'emblématique Art Basel incarnée par Marc Spiegler, des collectionneurs comme François Pinault ou Uli Sigg, sans oublier celles et ceux qui ont œuvré à la muséification de l'art contemporain comme ­Suzanne Pagé ou Renzo Piano qui lui a créé ses plus lumineux écrins.Partant de sa double expertise de galeriste et d'enseignante, ­Nathalie Obadia nous présente ici les figures majeures de l'art contemporain et nous permet de saisir leur étroite imbrication et interdépendance.Musique: "Hymne à l'amour" Edith Piaf Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"This composition tells the story of an iron bridge, interweaving history, tragedy, and renewal. Drawing from Franz Kafka's enigmatic short story The Bridge and Renzo Piano's speech at the inauguration of the Genoa Saint George Bridge, it explores the profound symbolism of bridges—not just as structures, but as living entities that connect, endure, and sometimes fall. "At the heart of this work are two iconic bridges: The Iron Bridge, Gorge – The world's first iron bridge, completed in 1779 over the River Severn, a pioneering feat of engineering and a tribute to human ingenuity. The Saint George Bridge, Genoa – Designed by Renzo Piano, this bridge was born from tragedy, rising in place of the collapsed Ponte Morandi, which claimed lives on August 14, 2018. Its reconstruction symbolises resilience and the power of renewal. "The composition is deeply connected to sound as a storytelling medium. The barking of dogs forms the foundation of the recording, evoking both a raw, primal presence and the echoes of history. To further enhance the conceptual depth, I chose a quote from Kafka's The Bridge to be read by an AI voice. This artificial rendering of Kafka's words adds an uncanny, almost spectral presence—blurring the line between the human and the mechanical, much like the bridges themselves, which are both engineered structures and deeply symbolic entities. "Interwoven with the music of renowned composer Lucio Lazzaruolo, these sonic elements create an immersive and emotional landscape—one where bridges breathe, speak, and remember. "By merging Kafka's poetic vision of bridges as human-like beings with the legacies of these remarkable structures, this piece seeks to exalt the heritage, memory, and deeper meaning of bridges in our world." Ironbridge Gorge reimagined by Giovanna Iorio (concept) Lucio Lazzaruolo (music). ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Uma comitiva técnica da Secretaria de Estado da Cultura do Paraná (SEEC) está em Paris até domingo (16) para tratar do projeto de construção do Museu Internacional de Arte de Foz do Iguaçu, em parceria com o Centre Pompidou. O projeto da primeira filial do tradicional centro cultural francês no continente americano terá um investimento previsto de R$ 200 milhões e a obra deve ficar totalmente pronta em 2027, de acordo com o Governo do Paraná. A RFI Brasil conversou com Luciana Casagrande Pereira, secretária estadual da Cultura paranaense para saber mais detalhes sobre a iniciativa.  Maria Paula Carvalho, da RFI em ParisA comitiva brasileira desembarcou na capital francesa na segunda-feira (10) para reuniões, workshops e visitas técnicas com equipes do Centre Pompidou para troca de experiências, planejamento e diretrizes de concepção do novo espaço dedicado à arte no oeste do Paraná. As negociações com a instituição francesa começaram em 2022. O museu brasileiro será um espaço pluridisciplinar, abrangendo artes visuais, cinema, música e dança, consolidando-se como um centro cultural dinâmico no país.  “Para a gente, é uma grande oportunidade. É uma visibilidade para os nossos artistas. É uma entrada no circuito internacional de arte e é importante para a população ter acesso a esse acervo importante que o Pompidou tem, mas sempre dialogando com o nosso território”, destaca Luciana Casagrande Pereira, secretária da Cultura do Paraná. “Não é um Pompidou que chega exatamente como o da França e se instala na nossa região. O projeto científico foi concebido entre a nossa equipe e a equipe do Pompidou, mas ele nasce do zero. Sobre as exposições, o que vai ser apresentado, ainda estamos iniciando essa construção”, explica. O projeto arquitetônico da primeira sucursal de um dos mais famosos espaços de arte moderna e contemporânea de Paris na América terá a assinatura do arquiteto paraguaio Solano Benítez. “Ele é um arquiteto internacional, que já ganhou o Leão de Ouro na Bienal de Arquitetura de Veneza e que conhece a nossa região”, diz Luciana Casagrande Pereira sobre a escolha do autor. “Ele respeita muito o território, entende a nossa cultura, como nos comportamos ali”, acrescenta. “Tenho certeza de que será um orgulho não só para nós paranaenses e brasileiros, mas para os países vizinhos também”, completa. A ideia é de que a natureza seja um elemento central no conceito arquitetônico do edifício, que ficará a cerca de 10 minutos de carro do Parque Nacional do Iguaçu, onde estão as famosas cataratas do Iguaçu. “Solano Benítez tem um estilo. Ele trabalha com o tijolo, que é um material milenar, que não tem nada de inovador, mas a técnica que ele usa é muito inovadora”, revela a secretária de Cultura. “Nós não vamos importar material de nenhum outro país. Nós vamos construir com a nossa matéria-prima, que é a terra”, comenta. A construção será feita em um terreno de 24 mil metros quadrados cedido pela CCR Aeroportos, empresa responsável pela administração do aeroporto de Foz do Iguaçu. “Eu não digo que é complexo, eu digo que é desafiador, é instigante”, afirma Luciana Casagrande Pereira. “Tem o projeto arquitetônico, mas você tem a preparação da cidade, da região, a sensibilização das pessoas, da comunidade, para receber. Tem a questão jurídica, financeira, tudo que um projeto deste tamanho envolve. Mas temos obtido muito sucesso em todos esses desafios e estamos muito animados”, acrescenta. “É um projeto grande, de 10.000 metros quadrados e nós estamos planejando as inaugurações em algumas fases. Pretendemos entregar o museu completo em 2027, mas em 2026 nós já teremos uma algumas partes abertas”, antecipa. A secretária de Cultura explica por que Foz do Iguaçu foi escolhida para abrigar a nova sede do Centre Pompidou. “Eu acho que há o interesse pela região de tríplice fronteira. Além disso, o Paraná passa por um momento de muita segurança jurídica”, continua. “Nós somos o primeiro estado em educação, o que é bem importante. É uma região muito fértil, onde nós estamos plantando este projeto. Então, acho que é uma somatória de valores”, conclui. O avanço na concretização do museu acontece em um ano chave para o Centre Pompidou de Paris, que fechou as portas, na segunda-feira à visitação nas salas de exposição permanentes para passar por uma grande reforma que deve durar cinco anos. Até setembro de 2025, o local abrigará ainda pequenas exposições temporárias, antes de interromper totalmente o seu funcionamento para a realização de um projeto colossal de restauração, cuja remoção do amianto será a parte mais demorada. A previsão é de reabertura em 2030. “Neste período de metamorfose do Pompidou estaremos ainda mais presentes no Brasil e no Paraná, será um momento crucial para todos nós, estamos muito felizes com este projeto”, afirma Laurent Le Bon, presidente do Centre Pompidou, citado pela equipe paranaense presente em Paris.  Uma comitiva do centro de artes francês, incluindo o presidente da instituição, esteve no Brasil em julho do ano passado para conhecer o espaço e definir detalhes do projeto de construção. Na ocasião, também foi feita a assinatura de parceria de colaboração técnica para a construção do museu no Paraná. Para Alice Chamblas, chefe de desenvolvimento internacional do Centre Pompidou, o Paraná tem uma paisagem cultural muito rica, especialmente na capital Curitiba. “Mas entendemos que é um desejo do Governo do Estado equilibrar essa paisagem, fortalecendo a cultura em outras regiões e o projeto do Museu Internacional de Arte de Foz do Iguaçu vem exatamente a esse encontro”, afirma a francesa, também citada pela equipe brasileira.    Carolina Loch, diretora de implantação do Museu Internacional de Arte de Foz do Iguaçu, explica que o acervo do museu estará muito conectado ao território onde o prédio será construído. Porém, os visitantes irão encontrar peças importantes da coleção francesa. “O museu terá um foco muito grande na América Latina, em especial nos países da tríplice fronteira, ao mesmo tempo em que teremos trabalhos que já são apresentados ao público na Europa, a partir da coleção do Pompidou, estabelecendo novas narrativas”, explica Loch.       A vinda da missão paranaense à Paris ocorre em um momento simbólico, já que 2025 marca o Ano do Brasil na França e o Ano da França no Brasil. “Eu acho que dá mais destaque. Ele não foi pensado para isso. Mas certamente é uma grande ação, tanto para o Brasil quanto para França”, afirma a secretária de Cultura do Paraná.  Sobre o Centre Pompidou Mais do que um museu de arte em Paris, o Centre Pompidou é um complexo cultural efervescente, que abriga biblioteca, ateliê de escultura, cinema, dança e um centro de estudos musicais e acústicos. O edifício, localizado no coração da cidade, chama a atenção pelos traços da construção, como a tubulação colorida, escadas rolantes visíveis e vidro e aço que cercam a estrutura, com vista para diversos cartões postais da capital francesa. O projeto imaginado pelos arquitetos Renzo Piano e Richard Rogers, a pedido do então presidente francês Georges Pompidou, destoa do resto da arquitetura em uma região conhecida por seus prédios que datam de outro século e chegou a ser chamado de “máquina horrível” durante a sua construção.   Inaugurado em 1977, o Beaubourg, como é carinhosamente conhecido, possui um rico acervo de arte moderna e contemporânea de cerca de 140 mil obras, de 1905 até à atualidade. Considerado um dos principais espaços de exposição de arte moderna e contemporânea do mundo, o Pompidou compete com o MoMA de Nova York para saber quem tem a maior coleção do planeta. O complexo cultural abriga peças de artistas como Pablo Picasso, Joan Miró, Salvador Dalí, Frida Kahlo e Francis Bacon.  Com o fechamento temporário, uma parte de sua impressionante coleção será exibida no Grand Palais, também em Paris, assim como nas filiais do Pompidou fora da capital francesa, como na cidade de Metz, no leste da França, ou no exterior, como em Málaga, na Espanha, em Xangai, na China e, em breve, em Bruxelas, na Bélgica. Outra parte das obras será exposta em um polo artístico previsto para ser inaugurado em 2026, em Massy, a 30 minutos ao sul de Paris.   

durée : 01:00:14 - LSD, la série documentaire - par : Camille Juza - Des tours Duo aux Mercuriales, du Tribunal de Renzo Piano au chantier de la Tour Triangle, avalons les 35 km d'asphalte et regardons surgir, comme dans un jeu de voitures, les fantasmagories du périph. Avec Aurélien Bellanger et François Chaslin. - réalisation : Benjamin Hû

Prendendo spunto dall'uscita della sua nuova serie tv su Netflix dal titolo Arusa, parlo del cinema “famigliare e di identità” di Hirokazu Koreeda. Nella prima parte, quella delle news, parlo del film vincitore dell'edizione 2025 dell'IFFR, di una dichiarazione del direttore della Mostra del Cinema sulla chiusura delle sale e appunto, della nuova serie tv di Koreeda.Qui l'indice della puntata. 01:24 News. Fiume o morte! del regista sloveno Igor Bevinović ha vinto il Tiger Award all'International Film Festival di Rotterdam 2025. Di cosa tratta il documentario? 02:56 News. Lo scorso 20 febbraio, il direttore della Mostra del Cinema, Alberto Barbera, ha rilasciato una dichiarazione sulla chiusura delle sale cinematografiche a seguito dell'appello sullo stesso tema lanciato da Renzo Piano qualche giorno prima. 05:25 News. Hirokazu Koreeda ha diretto un'altra serie tv per Netflix dal titolo Arusa. 07:39 La Luce del Cinema di Hirokazu Koreeda. Film analizzati: After Life; Father and Son; Un affare di famiglia; Air Doll; Il terzo omicidio; Nessuno lo sa; I wish; Little Sister. 

Original Release Date: Monday 20 January 2025    Description:   Your friends in podcasting have a great deal on their minds ... Cold weather in the nation's capital, the hell of home renovations, fire and long-term unhealthful air and the Olympics in Los Angeles ... And they discuss it all on this week's show. They also remember the late David Lynch, suggesting that no artist has ever loved Los Angeles more than he did. They discuss the latest in the Justin Baldoni-Blake Lively (and now Ryan Reynolds!) lawsuits, and this leads to a discussion of the "abuser's playbook". The programming glories of the Detroit Film Theater (at the Detroit Institute of Arts) and the Renzo Piano-designed Academy Museum (at the L.A. County Museum of Art) get celebrated and lead to a discussion about "old school" wide-screen filmmaking, and big screen "pacing", as well as cyber punk and yacht rock! Finally, analysis will be directed onto the Directors Guild and Producers Guild awards nominations and what they portend for this week's Oscar nominations. Oh, yeah, and the show opens with an epic Dean Haglund meltdown!

Renzo Piano Building Workshop partner Joost Moolhuijzen joins Architectural Record's DESIGN:ED Podcast to discuss the development of London's Shard Place, construction complexities of the new Grands-Montets aerial tramway in Chamonix, France, and the design philosophies that have made the firm one of the most recognizable in the profession. 

Until 2021, Uganda had only four paediatric surgeons and a just a few children's hospital beds for the entire country. In 2020, the mortality rate for children under five was 43 per 1,000 births, compared to three per 1,000 in the UK. The Children's Hospital of Entebbe, funded by the Italian NGO, Emergency, and designed by world famous architect Renzo Piano, was established in 2021 to change the situation. Ugandan Journalist Lulu Jemimah visits the hospital, on the shore of Lake Victoria, to ask whether one hospital is enough to reset the future for Uganda's children.

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

Ci sono tutti i grandi marchi della nautica, e anche volti nuovi, a presentare gli ultimi modelli dei più innovativi, performanti, eleganti e anche sostenibili yacht, barche a vela e imbarcazioni di ogni taglia e tipologia. Il Salone Nautico internazionale di Genova, arrivato alla 64 esima edizione ha aperto i battenti oggi e durerà fino al 24 settembre, con più spazi rispetto all'edizione precedente e un "contenitore" più completo, grazie all'avanzamento dei lavori del Waterfront di levante di Genova, progettato dall'architetto Renzo Piano, anche se resta ancora un pezzo di cantiere: il nuovo ingresso nel "vecchio" Palasport ristrutturato, le barche esposte anche nel canale che circonda per intero l'isola del Padiglione Blu.Il dato annunciato oggi dal presidente di Confindustria Nautica Saverio Cecchi subito dopo la cerimonia di inaugurazione del Salone Nautico e contenuto nel report dell'ufficio studi "La nautica in cifre Log" è storico: il fatturato della nautica italiana nel 2023 è arrivato a quota 8,33 miliardi, un nuovo massimo per l'industria. Un miliardo di euro in più, pari al 13,6% di crescita sul 2022 per un fatturato quasi triplicato negli ultimi otto anni. Lo stesso presidente Cecchi, lo scorso 2 settembre in occasione della presentazione dell'evento, ha ricordato che il settore è ormai stabilmente il quarto pilastro del made in Italy (insieme a moda, arredo, alimentare).Sono intervenuti ai microfoni di Sebastiano Barisoni: Marco Fortis, docente di Economia industriale e Commercio estero presso la Facoltà di Scienze politiche dell'Università Cattolica di Milano, è anche direttore e vicepresidente della Fondazione Edison, Carla Demaria consigliere delegato di Sanlorenzo, CEO di Blugame brand del gruppo Sanlorenzo e Past President di Confindustria Nautica, Piero Formenti vice presidente di Confindustria Nautica da due mandati e dal 1979 proprietario e A.D. di Zar Formenti e Pietro Lucchese, CEO di Mr.Blu Yacht Dealers. La Fed taglia i tassi di mezzo punto e lo farà ancoraLa Fed apre una nuova era e taglia i tassi di interesse di mezzo punto, in quella che è la prima riduzione dal 2020. La decisione di portare il costo del denaro ad una forchetta compresa fra il 4,75% e il 5% punta a prevenire che il graduale raffreddamento del mercato del lavoro si trasformi in un completo stop. E mostra la determinazione della banca a centrare l'obiettivo di un atterraggio morbido per l'economia, evitando una tanto temuta recessione. E, sicuramente, i tassi scenderanno di altro mezzo punto entro la fine dell'anno, decidendo riunione per riunione. "L'economia è forte e siamo impegnati a mantenerla così forte", ha detto il presidente Jerome Powell osservando come la crescita media del Pil è stimata restare "solida" al +2% con un tasso di disoccupazione al 4,4% alla fine di quest'anno e un'inflazione al 2,1% nel 2025. "I rischi al rialzo per l'inflazione sono calati", ha aggiunto Powell che, mentre Wall Street ha ingranato la marcia positiva e l'oro ha toccato nuovi record, ha osservato come l'approccio paziente adottato dalla Fed nell'ultimo anno ha dato i suoi frutti sul fronte dei prezzi.Nell'annunciare la sua storica decisione, la banca centrale americana ha ribadito il suo "impegno alla massima occupazione e a un'inflazione al 2%", ovvero gli obiettivi stabiliti nel suo mandato. "Abbiamo guadagnato una maggiore fiducia in merito a un calo sostenibile dell'inflazione verso il 2%, e riteniamo che i rischi per centrare i nostri obiettivi sull'occupazione e l'inflazione siano più bilanciati. Le prospettive economiche sono incerte, e saremo attenti ai rischi", ha assicurato la Fed nel comunicato diffuso al termine della riunione, dal quale emerge che la decisone non è stata unanime. Il taglio aiuterà l'economia a due mesi dalle elezioni americane, esponendo la Fed a critiche. Con al decisione odierna infatti la banca centrale scontenta quei democratici che chiedevano un taglio di 75 punti base e tutti i repubblicani che premevano invece per rimandare ogni decisione a dopo il voto. "Questo taglio dimostra che Powell ha atteso troppo per tagliare i tassi", ha commentato la senatrice liberal Elizabeth Warren, chiedendo ulteriori riduzioni del costo del denaro. La prossima riunione della Fed cade proprio il giorno dopo le elezioni, liberando le mani alla Fed anche se i risultati - secondo gli osservatori - non saranno ancora noti. Per la Fed il taglio in un contesto di economia solida ma in rallentamento. Mai in passato si è trovata infatti in un simile situazione. L'obiettivo di Powell è quello di un atterraggio morbido, che sarebbe una vittoria per la Fed. Negli ultimi sei cicli di allentamento monetario dal 1989, solo in due casi - nel 1995 e nel 1998 - la banca centrale americana è riuscita a evitare una recessione. In ambedue i casi alla guida c'era Alan Greenspan mentre Jerome Powell spera di centrare il suo successo. Il mercato azionario e quello dei bond anticipano che la Fed centrerà un soft landing stile 1995, e il taglio da mezzo punto sembra puntare - secondo gli osservatori - proprio in questa direzione.Il commento di Riccardo Sorrentino, Il Sole 24 Ore a Focus Economia.

Da domani 19 settembre al 24 l’industria nautica da diporto torna al centro dell’attenzione mondiale con il Salone Nautico Internazionale di Genova, giunto alla 64ma edizione che vedrà la partecipazione del Presidente del Senato, Ignazio La Russa, alla tradizionale cerimonia dell alzabandiera presso la Terrazza del Padiglione Blu.Incremento del 16% delle vendite dei biglietti online rispetto alla stessa data del 2023 e 5mila metri quadrati in più di spazi espositivi. Sono alcuni dei dati della kermesse che si svolgerà, come di consueto, nell’area della ex Fiera del capoluogo ligure, che, da alcuni anni ormai, è al centro del progetto di ristrutturazione del waterfront genovese di Levante, ideato da Renzo Piano. Un’opera i cui lavori dovrebbero essere pressoché completati entro il 2025 ma che, già da questa edizione, consentirà al Salone di recuperare uno spazio espositivo storico per la manifestazione: il palasport.La manifestazione, è stato spiegato, ha superato ormai da tempo il muro dei mille brand esposti, quest'anno saranno 1.052, e delle imbarcazioni in mostra, 1.030, con un coefficiente di riempimento ancora migliorabile (si è preferito, hanno spiegato i tecnici, rinunciare ad alcuni spazi per evitare interferenze con l'avanzamento dei lavori del waterfront e garantire ai visitatori la continuità del percorso espositivo).Sono intervenuti a Focus Economia nello studio di Genova, Andrea Razeto, Presidente de I Saloni Nautici e Marina Stella, Direttore Generale di Confindustria Nautica.Confindustria, Orsini: Su auto elettrica stiamo regalando mercato a CinaL'Italia è chiamata a «nuove scelte coraggiose» e noi imprenditori siamo pronti «a fare la nostra parte». È uno dei messaggi che lancia il presidente di Confindustria, Emanuele Orsini, dal palco della sua prima relazione all assemblea annuale. «Se l Europa deve cambiare marcia, anche l'Italia è chiamata a nuove scelte coraggiose», evidenzia il presidente di Confindustria. «Siamo una forza fondamentale per il Paese e siamo in grado di indicare una prospettiva per il futuro». «Noi imprenditori abbiamo tenacia, fiducia e spesso ottimismo al limite dell impossibile, per progettare ed investire anche in tempi incerti. Forti, affidabili e coesi. Lo dimostriamo tutti i giorni». E aggiunge: «Ci mettiamo passione e chiediamo solo di poter fare il nostro lavoro in un confronto leale e con regole certe, che rivolga la propria attenzione alle persone, coltivando sempre la cultura del saper fare».«La storia e il mercato europeo dell'auto elettrica che stiamo regalando alla Cina, parlano da soli - ha aggiunto Orsini - La filiera italiana dell'automotive è in grave difficoltà, depauperata del proprio futuro dopo aver dato vita alle auto più belle del mondo e investito risorse enormi per l abbattimento delle emissioni». Per il presidente di Confindustria il tema della transizione dell automotive verso l elettrico si lega a doppio filo con quello della transizione energetica. «Lo dico con chiarezza, in accordo con i colleghi delle Confindustrie europee. Il Green Deal è impregnato di troppi errori che hanno messo e mettono a rischio l industria. Noi riteniamo che questo non sia l obiettivo di nessuno», ha detto il numero uno degli industriali, spiegando che «la decarbonizzazione inseguita anche al prezzo della deindustrializzazione è una debacle». Per questi motivi, «l industria, italiana ed europea, difenderà con determinazione la neutralità tecnologica, chiedendo un applicazione più realistica e graduale del Green Deal. Ecco perché oggi serve più che mai una solida politica industriale europea». "Sono d'accordo con Orsini, lo ringrazio per essere stato molto chiaro su questo, sui risultati disastrosi frutto di un approccio ideologico del green deal europeo: decarbonizzazione al prezzo di deindustrializzazione, ha detto, è una debacle, è così". Così la presidente del Consiglio Giorgia Meloni all'assemblea di Confindustria confermando "l'impegno per correggere queste scelte". "Lo vogliamo dire che è non intelligentissima come strategia? E lo diciamo perché siamo amici dell'Europa e vogliamo difendere la capacità industriale europea. Le persone amiche dell'Europa devono avere il coraggio di dire le cose che non funzionano".È intervenuto ai microfoni di Sebastiano Barisoni Alberto Orioli, vicedirettore Il Sole 24 Ore.

This week David and Marina f have a casual conversation about their recent trip to Switzerland. The two cover their tour of Sky-Frame's headquarters and factory; Zurich, Lucerne, Bern, and Domodossola; architecture by Le Corbusier, David Chipperfield, Jean Nouvel, and Renzo Piano; food; and more. This episode is supported by Integrated Projects • Canvas • Enscape • Autodesk • Programa • Graphisoft 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.

Sœur Maggy est abbesse du monastère Sainte-Claire à Ronchamp, près de Belfort. Dans ce dixième et dernier épisode de Croire, vies de moines, la Clarisse nous dévoile le sens et la symbolique des cloches, réalisées par de célèbres architectes.Figure incontournable de nos églises et de nos monastères, les cloches ont non seulement une tonalité mais aussi une personnalité : elles reçoivent même un prénom au moment de leur bénédiction.Pour comprendre la signification et la symbolique des cloches, La Croix s'est rendu chez les Clarisses de monastère Sainte-Claire, de Notre-Dame du Haut, à Ronchamp, près de Belfort, en Franche-Comté, où j'ai rencontré sœur Maggy, l'abbesse, qui a présenté les cloches du monastère édifié par de célèbres architectes (Le Corbusier, Jean Prouvé, Renzo Piano).-----► Découvrez les épisodes de notre première saison : Croire, les voies de la prière►Écoutez les autres podcasts de La Croix : Place des religions, Marseille ; générations JMJ ; Les 7 travaux du pape François ; Benoît XVI, un pape méconnu ; ou encore L'Envers du récit.► Dans Place des religions, des séries sur les grands rendez-vous spirituels autour du pape François : sa visite à Marseille et les JMJ 2023 de Lisbonne ; et des réflexions de fond  : Écologie, où sont les religions ?, Ainsi soient-elles, sur la place des femmes dans les religions.► Dans l'envers du récit, nos journalistes racontent les coulisses de leur reportage  :— « Pourquoi j'ai fait une retraite spirituelle »— « Avec les scouts, guerriers de paix en Centrafrique »— Abus sexuels : « Mon enquête sur les mécanismes insidieux de l'emprise »  ► Abonnez-vous gratuitement sur les plateformes suivantes : Apple Podcasts – Spotify – Deezer – Podcast Addict – YouTube – Google Podcasts – Amazon Music – Castbox-----Crédits : Rédaction en chef : Arnaud Alibert. Journaliste au service religion : Gilles Donada. Réalisation : Gilles Donada, avec Christel Juquois. Chargée de production : Célestine Albert-Steward. Montage : Gilles Donada. Mixage : Sarah Lefevre. Responsable marketing : Laurence Szabason. Visuel : Isaline Moulin. Générique : cloches de l'abbaye Sainte-Marie de Boulaur in Les voix cisterciennes, ADF Bayard Musique.

Roberta Bellesini"Passepartout Festival"Astiwww.passepartoutfestival.itPassepartout 2024: LimitiPassepartout, il festival culturale della Città di Asti, alla ventunesima edizione offre un ricco programma che tocca come sempre i temi più vari, dalla geopolitica alla storia, passando per economia, società, ambiente, musica, fotografia, arte e letteratura. Si svolge da domenica 2 a sabato 8 giugno, organizzato dalla Biblioteca Astense Giorgio Faletti con la Città di Asti e la Regione Piemonte.Il direttore scientifico Alberto Sinigaglia spiega: “Il titolo Limiti allude all'urgenza di porre i limiti di trattative e di tregue ai due tremendi conflitti - Russia-Ucraina, Hamas-Israele – che producono e morte su confini da sempre contesi. Lo suggeriscono le incalzanti conquiste dell'intelligenza artificiale e i timori che si sostituisca alla nostra creatività, che addirittura diventi incontrollabile arma di guerra. Per questo la geopolitica e i progressi tecnico-scientifici saranno centrali nella rassegna astigiana. Ma affronteremo altri limiti, augurabili o temibili, che emergono dall'attualità in cui viviamo. Limiti non sembri in contrasto con la parola festival, la cui radice, festa, indica positività, piacevolezza, sorriso. A Passepartout - come avviene da 21 anni e come apprezza un pubblico crescente - si approfondiranno i temi con serena autorevolezza, relatori di indiscusso prestigio e una positiva idea di futuro”.Passepartout 2024 affronta i grandi temi del presente. È dedicato ai limiti che ci assediano: a quelli che ci danno sofferenza o timore e a quelli che ci fanno sperare.Limes in latino è il confine. Per i confini si stanno combattendo due guerre feroci che minacciano catastrofi più vaste. Ritorneranno al festival, in serate diverse, due protagonisti del giornalismo: Gabriella Simoni e Maurizio Molinari.Limes significa anche sentiero, evoca la montagna, i limiti superati per conquistarne le cime, i limiti che dobbiamo imporci per non sfidarne i pericoli, più frequenti e più gravi per le mutazioni del clima. Ne parleranno lo scrittore alpinista Enrico Camanni e François Cazzanelli, guida del Cervino, conquistatore dell'Everest e di altri 8 mila metri.Limiti dovremmo osservare nel restauro dei tesori d'arte, per non fare danni. Ricorriamo all'esperienza maturata sul territorio come soprintendenti da Luisa Papotti, Presidente del Museo del Risorgimento, e Alessandra Vittorini, Direttrice della Fondazione Scuola dei beni e delle attività culturali.Limiti rischia la libertà di stampa: Carlo Bartoli, presidente dell'Ordine dei giornalisti, dialoga con Vladimiro Zagrebelsky, ex giudice della Corte europea dei diritti dell'uomo.Non ha più limiti (e forse dovrebbe imporsene) la televisione, che in Italia ha compiuto settant'anni? Risponde lo storico e critico televisivo Aldo Grasso.Sembrava che tv e social media avrebbero limitato l'uso della radio. Invece, a cent'anni dalla sua nascita in Italia, appare in rilancio. Passepartout ha scelto due protagonisti: Massimo Cotto e Carlo Massarini.Con le nuove tecnologie non conoscono limiti le invenzioni. E la creatività umana ha trovato limiti o nuove possibilità nell'era tecnologica? Se ne parla con Annamaria Testa, protagonista della pubblicità.Quali confini di etica e diritto ha i l'intelligenza artificiale? A parlarne sarà una giurista specialista del campo, Francesca Lagioia.Dei confini etici e giuridici davanti ai progressi della ricerca biologica potremo ascoltare la biologa Elena Cattaneo, senatrice a vita e parleremo della dignità degli esseri umani (dalla dichiarazione Dignitas Infinita del Dicastero per la dottrina della fede) con Alberto Melloni.Due generazioni di architetti italiani al lavoro nel mondo, Renzo Piano e Carlo Ratti, a confronto sul futuro delle città, delle periferie (e del loro mestiere). Sarà presente Carlo Piano che con il padre Renzo condivide idee e progetti.Il Metaverso e i suoi usi e abusi saranno i temi dello scrittore e giornalista scientifico Piero Bianucci e dell'imprenditore e scrittore informatico Stefano Quintarelli.Sulle nuove frontiere della divulgazione scientifica e artistica dialogheranno il giornalista scrittore Alberto Angela e l'ex ministro della Pubblica istruzione Francesco Profumo, in una serata dedicata alla memoria di Piero Angela, indimenticabile amico di Passepartout.Il 4 luglio di dieci anni fa moriva Giorgio Faletti, artista eclettico che ha avuto successo in ognuno dei suoi tre mestieri: attore, cantautore e scrittore. Fino all'ultimo presidente della Biblioteca Astense, è stato un sostenitore del nostro festival e una sua fondamentale presenza: Passepartout 2024 è dedicato a lui.Mercoledí 05 giugno 2024ore 21:00Cortile della Biblioteca AstenseAldo Grasso - La verita' vi prego su 70 anni di tvGiovedí 06 giugno 2024ore 18:00Palco 19 (via Ospedale 19)Carlo Piano e Sarah Robinson - Viaggi d'architettura”Giovedí 06 giugno 2024ore 21:00Cortile della Biblioteca AstenseMassimo Cotto e Carlo Massarini - Radio: libera veramente?Venerdí 07 giugno 2024ore 18:00Cortile della Biblioteca AstenseAnnamaria Testa - La creatività, gioco senza fineVenerdí 07 giugno 2024ore 21:00Cortile della Biblioteca AstenseAlberto Melloni - Gli orizzonti della fede alle prove della storiaSabato 08 giugno 2024ore 11:00Palco 19 (via Ospedale 19)Carlo Ratti e Roberto Guillermo Kolter - Se i microbi ci insegnano come cambiare le cittàSabato 08 giugno 2024ore 18:00Palco 19 (via Ospedale 19)Elena Cattaneo - Armati di scienza per il futuro del mondoSabato 08 giugno 2024ore 21:00Cortile della Biblioteca AstenseAlberto Angela e Francesco Profumo - Seminare cultura, la nuova frontieraIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Thinking about Laura Dern coming here today, I scrolled through three years of text messages. It's a story about making plans and choosing restaurants to go to. As usual, most of our ideas were aspirational, adapting around our families, movies, cooking and travel. Laura is fun, curious and  smart, hanging with the crew on set. She has memories of her grandmother and describes her parents as heroes. She is a bold spokesperson for women in the film. Renzo Piano, the architect for the Academy Museum of Motion Pictures in L.A., remembers that as a trustee, she was a rigorous and remarkable client. Today, we're here in the River cafe to talk about all this and more. See omnystudio.com/listener for privacy information.

Le Centre Pompidou a été construit par deux jeunes architectes, Renzo Piano et Richard Rogers, les lauréats d'un concours envoyé à 20 000 architectes du monde entier.La construction de ce grand musée d'Art moderne et contemporain a redonné à Paris sa place de capitale artistique.Mais sa réalisation ne s'est pas faite sans difficultés. Le bâtiment a d'ailleurs évolué depuis ses premières propositions de plans.Aujourd'hui ce monument est reconnu et plébiscité par des milliers de visiteurs qui y viennent chaque jour.Découvrez dans cette épisode les coulisses de la création de ce monument et découvrez quelques oeuvres d'art contemporain emblématiques du musée.Le programme des activités pour les enfants et les familles se trouve ici Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The busy and vibrant port city of Genova is steeped in Maritime history, yet also lays claim to being the birthplace of both Christopher Columbus and the modern-day architect Renzo Piano. Our journey through Genova wouldn't be complete without savoring the city's culinary masterpiece, Pesto Genovese! It is reason enough to visit the city, but fortunately there are architectural wonders to visit between your pesto tastings with very grand and refined palazzos which adorn Via Garibaldi. To experience the authentic Genova, you can walk the myriad of “caruggi” (alleyways) that are home to some of the original trattorias featuring pesto naturally, and perhaps some of these same caruggi are where blue jeans were first made.   Follow us on Social Media Instagram Facebook 

durée : 00:31:25 - À voix nue - par : Camille Juza - Renzo Piano a commencé sa carrière avec Beaubourg, dans le monde du pétrole et de l'abondance. Architecte à l'envergure internationale, comment envisage-t-il son métier l'heure de la raréfaction des ressources ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:14 - À voix nue - par : Camille Juza - Renzo Piano est tout sauf un architecte qui dessine et laisse les clefs à des exécutants. Il aime par-dessus tout expérimenter, inventer au sein de son « atelier de construction ». La méthode Piano, c'est probablement ça, des collaborateurs fidèles et une manière de faire de l'architecture ensemble. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:00 - À voix nue - par : Camille Juza - Le Renzo Piano Building Worshop a achevé à ce jour 110 projets et 26 sont en cours de réalisation. Des musées, des campus, des bibliothèques, un aéroport. Comment construit-on dans des contextes tous différents ? Comment ne pas se répéter d'un projet à l'autre ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:29:57 - À voix nue - par : Camille Juza - Le 14 août 2018 s'écroulait à Gênes le Pont Morandi, un pont en béton des années 60, tuant 43 personnes. Renzo Piano se met à la tâche pour réparer sa ville natale, qui l'a vu grandir dans une famille de bâtisseurs où on respirait l'air des chantiers de père en fils. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:01 - À voix nue - par : Camille Juza - En juillet 1971, le concours anonyme pour un centre d'art à Beaubourg désigne deux architectes qui n'avaient quasiment rien construit. Débarqués dans la France pompidolienne, Renzo Piano et Richard Rogers imposent en face de Notre-Dame un centre d'art qui ressemble plus à une usine qu'au Louvre. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

Can an eye-catching museum revitalize a city? The answer might surprise you. Getting the right designer is vital. If you don't like a painting you can put it away, but if you don't like a building, you can't take it down. Why is it important to have the goals of a complex museum project fit in a mantra of a few words? What comes first in museum architecture, practicality or creative genius? Should you choose your designers by design competition? If not, what's the alternative? What are the three things a designer needs to do, to win a major project? Andy Klemmer (Founder, Paratus Group) joins host Jonathan Alger (Managing Partner, C&G Partners) to reveal “The Real Bilbao Effect”. Along the way: why every architect has a bad building, how $300 per square foot can beat $3,000 per square foot, and why you should always take people to ball games. Talking Points: 1. Words matter2. Helping an owner be a conductor3. Every architect has one bad building4. Good Bilbao Effect vs. Bad Bilbao Effect5. Architecture is practicality first, fun second6. Why you shouldn't hold a design competition7. Nature, community, service, faith (& other mantras) How to Listen:Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Spotifyhttps://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Everywherehttps://makingthemuseum.transistor.fm/ Guest Bio:Andrew Klemmer established Paratus Group in 1997 to offer specialized consulting for cultural projects involving complex programs, exceptional design, intricate construction, and highly creative global teams. With over thirty years of experience, Andrew assumes a pivotal leadership role in every Paratus project. The genesis of Paratus stems from Andrew's oversight of the expansion of the landmarked Frank Lloyd Wright-designed Solomon R. Guggenheim Museum in 1991 and subsequent involvement in directing the planning and programming of Frank Gehry's Guggenheim Museum Bilbao in Spain. Paratus uniquely leads in programming, planning, budgeting, design, and construction oversight for cultural institutions, adhering to core principles from project inception to completion. Noteworthy projects include collaborations with renowned architects like Renzo Piano, SANAA, Jean Paul Viguier, and Herzog de Meuron. Andrew is active in the architecture community, contributing as a guest critic, speaker, and advisory panelist. He holds bachelor's degrees in economics and environmental studies from Bowdoin College.About MtM:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Show Link: Paratus Group: https://www.paratusgroup.com/ MtM Show Contact: https://www.makingthemuseum.com/contacthttps://www.linkedin.com/in/jonathanalgeralger@cgpartnersllc.comhttps://www.cgpartnersllc.com  Newsletter: Like the episode? Try the newsletter. Making the Museum is also a one-minute email on exhibition planning and design for museum leaders, exhibition teams and visitor experience professionals. Subscribe here:https://www.makingthemuseum.com

The Geneva-area lab that houses the world's largest atom smasher, known as CERN, has inaugurated a new “Science Gateway” that hopes to make its complex inner workings and the science that drives it comprehensible—and inspiring—to everyone aged 5 and above. Chiefs at the European Organization for Nuclear Research—CERN's official name—say improvements were needed to better welcome the tens of thousands of tourists who flock to its entrance every year near the French-Swiss border. So, they called in famed architect Renzo Piano, a friend of and fellow Italian to CERN Director-General Fabiola Gianotti, to design the structure. “With the Science Gateway, we want to expand the opportunities for scientific education that we offer to the public,” explains Gianotti. Entry will be free, and opening times run from Monday through Saturday. One major goal, Gianotti says, was “to infuse everyone who comes here with curiosity and a passion for science and inspire young people to take up careers in Science, Technology, Engineering and Mathematics.” Before, CERN welcomed 150,000 tourists a year—but the “Science Gateway” will balloon capacity to 500,000, says Gianotti. Teenage guides showcase the science behind glitzy, light-infused displays during inauguration day festivities. Drawn to the project, Piano visited the site first. “So, I came to CERN, I went around, down in the large collider. I talked to people, I talked to scientists, and then (it) became clear that those people needed a bridge: a real one, but also a metaphorical one, connecting the world of a scientist with the outside world.” Piano says he was “touched” by the “incredible” work of CERN scientists exploring everything from the tiniest atomic particles to the Big Bang, which helps to understand “that the Planet Earth is a little spaceship on which we are, all of us, embarked.” The “Science Gateway” center is powered by solar panels and is nestled in a wooded area. It features a transparent glass design and a bridge—to symbolize openness and links to the big and the small in science. It houses laboratories, exhibition areas, and an auditorium. This article was provided by The Associated Press.

Su historia es corta pero intensa, la de una ciudad en perpetuo crecimiento y reinvención. Lejos queda el cliché del petróleo y los cowboys; superada está la imagen que mostraba la teleserie del mismo nombre; curado, el trauma colectivo desencadenado por el asesinato de John F. Kennedy en 1963. Y mientras todo fluye, algo permanece inmutable en el alma de Dallas: su pasión por las artes. Bien lo sabe Janet Kafka, cónsul honoraria de España para todo el norte de Texas. Acostumbrada a recibir visitas, esta antigua alumna de la Complutense nos enseña los rincones más especiales de su ciudad natal. Desde Founder's Plaza caminamos hasta el memorial dedicado a JFK, a una manzana del lugar donde Lee Harvey Oswald acabó con la vida del presidente un 22 de noviembre. En el inmueble desde el que efectuó los disparos abre sus puertas el Sixth Floor Museum, institución que recuerda el magnicidio; la visitamos en compañía de Óscar Vela, de la oficina de turismo de Dallas. Paseamos por el Downtown y nos detenemos en el enorme distrito de las artes, repleto de museos, teatros y auditorios firmados por reconocidos arquitectos como Renzo Piano, I. M. Pei, Norman Foster o Rem Koolhaas. En el veterano Dallas Museum of Art nos atiende su director, Agustín Arteaga. Además contamos con la directora de turismo de Visit Dallas, Liliana Rivera, que nos acompaña hasta Deep Ellum, barrio muy animado y musical en cuya Blues Alley nos espera el muralista urbano Hatziel Flores. Después de echar un vistazo al también bohemio Bishop Arts District ponemos rumbo hacia la Universidad Metodista del Sur, que atesora una de las mejores colecciones de arte español de Estados Unidos en el Meadows Museum. Su directora, Amanda Dotseth, y su responsable de comunicación para España y Latinoamérica, Julián Hernández, nos invitan a recorrer esta peculiar pinacoteca inspirada en El Prado de Madrid. Terminamos viaje en la vecina Fort Worth, donde Estela Martínez, de su departamento de turismo, nos muestra las particularidades de una ciudad que –ésta sí– conserva un auténtico espíritu vaquero, compatible con el amor por el arte que destila su Kimbell Art Museum. Escuchar audio

La colline Notre-Dame du Haut a attiré non pas un mais trois architectes de renom ! Après Le Corbusier, Jean Prouvé y laisse sa marque avec un campanile, c'est-à-dire un clocher extérieur. Puis, au début des années 2000, c'est au tour de Renzo Piano d'ajouter au paysage un magnifique monastère. Pour en savoir plus, rendez-vous sur collinenotredameduhaut.com Envie de tout savoir sur la région ? Faites un tour au coeur des Merveilles de Bourgogne-Franche-Comté : plus de 100 étapes croustillantes pour devenir un véritable connaisseur. Les bons plans pour découvrir ou redécouvrir le territoire sont à retrouver sur www.bourgognefranchecomte.com Et pour sillonner les routes régionales, n'oubliez pas votre carte interactive des 14 lieux incontournables à visiter sans faute ! Artips est une production Artly Production // Anecdote concoctée avec Bourgogne-Franche-Comté Tourisme et adaptée par Gabrielle Mirallié // Lue avec délectation par Camille Perrin et Benjamin Billiet // Montée et réalisée avec talent par Aude Niclas

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/renzo_piano_the_genius_behind_some_of_the_world_s_most_famous_buildings ■Post on this topic (You can get FREE learning materials!) https://englist.me/80-academic-words-reference-from-renzo-piano-the-genius-behind-some-of-the-worlds-most-famous-buildings-ted-talk/ ■Youtube Video https://youtu.be/Xd3B1q_p9n8 (All Words) https://youtu.be/ZkIKe-GksdQ (Advanced Words) https://youtu.be/fxSAGjktoVA (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

INTERVIEW - Le 10 mai 2023, la ministre de la Culture, Rima Abdul Malak a annoncé que le Centre Pompidou fermera ses portes pour travaux à partir de 2025. Sa réouverture est prévue pour 2030. Pour parler de l'histoire de ce musée d'art moderne et contemporain emblématique de la Capitale, Virginie Girod reçoit Bernadette Dufrêne, professeure des Université à Paris 8 et spécialiste des questions de communication culturelle. Inauguré en 1977, Beaubourg voit le jour sur proposition du Président de l'époque, Georges Pompidou. Ce dernier se disait “frappé par le caractère conservateur du goût français en matière d'art. Son objectif est de réconcilier l'art vivant et la société” explique l'historienne. Pour choisir les architectes, un concourt international d'architecture est lancé en 1970, remporté par le projet de Renzo Piano et Richard Rogers. “Ce qui retient l'attention du jury, c'est ce que le poète Francis Ponge résume parfaitement : cet aspect “moviment”, plutôt que “monument”. Ce monument est lié à l'idée de fête, de joie, d'une culture accueillante.” Pourtant, le projet a reçu de nombreuses critiques dès sa présentation : “Ce qui est rejeté, c'est le fait que ce bâtiment et la conception de la présentation de l'art, font que l'art est désacralisé, présenté dans un cadre qui n'est pas celui du musée temple, ou du palais.” analyse Bernadette Dufrêne.    "Au cœur de l'histoire" est un podcast Europe 1 Studio. Ecriture et présentation : Virginie Girod - Production : Europe 1 Studio- Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Communication : Kelly Decroix - Visuel : Sidonie Mangin

Is technology the answer to delivering major programmes on time? Is the infrastructure industry moving towards equality? In this episode of Navigating Major Programmes, Riccardo and Corail Bourrelier Fabiani discuss all this and more. Corail is an accomplished programme manager with expertise in delivering ambitious urban and cultural programmes with budgets ranging from £2 million to £5 million for clients such as the City of London Corporation, City of Paris, Sellar, and Fondation Louis Vuitton. Her experience includes managing the Paddington Square Public Art Programme and the Shard Quarter Public Art Programme in London, as well as leading the Sculpture in the City programme for four editions. Riccardo and Corail catch up after both recently graduating from Oxford's Saïd Business School before diving into Corail's fascinating career and her invaluable insights to improving inclusivity in infrastructure. Key Takeaways: The surprising factors of navigating internal and external stakeholdersRecognizing the importance of mentors, sponsors and allyship in male-dominated industriesHow diversity in the leadership teams could even out the respect playing fieldWhy rebranding the industry will inspire more women choose a career in infrastructure If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox.The conversation doesn't stop here—connect and converse with our community via LinkedIn: Riccardo CosentinoCorail Bourrelier Fabiani Transcription:Riccardo Cosentino  00:05You're listening to navigate major problems, the podcast that aims to elevate the conversations happening in the infrastructure industry and inspire you to have a more efficient approach within it. I'm your host Riccardo Cosentino I bring over 20 years of major product management experience. Most recently, I graduated from Oxford University's a business school, which shook my belief when it comes to navigating major problems. Now it's time to shake yours. Join me in each episode as a press the industry experts about the complexity of major program management, emerging digital trends and the critical leadership required to approach these multibillion dollar projects. Let's see what the conversation takes us. Corail Bourrellier Fabiani is an accomplished Program Manager with expertise in delivering ambitious, urban and cultural programs for high profile public and private organizations. With a collaborative and problem solving approach she pushes the boundaries of what is achievable within complex environments. Corail has delivered projects with budget ranging from 2 to 5 million pounds for clients such as the City of London cooperation city of Paris, Cellar and fundacion Louis Vitton her experience includes managing the Paddington score public health program and the Shard quarter public health program in London as well as leading the Sculpture in the City problem for for additions in summary corroborate the bill Fabiani is a highly skilled and experienced Program Manager with an exceptional track record of delivering successful outcomes for her clients with a collaborative and problem solving approach. She's a valuable asset to any team working on ambition and cultural problems.  Hello, welcome to navigating major projects. I'm here today with Correll I met Correll in my university degree at Oxford. And how are you doing today, Corail? Corail  02:05Hi, Riccardo. I'm doing great. Thank you for having me. Riccardo Cosentino  02:08It's my pleasure. It's my pleasure. As we discussed before, this podcast is about women representation in infrastructure. And I wanted to do to corral because I've learned through my years at Oxford, as she has a strong opinion about women in infrastructure. So I felt it was perfect guest for this podcast. So why don't we get right into the questions, Coraill? Let's start with a simple one. What what is your current role in infrastructure or contraction? Corail  02:42So I manage the delivery of large scale public art programs for both public and private organizations. And I work on fitout projects for museums. Riccardo Cosentino  02:55All sounds really interesting. How do you get into that and to begin with, Corail  03:00so basically, I I've always had abilities in the scientific subjects as a kid, like, I remember, I was like, maybe seven and they weren't like a mathematic competition in my region in France, etc. So being good in maths or in science as a child and coming from like a family of engineers, basically, I, I didn't really have a choice in my career. At 17, I told my mom, I wanted to become a makeup artist. And she said, No, she was like, there is no way first you you get a master's in engineering, you get degrees, and then you see what you want to do. And you can do whatever. And that was kind of like the idea that this this field would open doors to anything else. And so later, I found the university that was offering a type of engineering that was called urban systems engineering, which is like kind of a mix of civil engineering, structural engineering, urban design, all this kind of different elements, which felt kind of a bit more creative, you know, then just like something like more traditional. So I went for that. And out of this, I started working with people that were doing art with engineers and with architects and so it was fascinating. I worked with a really interesting man who was both an architect and an engineer, and with whom we basically developed really complex pieces of art by helping the artist design them, helping them build a fire in the fabricators to build them but also communicate with you know, the cities or the planners etc. To put them in the public space and re landscaped the areas etc, to increase integrate new pieces of art. So So that's how kind of I got into that very specifics field of the industry was your chance, Riccardo Cosentino  05:08So you are the crossroad of engineering and art. Is that a fair description? Corail  05:14Yes, absolutely. I think that's, that's really it. And that's just out of being interested in both and never being able to choose. And going with Well, I was still like, if you go into this, this engineering, infrastructure construction field, then you can also do what you're passionate about, which was art. And that's also why I moved to London, because I thought London was the place to be if you were interested in art. And that's how I started working for the city of London, but also private developers in London. Riccardo Cosentino  05:50Very good. So I, by the sounds of it, the next question might be a little redundant, but was it a surprise for you to build a career in infrastructure? Corail  05:59So it wasn't so much a surprise, I feel, I feel like it just kind of happens, you know, it's a was not also what's interesting isn't in our careers, or in our work, planning, or organizing is very important. I feel like in my personal career choices, it has been more like, you know, just following my passion, following my heart at the time or following advice I was receiving from families and friends. And so it was, it wasn't a planned, but it wasn't really a surprise, either. Riccardo Cosentino  06:34Okay, and so, what has been, okay, so you, you kind of plan this, you kind of follow your heart, as the industry surprised you in any way positive or negative up to now? Corail  06:47Yeah, I think it really, I didn't expect that we would, you know, have so much interaction with different types of people. I think when you study, when you go into scientific fields, you get this idea, because you do a lot of maths and a lot of physics, etc, that your work is going to be very technical. And my work has been a lot more about trying to convince people that, you know, this project is amazing, and it needs to happen, or, you know, trying to listen to what people want going going to meet land owners going to meet people who don't shop in the public, like, you know, next to the place where you're trying to build a network, or maybe talking to I don't know, like every type like access teams, highways, you know, a lot of internal and external stakeholders that you don't necessarily think of, and that is the real complexity, really, in your program much more than if you think like much more than the technical side, much more than managing your budget is trying to make sure that, you know, everyone is aware of what's happening. Everyone is in sync, and you don't get blocked along the way. And yeah, it has been a lot more about about that, I think. Riccardo Cosentino  08:10Interesting. So the next the next questions are gonna I don't know, probe you a little bit. And I know it's a difficult question, but so far, what has it been the highlight of your career? What is the most interesting project you worked on? The one that you're very, very proud of? Corail  08:28Well, I think like the the probably the one project I'm the most proud of would be the shard fabric, our program, because the shard is the highest skyscraper in London. It's a really beautiful building by Renzo Piano was an architect I really admire. And it's in a location where the artworks are seen by 50 million people per year. You know, it's right next to London Bridge station. It's really a prime location. It's an artist, Jeremy Lanza, who's internationally famous you find these sculptures everywhere. And it's it was really, you know, a labor of love, like trying to get all the approvals in place trying to get all the construction I worked with with the builders of the Shard on this, I worked with the engineers of the Shard but also with all the different parties that own different pieces of land around this area. And it was complex, but it felt very much like the jewel on the crown if you will like this kind of project that everybody when they arrive in in London Bridge station when they come out of the tube. That's the first thing they see right next to the shard and it's been really really interesting to get there. It's a project that in total took seven years to build. So it's a long, long project. I only arrived towards the last three years of the of the program but You know, being able to deliver it and seeing the artists being really pleased, and the clients being ecstatic as well was really something that I was proud of. And I still, I'm still very connected to that piece because I'm, I'm still really, you know, having nightmares at night of like, oh, well, if this artwork that is suspended above and the elevator falls, and then someone calls me in 10 years time and all that, like, you know, it, you you get to that level of involvement, I guess, when you're when you're working on such important projects for yourself. And yeah, I guess that's, that's the one that in 50 years time, if I have kids, it will still be there. And they can still come and have a look at it. Riccardo Cosentino  10:47Yeah, so I've seen our London Bridge station, and just right next to the shard, so anybody who's listening was in London, highly recommend to see these two pieces, right. One One is hanging one is on the on the ground. Corail  11:03Yes, it's standing. And I really recommend that people go and look at them at night, because that's when they're lit up. And they really feel like a welcoming piece for when you come out of the station, it's there for you to feel like you're welcomed, you're part of that space. And it humanizes the space so much, it really brought a different dimension to that to that square. So yeah, definitely was a was a look. Riccardo Cosentino  11:30Okay, thank you for that. That was fascinating. I'm always fascinated by the work that you do. So let's get into something that is even more, more close to your heart, and you feel even more passionate, which is working in a male dominated industry. So so far, your career, what would have been the challenges that you faced in a male dominated industry? Corail  11:55Yeah, I think you're absolutely right. That's one of the topic I'm really passionate about. And it's out of there been, like working all my life in male dominated industries. And it's it started even during my engineering studies, where we were massively outnumbered in in class, you know, it was yeah, not not far from like, 75% men and 25% women, probably something along those lines. And I think one of the challenges is, for me personally, being managing worksites, for example, is being able to communicate on an equal footing with, with men with worksite. Managers, with technicians as well being able to, you know, have a communication that is kind of free of backgrounds. So, that is liberated. And I've always had really great connection with with people, you know, I work with, but there is always this kind of thinking in my head of what is the right distance, you know, what should I should I make an effort to be nice, so that I'm accepted, and I'm listened to, or should I be really distant and really cold with the people around, so I'm respected. And there is always this kind of trade off, where if you're too nice or too kind, you're not necessarily respected. If you're too cold, like you, you are vilified, if that's the right word, but you're definitely not not appreciated in your team and not given the support that you necessarily need. So I think it's, it's difficult because it's something that is really linked to your sex. And that doesn't exist. Obviously, when you work with a woman like they those questions don't happen, and you don't worry about those things as much. So I've had to navigate this. Other challenges I faced, for example, was during COVID de COVID. Period, I was working in an in a company that was very, very heavily masculine, and the few women that were there basically started to disappear during COVID. And they were, they were thanked for their work, and they had to find themselves in really difficult positions. And that's not because they they were not good at their job. Far from it. I think all my colleagues, female colleagues and friends as well. I think were really working hard delivering, staying late when they're needed, et cetera, extremely motivated. But when it came to having to make the difficult decision of firing some people to put it bluntly, it felt like the management sorry, was easier to say goodbye to these women than to other men who maybe would have questioned it more maybe would have. I don't know what what was the reasoning behind. But that was like a really tough time where suddenly I realized, like we are fighting for equality, we're trying to get more diverse. But as soon as there is a crisis that is this big, we go back to our whole the habit. And yeah, that's something that has been difficult. I'd say one last thing is, when you're a woman, you are not necessarily given the same value as your male pair to start with, which means that if you're in a meeting, you have constantly to, or you feel like you have to prove yourself, you have to prove that you have a brain, you have to prove that you understand what's going on, you'll have to kind of fight a little bit harder to be taken seriously, when your male peer comes with, with a sort of aura that or just a simple respect from the start, if you will, so I never had issues with, you know, working with people I know really well. And, you know, they know me, they know my worst, they know what I can bring to trust me and it goes great. But when I go into a room, when I don't know the people, it's it's a lot harder to prove that I can do the job. And that can be linked with the idea we have about leadership and how it looks and it can be completely subconscious. And I come here, I look like a woman, I have a soft voice, I'm a bit shy, etc. Which means that for someone on the other side of the table, it's an extra effort to remind themselves that I can lead this project, I can manage this project as anyone else can. Riccardo Cosentino  16:56So maybe a follow up question, then. So you're obviously successful, you were to face all these challenges in a male dominated industry, how did you succeed? Why were you able to do to succeed? Probably knowing you, you think you haven't succeeded, but Corail  17:13thank you. Now I have to say, mentors have been amazing and, and sponsors and I have a to say thank you to Martin to Michel and Dan, if they if they ever listened to this podcast, because I met wonderful leaders who basically trust in me and push me and have been helping me develop by showing me how to lead and I would just, you know, follow that path. And I think that's so important to have someone who has more experience than you who knows what's happening, and who can help you develop and, and, and go somewhere you didn't even think you could yourself go into you know, and believe in you. And you will notice I didn't give any female name in there because that's, that's, that's the reality, I never had a female mentor, just because in my industry that I did, I never really had a female bus. But what I had, though, was a lot of sorority with other women and friendship with other women, whether in my teams or my clients, teams, at the City of London, the manager was in charge of sculpture in the city, which is one of my program. She, she was wonderful, and we became friends and that, you know, the sorority that we created was really helpful for me to succeed and develop and learn about about these programs and these projects. Yeah, and I guess like, obviously, you can't, you have to be honest, you're fit like you're fact, the support of your family makes a huge difference as well, obviously, because if you think about people, like when you think about women trying to envision themselves in a career in this industry, if they don't have an environment, a family environment that is there to push them and tell them like this is feasible, you like you know, did your you can you can study, you can go into science, etc. You don't necessarily think about it, it just doesn't come to your mind, I think. Riccardo Cosentino  19:33Yeah, yeah, support is fundamental to success. I'm glad you touched upon mentors and female mentors that that's one topic I wanted to explore. And so thank you for bringing it up. Even before I could ask you the question. So is it important to have female mentors rather than male mentors for a female or you think in your mind, it's it's As a mentor as a mentor, Corail  20:01so I would say I think what's important is to have female role models. And that's something that I found when we were in Oxford. In this master's, I met a lot of incredible women who do really interesting work in transport in the nuclear industry in all different fields, which are traditionally seen as masculine fields, and having them as role models, or as people that, you know, I can I can really relate to, I can connect with them. I, I see, I see how the struggles that they had to go through. And I know, I share the struggle in my career, although my career is nowhere near theirs, but I can identify myself to those role models, and I can, it opens a little light in my brain that says it's possible, you know, I can do this as well. And I think that is very important. In terms of mentorship and sponsorship, I think at the moment, what's important is having a sponsor, no matter the sex, because obviously men are men or in male in, in a male dominated industry, sorry, men are in power. So you need a man to help you or to sponsor you to to also, you know, accelerate your career, I think we're not in a situation where you can really pick and choose. And to be fair, my male sponsors and mentors have been amazing at helping me develop. So it's more about the person and the power that they have or the knowledge that they have that you don't have. Riccardo Cosentino  21:40Thank you for that. That's really insightful. Hopefully, people will find that helpful, because I certainly did. Okay, well, I think we come in towards the end. One very broad, sweeping question, what what are your hopes for the industry as a whole? Corail  21:55So we talked about diversity, obviously, I think we can't deliver good programs without having diversity in the leadership teams. Because what we prioritize what we put at the at the forefront is what matters most to us. And my experience as a woman is different as your as your experience as a man or someone else's experience. So I think diversity in the leadership teams really, when we work on very large, very impactful projects is extremely important to make sure that the priority are not our priorities, but our people that represent the society we were serving. So obviously, I hope that in the future, we'll have more and more diverse teams, and especially in the leadership position, I hope that our industry will be a lot more conscious as well, I think in the construction industry, we are talking so much at the moment about net positive, Net Zero, etc. So I think this is like obviously a major topic. And I'm really interested in that aspect of our programs and the progress we can make in that as well. And earlier offline, we were talking a little bit about technology and how technology can help us in different ways. And my hope for technology is that it will help us deliver on time. That would be wonderful. Yeah, Riccardo Cosentino  23:29there'll be the day on time and on budget. mega projects. Yes. Yeah. That's something to aspire it. Okay. So the final question is actually a break it down into two parts. But like, would you encourage more women to pursue a career in infrastructure? And for those women who are considering that career? What would you tell them? Corail  23:50Yes, I would definitely encourage more women to join this career. I think it's so interesting, because you work with so many different people, you know, I work with artists and engineers and Londoners, etc. And it's just just like, a chance to discover the world in a way. I think it's extremely interesting, although it can be intimidating yet. And I think a way to get more women into this industry is just rebrand the industry and just make it more attractive to women. And I know that the Engineering University I studied in which is called UTC in France, that recently reached 50% Women in at the entry. And I think that's, that's wonderful. And the way they've done it is really rebranding the field, just to attract more women because women have the potential to join this really, you know, this universities that are really challenging, intellectually challenging, but also fascinating, and I would I would really encourage women to to not be scared about the environment and seek out groups of women that can support them. I'm very passionate about the idea of creating women's networks. And I think we can see more and more women's networks in male dominated industries. And sometimes they're used a little bit as a how to say it as as a front, or used as a marketing tool for companies to include more women. But I think it's also the responsibility of women to decide what they want to do is to scan of network be clear and transparent about what are the opportunities that this network can bring to them, and also become more strategic about this networks and, and develop networks that can have some strategic power, let's say, to change the culture of our industry. So don't hesitate to join and try and build a strong strategic network that will support your career progression. Riccardo Cosentino  26:06That's excellent advice. Thank you for that career. Okay, I think I think this comes comes to the end of the podcast, I want to thank you again for agreeing to do this. You were terrific. I've really enjoyed our conversation today. And hopefully, we'll we'll have you back again for some other topics. Corail  26:24Thank you so much, Riccardo. It was wonderful. Thank you. Riccardo Cosentino  26:28Okay, bye now. Bye. That's it for this episode, don't navigate the major problems. I hope you found today's conversation as informative and thought provoking as I did. If you enjoyed this conversation, please consider subscribing and leaving a review. I would also like to personally invite you to continue the conversation by joining me on my personal LinkedIn at Riccardo Cosentino. Listening to the next episode, we will continue to explore the latest trends and challenges in major program management. Our next in depth conversation promises to continue to dive into topics such as leadership risk management, and the impact of emerging technology in infrastructure. It's a conversation you're not going to want to miss. Thanks for listening to navigate the major problems and I look forward to keeping the conversation going Music: "A New Tomorrow" by Chordial Music. Licensed through PremiumBeat.DISCLAIMER: The opinions, beliefs, and viewpoints expressed by the hosts and guests on this podcast do not necessarily represent or reflect the official policy, opinions, beliefs, and viewpoints of Disenyo.co LLC and its employees.

Klimaschutz im Museum: Die Jahrestagung des Deutschen Museumsbunds widmet sich der Nachhaltigkeit. Judith Heitkamp im Gespräch mit Kathrin Grotz /Istanbul Modern: Am Ufer des Bosporus hat ein neues Museumsgebäude von Renzo Piano eröffnet: Von Dayala Lang / Saitensprung: Filmregisseur Jim Jarmusch hat mit "Sqürl" seine erste Platte veröffentlicht. Von Roderich Fabian / Musik: Jessie Ware - That! Feels Good! Veröffentlicht am 8.04. auf Universal Music

durée : 01:00:53 - LSD, la série documentaire - par : Perrine Kervran, Camille Juza - Des tours Duo aux Mercuriales, du Tribunal de Renzo Piano au chantier de la Tour Triangle, avalons les 35 km d'asphalte et regardons surgir, comme dans un jeu de voitures, les fantasmagories du périph. Avec Aurélien Bellanger et François Chaslin.

Dagli anni sessanta con Renzo Piano agli ottanta con la progettazione del passante ferroviario di Milano, i tratti distintivi del processo creativo di Angelo Mangiarotti uniscono fabbriche che somigliano a templi greci, prefabbricati e un'ideale di architettura anonima.

As the London's iconic Shard skyscraper, which is the UK's tallest building at 309.6m, gets ready to mark the 10th anniversary of its opening on 1 February, this episode catches up with Flan McNamara who led the construction project for Sellar Property Group. As well as exploring the logistical challenges of bringing the architectural design of Renzo Piano and the engineering work of WSP to life, Flan and NCE editor Claire Smith talk about lessons learned during the life of the project. Flan talks about how digital technology evolved during the lifespan of the Shard Quarter project, which transformed both the skyline around London Bridge station and was integral to the modernisation of the station itself. He talks about BIM being in its infancy when the Shard itself was conceived and the potential benefits such technology could bring to the project if it was starting today. Flan also discusses the pace of change that saw a huge leap forward in the technology used to deliver the buildings surrounding the Shard that came later in the programme. However, he believes that the industry needs to go further and faster with adopting digital twin technology to really drive construction efficiency and productivity. Flan and Claire conclude the conversation by considering what the tall buildings sector might look like in another 10 years when the Shard marks its 20th anniversary. Flan believes that it is only airport flight paths holding London back from another building taking the Shard's record but whatever the height of future tall buildings, he thinks that mixed use developments are the key to success both for the climate and commercially. The Engineers Collective is powered by Bentley Systems. Around the world, engineers and architects, constructors and owner-operators are using Bentley's software solutions to accelerate project delivery and improve asset performance for transportation infrastructure that sustains our economy and our environment. Together, we are advancing infrastructure. Find out more at www.bentley.com  

Beszégetés dr. Vigh Attila hídépítő mérnökkel, a Láthatatlan Híd tervezőjével. 04.00: Elneresedett-e a hídépítő szakma? 09.00: Dunavirág-védelem a budapesti hidakon. 09.50: Pillér a pilon ellen, alépítmény és felszerkezet. 17.00: A hivatkozott előadásanyagok hídesztétika témakörben.  17.50: Az 1430-ban épült tibeti lánchíd, a Chusul Chaksam, Tibet ez idő tájt független állam volt./Lánchíd/Margit híd  20.30: Szabadság híd/régi Erzsébet híd/Erzsébet híd  35.00: 70 kilós fiúk és 50 kilós lányok súlyosabb teher egy hídon, mint a megrakott teherautók. 41.00 Megyeri híd/ Galvani híd/Hány híd kell?/Felcsúti híd  52.00 Calatrava/Calatrava Alamillo híd (Artúr, a britek legendás királya a 6. században alkotott) 57.00: Morandi híd.  01.00.30 Renzo Piano és az új genovai híd/Tintagel híd/Néprajzi múzeum  01.13.20: Kell-e Lánchíd?/Aquincumi híd/Szegedi híd See omnystudio.com/listener for privacy information.

Il fotografo Marcello Bonfanti illustra la sua mostra, nella quale documenta la progettazione e realizzazione del centro pediatrico Emergency di Entebbe in Uganda.

This week David and Marina share their thoughts on Renzo Piano's Academy Museum of Motion Pictures in Los Angeles and Pompidou Center, the relationship between beauty and structure, and architecture books that are important to them. Francoise Choay's Urbanism, Utopias, and Realities Gombrich's The Story of Art Francis Ching Gaston Bachelard's Poetry of Space Gaston Bachelard's Highrise Michael Sorkin's 20 minutes in Manhattan Kevin Lynch's Image of the City Christopher Alexander's Pattern Language Robert Venturi's Complexity and Contradiction in Architecture, Adrian Forty's Words and Buildings Jane Jacobs' Death and Life of Great American Cities Nick Crosley's Key Concepts in Critical Social Theory Henri Lefebvre's Everyday Life Homi K. Bhabha This episode is supported by Brizo • Monograph • Miele • Graphisoft SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Instagram • Facebook • Twitter  • Call or text questions to 213-222-6950 SUPPORT Leave a review :) EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.  •  Design Companion: Informative talks for clients.   •  After Hours (AH): Casual conversations about everyday life.  •  Design Reviews: Reviews of creative projects and buildings.  •  Fellow Designer: Tips for designers.

Celebrating an Italian archistar who has a broad spread of ideas represented in his works. - Credits : “Your Intro” by Audionautix (http://audionautix.com/) courtesy of Creative Commons (https://creativecommons.org/licenses/by/4.0/)

Die neue Brücke anstelle der eingestürzten Morandi-Brücke in Genua, bei deren Einsturz 2018 Menschen in den Tod gestürzt waren, hat Renzo Piano entworfen. Er versprach: Seine Brücke werde mindestens 1000 Jahre halten.

"Architektur ist auch eine Vision der Welt", sagt der Stararchitekt Renzo Piano. Die neue Brücke anstelle der Morandi-Brücke in Genua, bei deren Einsturz im Jahr 2018 Menschen ums Leben gekommen waren, hat er entworfen. Piano versprach: Seine Brücke werde mindestens 1000 Jahre halten. An Selbstvertrauen mangelt es ihm nicht. Autorin: Andrea Klasen Von Andrea Klasen.

The Shard - one of the dominant features of the London skyline - opened to the public in February 2013. Designed by Italian architect Renzo Piano, the skyscraper divided public opinion: it features tall, fractured slivers of glass rising in a pyramid-like shape to a jagged spire. The Shard is also home to London's highest viewing gallery. Reena Stanton-Sharma talks to engineer, Roma Agrawal, who helped build the Shard. PHOTO: The Shard towering over South London (Getty Images)

https://entrearchitect.com/wp-content/uploads/2021/12/ScreenShot2021-12-16at1.48.13PM.png ()RODE Architects Kevin Deabler began studying design at North Carolina State University's College of Design in Raleigh, North Carolina where he graduated with Bachelor degrees in Environmental Design in 1995 and Architecture in 1996. While enrolled at NCSU, Kevin also managed an internship with the sculptor Thomas Sayre and the architectural studio at Clearscapes PA. After arriving in Boston in 1996, Kevin held positions at Benjamin Thompson Associates, Perry Dean Rogers, and CBT/Childs Bertman Tseckares. His project work included a theater complex in New York's Times Square, the master planning of a new campus for Olin College, and several mixed-use urban developments in Greater Boston such as Russia Wharf and Kendall Square. At CBT, Kevin also worked as a project manager on high-profile museums with renowned architects such as Renzo Piano for the Isabella Stewart Gardner Museum, Norman Foster for the Museum of Fine Arts- Boston, and Daly Genik for the Harvard University Art Museums. In 2004, Kevin completed an MBA at Northeastern University. Eric J. Robinson began studying design at North Carolina State University's College of Design in Raleigh, North Carolina where he graduated with a Bachelor degree in Environmental Design in 1994. Eric then participated in a two-year internship with BCW+H Architects in Richmond, VA. Following this internship Eric attended the University of Virginia, successfully finishing his Master of Architecture in 1999. Upon completion of his Masters, Eric was offered a position at Charles Rose Architects (formerly Thompson and Rose) where he worked as a Senior Designer/Architect for 9 years. His diverse body of work includes projects at the University of South Dakota, the University of Massachusetts Dartmouth, the Florida Gulf Coast Museum of Art, the Federal Port of Entry in Del Rio, TX, residences on Martha's Vineyard, and a summer camp in Wyoming. Eric's projects at Charles Rose Architects have received multiple professional awards. Eric and Kevin Deabler founded RODE Architects in 2005. Since 2006, Eric also serves as a visiting lecturer at Northeastern University. Eric is a LEED Accredited Professional and brings to the firm an integrated, design-oriented approach to the profession. Kevin is also LEED accredited and brings to the firm a professional and organized approach to problem solving. This week at EntreArchitect Podcast, RODE Architects with Eric Robinson & Kevin Deabler.  Connect with Kevin & Eric online at https://www.rodearchitects.com (RODE Architects), or find them on https://www.linkedin.com/company/rodearchitects (LinkedIn), https://www.facebook.com/RODEArchitects/ (Facebook), https://www.instagram.com/samrichter/ (Instagram), and https://www.instagram.com/rodearchitects/ (Twitter). Please visit Our Platform Sponsors https://arcat.com (ARCAT) is the online resource delivering quality building material information, CAD details, BIM, Specs, and more… all for free. Visit ARCAT now and subscribe to http://arcat.com (ARCATECT Weekly and ARCATAlert). http://EntreArchitect.com/Freshbooks (Freshbooks) is the all in one bookkeeping software that can save your small architecture firm both time and money by simplifying the hard parts of running your own business. Try Freshbooks for 30 days for FREE at http://EntreArchitect.com/Freshbooks (EntreArchitect.com/Freshbooks). Visit our Platform Sponsors today and thank them for supporting YOU… The EntreArchitect Community of small firm architects. Mentioned in this Episode https://yougotthenews.com (YouGotTheNews.com) The post https://entrearchitect.com/podcast/entrearch/rode-architects/ (EA434: Eric Robinson & Kevin Deabler – RODE Architects) appeared first on https://entrearchitect.com (EntreArchitect // Small Firm Entrepreneur Architects).

Director of the Kimbell Art Museum Eric Lee is the director of the world renown, Fort Worth Kimbell Art Museum. Beginning with an art history PhD from Yale to leading the Kimbell since 2009, Lee details the incredible acquisition and background of several prized works from the Kimbell's collection. We also discuss his career, the Kimbell history, the Louis Kahn and Renzo Piano architecture, and some Kimbell secrets.