Podcasts about Rohe

In this episode of the A is for Architecture Podcast, author, curator and currently director of the Farrell Centre at Newcastle University, Owen Hopkins discuss his recent book, The Manifesto House: Buildings that Changed the Future of Architecture, published by Yale University Press two days ago. The Manifesto House explores the history of architecture through the lens of individual houses that have acted as manifestos for new ideas, movements and ways of living. Looking at twenty-one houses from the 16th through to the 21st century, the book presents a compelling narrative of how individual homes can influence architecture's evolution, and perhaps even answer some of the challenges we're faced with in the built environment today.Owen is also currently one fifth of the team who have curated this year's British Pavilion exhibition at La Biennale di Venezia 2025, which can be read about here. Owen can be found on Instagram and LinkedIn and the book is linked above. Listen, think, click, buy, read. Wow!#ArchitecturePodcast #ManifestoHouse #OwenHopkins #FarrellCentre #BuildingsThatMatter #ArchitecturalHistory #RadicalHomes #BiennaleArchitettura2025 #ArchitectureAndSociety #DesigningTheFuture #AisforArchitecturePodcast+Music credits: ⁠Bruno Gillick Image credit: Mies van der Rohe, Farnsworth House, exterior view towards entrance platform. Library of Congress, USA.

Wisconsin was home to many towns throughout its history that, for various reasons, simply don't exist anymore. Whether bypassed by the railroad, faded away after a loss of industry, or disbanded by its own residents, the towns have been wiped from the modern-day landscape, some with visible ruins as reminders, and others have literally nothing existing other than stories. Those stories are largely unknown to most people today, but they are no less fascinating because of it. The unique history of Wisconsin is only further enriched when these stories are brought to light, including connections to America's Founding Fathers, European royalty, and even an eventual Presidential assassin. Scott and Mickey look at the history of some of our state's more interesting ghost towns, and what, other than legacy, still remains today.   In the opening banter, we discuss a new documentary about the Peshtigo Fire, and a certain town that a local media outlet called the "Most Haunted in Wisconsin."  All here, on episode 53 of Badger Bizarre: "Ghost Towns of Wisconsin."    Facebook Twitter Website Email us:  badgerbizarre@outlook.com   Opening Trailer: Ed Gein Sound Byte : "Hard Copy" - Paramount Domestic/CBS Televsion Frank Lloyd Wright and Jeffery Dahmer Sound Byte - WISN 12 News - Milwaukee, WI Jeffery Dahmer Quotes: "Inside Edition"  - King World/CBS Television/CBS Media     Attribution for Music: Trailer: Composer: Adam Phillip Zwirchmayr https://www.pond5.com/ Intro: https://pixabay.com/ Outro: Composer: Viacheslav Sarancha  https://www.pond5.com/     Attribution for logo design: Red Claw Scratch Photo   Sources:   Bale, Florence Gratiot: "When the Gratiots Came to Galena" Bulman, LeeAnne "Back Roads of Wisconsin's Past" New North (Rhinelander) - Archives Parker, Marjorie: "Miners, Mothers, or Medicaine Workers?" Rohe, Randall: "Ghosts of the Forest; Vanished Lumber Towns of WI" Stark, William: "Ghost Towns of Wisconsin" Vilas County News Review - Archives State Historical Society of WI Wisconsin Magazine of History - Archives Wisconsin State Journal - Archives   Please visit our sponsor: FrameMakers                  

For the British architect John Pawson, minimalism isn't just a design philosophy, but a life philosophy—with his 1996 book, Minimum, serving as a defining jumping-off point. Over the course of more than four decades, Pawson has quietly amassed a global following by distilling spaces, objects, and things down to their most essential. With projects ranging from his career-defining Calvin Klein Collection flagship store on Madison Avenue in New York City, completed in 1995, to a remote monastery complex in the Czech Republic he's been building for Cistercian monks of the Trappist order for more than 25 years; from hotels in Los Angeles, Madrid, and Tel Aviv to London's Design Museum; from private homes in Colorado, Greece, Japan, Sweden, and beyond, to a chair and cookware; from lamps and linens to doorknobs, bowls, to even a steak knife, Pawson's tightly focused yet seemingly boundless practice places him in a category all his own.On the episode—our fourth “site-specific” taping of Time Sensitive, recorded at Pawson's country home in the Cotswolds—he discusses the problems he sees with trying to turn minimalism into a movement; his deep-seated belief in restraint, both in life and in architecture; and his humble, highly refined approach to creating sacred spaces.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:[08:06] Tetsuka House (2005)[08:06] “John Pawson's Approach to Making Life Simpler”[08:06] Shiro Kuramata[08:06] Katsura Imperial Villa[08:06] North York Moors[12:41] “Minimum” (1996)[12:41] Sen no Rikyū[17:35] Calvin Klein Collections Store (1995)[17:35] Ian Schrager[17:35] Paul Goldberger[17:35] Cathay Pacific (1998)[20:59] “Elements of Style” (1959) by William Strunk Jr. and E.B. White[20:59] “Plain Space” (2010)[20:59] Raymond Carver[23:08] Bruce Chatwin[23:08] “Wabi”[23:08] Chatwin Apartment (1982)[26:26] Deyan Sudjic[28:12] Ryōan-ji[31:11] “John Pawson: Making Life Simpler” (2023)[30:16] Neuendorf House (1989)[30:16] Tilty Barn (1995)[37:19] Claudio Silvestrin[37:51] Philip Johnson[40:49] Home Farm (2019)[40:49] “Home Farm Cooking” (2021)[47:18] Bill Brandt[55:46] Hester van Royen Apartment (1981)[56:36] Casa Malaparte[56:36] Mies van der Rohe[56:36] Barcelona Pavilion[59:356] The Design Museum (2016)[59:356] Farnsworth House[59:356] “Inside the Brick House, Philip Johnson's Private Playground”[1:02:26] Pawson House (1999)[1:05:53] The Feuerle Collection (2016)[1:10:33] Abbey of Our Lady of Nový Dvůr (2004)[1:21:54] Pieter Jansz. Saenredam 

#24: Marc Spector, founder of Spector Companies, unpacks landing one of the most iconic projects of his career: a commission inside the legendary Seagram Building by Mies van der Rohe. No flashy pitches. No designs. Just pure, relationship-driven strategy. In this conversation, Marc breaks down how trust, intuition, and human connection led his team to win big, proving that sometimes, the most powerful tool in architecture isn't the drawing board – it's the people around it.PS - If you're a growth-minded firm owner or leader, apply to join us inside The Studio - https://growthitect.com/studioLearn more about Spector Companies: https://spectorcompanies.com/ Here's what you'll learn in the episode: → What never gets shown in a design presentation, but helped Marc win the Seagram Building project before it even began.→ The unconventional move Marc made before the RFP that built trust and changed everything.→ Why understanding a client's culture beats out the best design proposals.→ The truth about working inside a global architectural icon, and the surprising challenges no one warned them about.→ What happens when your process becomes the product? Inside Marc's game-changing “experience strategy workshop.”→ The quiet system behind Marc's repeat business and steady referrals.→ When every firm is talented, how do you stand out? The overlooked edge Spector Companies uses to win high-stakes projects.→ What Marc really uses to measure success, and why it has nothing to do with awards or headlines.→ The biggest lesson Marc learned from the Advent International project – and the hard truth architects need to hear before taking on prestige work.(04:11) Inside Advent International's bold new project(09:37) How real estate visionaries think differently(13:29) What it's really like to renovate the Seagram Building(16:13) The clever design move that made a mid-floor layout possible(20:33) Why Marc built a “growth studio” for firm owners(23:14) How design and construction teams actually collaborated(28:02) The key to truly understanding what clients need(30:53) Planning strategy before the site even exists(33:35) The power of asking: “What's the why?”(35:29) How Marc keeps client relationships strong post-project(39:27) What 60 years of success looks like from the inside(41:33) The truth about building a business through relationships(44:49) How custom design starts with putting the client firstGROWTHITECT RESOURCES→ Apply to join The Studio - https://growthitect.com/studio → Join thousands of architects on the free Growthitect newsletter - https://growthitect.com/join STAY CONNECTED→ Follow on LinkedIn→ Follow on Instagram→ Subscribe on YouTube→ Follow on Twitter

We all know rehab is not accessible to everyone who needs it after a neurologic injury. There are a number of reasons why, and, fortunately, there are also people looking to solve that problem. On today's show we interviewed Amy Rohe, MS, OTR/L, CSRS, ATP who works for Neurofenix, a company that is transforming neurological rehabilitation with its innovative virtual therapy platform. The primary tool used by the OTs of Neurofenix is the NeuroBall, an FDA-approved device, that offers patients engaging, data-driven occupational therapy from the comfort of their homes. This model of delivery is really unique and interesting for clinicians and innovators in the healthcare space! The approach addresses critical gaps in traditional rehabilitation by providing accessible, consistent therapy for patients with neurological conditions, particularly stroke survivors. With over 90% patient adherence and plans for expansion, Neurofenix represents the future of technology-driven rehabilitation. Learn more about Neurofenix at https://www.neurofenix.com/   www.linkedin.com/company/neurofenix IG @neurofenix Reach out at: therapists@neurofenix.com

This is PART 2 of the Podcast episode about Ludwig Mies van der Rohe. It puts a magnifying glass over a specific period of time in Mies's life: his commissions for the Nazis after the Bauhaus had closed in July 1933 and his final emigration to the US in 1938. For this episode, the art-historian Aya Soika shares her expertise. She published a book about this time of Mies's life with the title „Mies van der Rohe in the Third Reich. The Brussels Project, 1934" (link in the show notes). Aya Soika doesn't denounce Mies van der Rohe for his commissions for the Nazis but emphasizes the circumstances in which Mies found himself as a modern architect and as a person that didn't necessarily want to leave his home. But she also underlines his naivety in thinking that as an architect he could be apolitical. Although Mies never won the competition and the pavilion was never even built due to a financial lack of Nazi Germany to come up with enough foreign currency, this project – and some others – that Mies van der Rohe accepted to plan for the Nazis, those projects were, of course, hotly disputed by architecture historians. And what did Mies himself say about this after the end of the Second World War? Well, that's what you will find out in the 2nd part of my podcast about Ludwig Mies van der Rohe.

In der zweiten Bonusfolge zum eigentlichen Podcast über Ludwig Mies van der Rohe spricht Fritz Neumeyer, promovierter Architekt und Mies-Forscher. Diese Folge enthält Zusatzmaterial, das im englischen Podcast nicht enthalten ist.

In der ersten Bonusfolge zum eigentlichen Podcast über Ludwig Mies van der Rohe spricht Wita Noack, seit über 30 Jahren Leiterin des Mies van der Rohe Hauses in Berlin mit Sitz im ehemaligen Haus Lemke. Diese Folge enthält Zusatzmaterial, das im englischen Podcast nicht enthalten.

Ludwig Mies van der Rohe (1886–1969) was a pioneering modernist architect. Born in Aachen, he started as a bricklayer before moving to Berlin, where he worked for Bruno Paul and Peter Behrens. His first major commission, the Riehl House (1907), showed early signs of modernism. In 1921, he changed his name, marking his shift to modern architecture while maintaining classical influences. As vice president of the German Werkbund, he led the Die Wohnung exhibition (1927), cementing his reputation. In 1930, he became Bauhaus director, striving to protect it from Nazi repression. After the school closed in 1933, Mies attempted to continue working in Germany, even accepting Nazi commissions, a decision he later had to justify. In 1938, he emigrated to the U.S., becoming director of the Armour Institute (later IIT) in Chicago. There, he designed iconic buildings like the Farnsworth House and the Seagram Building, defining modernist architecture. In the 1960s, he returned to Berlin to design the Neue Nationalgalerie, his final masterpiece, blending classical and modern elements. Asked if he'd return to Germany permanently, he replied, “It was difficult enough to find new roots once.” His legacy, rooted in simplicity and structural clarity, continues to shape architecture today. For the first part of the Mies podcast, I invited Wita Noack, as head of the Mies van der Rohe Haus in Berlin a true expert about House Lemke where the institution is situated, and Fritz Neumeyer, THE Mies expert in Germany, who published several books about Mies van der Rohe and his work during the past 40 years. This episode has been supported by The Mies van der Rohe house.

One of the world's most precious architectural gems rests on the banks of the Fox River in northern Illinois. Maybe you've seen the Edith Farnsworth House in Plano: It's a mid-century glass and steel marvel designed and constructed by Ludwig Mies van der Rohe. The Under Rocks team got a chance to visit and learn more about the woman who commissioned her glass get-away in the woods, Edith Farnsworth.

The economic Jenga puzzle is teetering. New tariffs continue to tank the Dow and risk recession. The new "fire and fury" directed at Canada. Donald continues to attack freedom of assembly. Boycotting Tesla is illegal? The president thinks you should shut up about egg prices. Elon Musk stops by to talk about protesters. Elon wants to eliminate Social Security and Medicare. A super-sized You Were Warned segment today. With Jody Hamilton, David Ferguson, music by Robinson and Rohe, Luke LeBlanc, and more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

El arquitecto y catedrático emérito de Proyectos en la Escuela de Arquitectura de la Universidad Politécnica de Madrid, Luis Fernández-Galiano, es entrevistado por el periodista Ramón González Férriz en una nueva sesión de Memorias de la Fundación, cuyos protagonistas son destacadas personalidades provenientes de diferentes ámbitos de la cultura que fueron destinatarios de becas o ayudas de la Fundación Juan March. En 1976 fue merecedor de una beca de la Fundación Juan March para realizar un estudio sobre alternativas de viviendas en España. Es director de la revista AV/Arquitectura Viva desde 1985. Fue presidente del jurado en la 9ª Bienal de Arquitectura de Venecia y jurado del premio Mies van der Rohe. Es miembro internacional del RIBA y de número de la Real Academia de Bellas Artes de San Fernando y de la Real Academia de Doctores. Más información de este acto

Bruce Springsteen's song Glory Days lyric, “Boring stories of Glory days yeah, they'll pass you by” pops into my head sometimes, when I hear a speaker reminiscing about their glorious past.  I was sitting there at a chamber function when the speaker began to talk at length about his start in sales and his experiences.  It was fascinating for him no doubt, but it made him sound dated. He seemed to have become covered in dusty cobwebs too all of a sudden.  Talking about ourselves is great and dangerous at the same time.  Usually when we speak, there will be our introduction done by the hosts.  If we are on the ball, we don't place ourselves in their hands, so we write what we want them to say.  That doesn't mean they are on the ball and can carry out a simple task.  If we make it too long, the hosts usually manages to murder it by dropping bits or getting things wrong.  I am always astonished that they cannot successfully read a piece of paper with words on it. The audience is also on danger alert because they know the propaganda offensive is about to hit them.  It is hard to write about yourself though, because there are so many things you want to include.  Why is that?  We are desperate to establish our credentials with the audience, so that they will become more accepting of what we are saying.  We believe that volume is important so we should cram as much in there as we can.  In fact, we are defeating our own efforts because either the host mangles the text or the audience switches off. Avoiding the chronology approach is always a good start.  Sometimes these details are included in the programme flyer and you don't need to mention them at all or you can organise your own flyer for the attendees.  This is a good tactic and not hard to do.  When we are speaking about ourselves, we should focus on the key points only.  These are the things which relate to our expertise on this specific topic.  I am a 6th Dan in Shitoryu karate, which is wonderful, but probably doesn't have anything to with a topic like presenting.  I could instead say this is my speech number #342 and that would be congruent with establishing I am a real world expert of the dark art of public speaking and have the experience required to tell others how to do it. Often we are using powerpoint, so we can bring up some slides about our company.  This should also be brief.  Simple clear slides are what we want and the selection of information should be limited to the most powerful USPs or unique selling points of our firm.  Slide after slide makes an audience restless.  They are sitting there thinking, “enough already, get on with it”.  When I worked for a long established Australian Bank which was rather unknown in Japan, I would show a photograph of the establishment of the first branch back in the 19th century.  It was a black and white photograph with people dressed in the fashion of the Victorian era and it oozed with longevity.  I also attached the date in the Japanese Imperial reign format, rather than the Gregorian calendar, to make it seem even more ancient and venerable.  That one photo showed my Japanese audience we had stood the test of time and could be trusted with their money. The CEO cowardly public speaking escape route of reliance on the souped-up corporate video at the start of the talk should be avoided at all cost.  These videos are rarely a good match with the specific topic for that day, because there is usually only one video. It has to be the Swiss Army Knife of propaganda videos, to travel around the world boring people of every persuasion.  If there is a particular section in the video which is really powerful, then just cue that part and don't bother with the left over detritus. Giving our own examples is a good idea in the talk, but again, we have to steer away from too much recalling of our glorious triumphs.  The audience is only interested in how what you are telling them will result in their own glorious triumphs, now and into the future.  We have to get a balance struck between talking about ourselves for effect and not for the stroking of our own massive speaker ego.  Where possible, use client examples of what you did for them, rather than droning on about what you did. It is a tricky equation of how much is too much, which bits are more important than other bits and how much time should I allow for it.  Err on the side of caution and go minimalist, recalling Ludwig Mies van der Rohe, “less is more”.  

Descubre la Escuela Bauhaus: El Movimiento que Redefinió el Diseño y la Arquitectura" La Bauhaus es una de las instituciones más influyentes de la historia del diseño moderno, y en este vídeo te llevamos a un recorrido fascinante sobre su origen, su impacto global y cómo sus principios revolucionaron el arte, la arquitectura, la moda y mucho más. ¿Qué hizo tan especial a la Bauhaus? ¿Cómo transformó el concepto de funcionalidad y estética en el siglo XX? Hablaremos sobre los grandes maestros de la Bauhaus como Walter Gropius, Ludwig Mies van der Rohe y Marcel Breuer, y cómo sus innovaciones siguen influyendo en el diseño contemporáneo. ¡No te pierdas este análisis profundo sobre una de las escuelas de arte y diseño más importantes de todos los tiempos!

Presentem l'agenda d'arquitectura per a la primera quinzena de febrer, amb les programacions culturals del Centre Obert d'Arquitectura i la Fundaci

Jonas Rohe ist 7 Tage durch die Tundra Grönlands gewandert. Mit ihm nur sein Zelt, genügend Lebensmittel, die Natur, Polarfüchse und MÜCKEN!

Jean Rohe  is an acclaimed song-writer and singer, as well as a devoted  mentor, working with incarcerated song-writers,as well as at the New School and privately. She writes powerful narrative songs, and is widely known for her "National Anthem:  Arise! Arise!" an aspirational alternative which has been performed extensively across the US. She shared with me her perspectives on love, grief, identity, community and creativity.   One of her beautiful collaborations is the wonderful album Beautalina with the band Eureka Shoes, with Skye Soto Steele,  Charlie Burnham and Rashaan Carter. We are featuring music from that project as well as with  Robinson & Rohe.   Like all my episodes, you can also watch this on my YouTube or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website : https://www.leahroseman.com/episodes/jean-rohe Jean Rohe Website Eureka Shoes album Beautalina Robinson & Rohe This weekly podcast is in Season 5 and I send out an email newsletter where you can get access to exclusive information about upcoming guests: Sign-up! It's a joy to be able to bring these meaningful conversations to you, but this project costs me quite a bit of money and lots of time; please support this series through either my merchandise store  or buy me a coffee Thanks! You may be also interested in these episodes:   Kavisha Mazzella Ceara Conway Renée Yoxon Sophie Lukacs Shakura S'Aida Diane Nalini Megan Jerome among so many!   photo: Krysta Brayer  Timestamps:  (00:00) Intro (01:48) Euraka Shoes, Looking Glass Arts, Marika Hughes, Charlie Burnham, Skye Soto Steele, Rashaan Carter (04:28) Jean's childhood and musical family (07:19) Beautalina album, about the song “Go Easy” (09:26) “Go Easy” with Eureka Shoes (link in show notes to album Beautalina) (12:42) Eureka Shoes, creativity, dealing with grief (18:35) excerpt from “Everyone Is Dying” Eureka Shoes (19:05) Jean's educational path, jazz at New School, Alexandra Montano (22:47) Eureka Shoes, about “Barn Hymn”, Looking Glass Arts (26:23) “Barn Hymn” Eureka Shoes (28:30) The End of the World show, touring Brazil (31:42) other episodes you'll like and ways to support this series (32:29) Republic of Georgia, Ilusha Tsinadze (34:50) teaching song writing, working with incarcerated people, New School (48:03) Eureka Shoes, about “I Wanna Be” (50:54) clip of “I Wanna Be” (52:58) songwriting, touring (56:56) Liam Robinson, Robinson&Rohe, Woody Guthrie (01:03:46) “Where I'm Coming From” Robinson & Rohe from Into the Night (link in show notes) (01:07:48) songwriting, the voice as instrument (01:14:29) 74 Corridor, writing and visual art

ABOUT TREVOR BULLEN:LINKEDIN PROFILE:  https://www.linkedin.com/in/trevor-bullen-6b55b615/DUNWOODY COLLEGE OF TECHNOLOGY: https://www.linkedin.com/school/dunwoody-college-of-technology/TREVOR'S BIO:Trevor is the Dean of the School of Design at Dunwoody College of Technology. He is an award-winning architect with over 25 years of professional experience. He has significant international experience; working on a wide range of architecture, landscape architecture and planning projects in Europe, the Caribbean, and the United States. In addition to his role as Dean, Trevor has taught architectural design at the Boston Architectural College, the City College of New York as well as the University of Minnesota and is a frequent guest critic at schools of architecture nationwide.Prior to joining Dunwoody, he was a Senior Associate and Director of Operations at Snow Kreilich Architects, the recipient of the 2018 AIA Architecture Firm Award. From 2000 to 2016, he co-founded and led an architecture and planning studio on the island of Grenada, completing more than 30 built projects. The work of his firm has been published extensively in journals and books as well as being exhibited at the 2021 Architecture Biennale in Venice. SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 74… and my conversation with Trevor Bullen. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    The NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgTrevor is the Dean of the School of Design at Dunwoody College of Technology. He is an award-winning architect with over 25 years of professional experience who believes that design and teaching architecture is synonymous with discernment.We'll get to all of that in a moment but first though, a few thoughts…                 *                                  *                                  *When I think back to my architecture education, it seems like another universe to today's practice. And then again, in some ways it is much the same.Architecture school was 4 long years of hard work and all-nighters that, at the time, we wore as a badge of honor. It seemed that there was never enough time to do what we were being asked to accomplish. Or maybe I was trying to do more than was necessary to fulfill the learning objectives. I certainly felt I had a lot to prove since it had taken me a couple of years to finally get accepted into the program after not doing particularly well at calculus and linear algebra in junior college. I also took extra math in fifth grade. Yeah… math wasn't my thing.Or at least it wasn't my thing until I had a good tutor in second year who helped me understand that I was visual spatial learner and if I could draw or make models of the problems they would all make sense. Seeing algorithms… my eyes would roll back in my head.Anyway…I stuck with it, took every drawing class I could, loved design studio and managed the engineering. I was proud to graduate from the McGill School of Architecture school, go on to study for my licensing exams - another series of all-nighters – pass and be able to enter the profession of reserved title and call myself an “Architect.”I was proud to wear the traditional pinky-finger white gold ring with 7 notches in it representing the 7 Lamps of Architecture by John Ruskin. Ruskin was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era. The Seven Lamps were seven principles which Ruskin viewed should be reflected in a building: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. The white gold ring was a tradition of McGill 4th year architecture graduates, as symbols of having legitimately put the time in, done the work on the design thesis and survived it. In those days we drew our projects by hand and built models in the workshop. We got our hands dirty. There were 4 years of design studio projects that, in the real world, would take months or more, and we were trying to get them done in weeks. Back in those days, the mid 80's, Computer Aided Design was emerging as a new tool. I remember that we had to take a class in computer programming – I think it was Fortran or something – and we had dinosaur computers that some students were playing around with to create drawings.In the mid-80's email didn't exist, or not to students in any case,Cell phones had just arrived with the Morotrola DynaTec 8000 which was the size of a brick and weighed almost the same, We used this thing called a fax machine that magically sent images across the telephone wires and could print it out on the other end on thermal paper (which you didn't want to leave on the window sill, because it would fade away),The blue print shop was an ammonia fumigated workplace where diazo prints, as they were technically called,  were actually blue hence the term “blue prints.”We used pencils or ink pens on paper or mylar, and if you screwed up you actually used an eraser to rub the error out and you drew it again.I remember one of my first summer jobs in an architecture office, I was quickly assigned renderings due to my love of drawing. I had made some mistakes when plotting out a perspective using the Plan Projection Method, and I was erasing what I had drawn. One of the principals came by my desk, stopped, watched and then remarked “hey… we hired you to draw not erase…” and then walked away.Nice…Our go to reference books were by Francis D.K Ching – ah… the drawings and hand lettering in “Architecture Construction Illustrated”, or “Form Space and Order”And… the social media, google, Ai and computer generated 3D modeling didn't exist.It wasn't until around 2005 or so that Facebook became popular and the iPhone came out in 2007.Then the world seemed to shift on it axis and life as we know it was on the path towards Artificial General Intelligence and all of the miraculous - and scary - things we are now so familiar with shaped our everyday lives. The world sped up and the way I learned in university was both a thing of the past and then again it wasn't.Many of the ways architecture is taught are similar to my experience. Courses are taught as individual, disaggregated subjects, that graduates have to piece together in actual life experience. A wholistic approach to learning the discipline of architecture is not generally the norm. Which when you consider all of the components of a building it is a challenge since everything is connected to everything and the amount of ‘everything' in a building can indeed be overwhelming if you try to consider it all at the same time.The number of professional and skilled labor disciplines is enormous. And most of us simply see buildings as ‘fait a complis' – completed works - with no idea what actually had to be wrangled to go from concept to completed construction.Going back to social media and the internet for a moment, students now have never known a time without ubiquitous access to the world's information through the internet. The tools for designing buildings have changed.One could say it is easier to some degree now. Computer programs manage all of the interrelationships between engineering, architecture, building systems, interior design elements, as well as the cost estimating, construction management and more.It is also easier to rely on tools to think for you and disconnect you from discernment – one of the key features of the architects' role in puting a building together.And this is where my guest on this episode comes into the frame. Trevor Bullen is the Dean of the School of Design at Dunwoody College of Technology. Trevor is an award-winning architect with over 25 years of professional experience. He has significant international experience, working on a wide range of architecture, landscape architecture and planning projects in Europe, the Caribbean, and the United States.In addition to his role as Dean, Trevor has taught architectural design at the Boston Architectural College, the City College of New York as well as the University of Minnesota and is a frequent guest critic at schools of architecture nationwide.He believes in introducing real world problems into the architecture curriculum so that students begin to understand the relationships between theory and practice as well as that good projects are built on good relationships between architects and their clients.He suggests to students that new tools should not supplant their discernment – That key to their success as a professional will be their ability to consider the multitude of factors in building design, determine what matters and to not let the remarkable tools that are afforded us through the development of computer aided design relace their voice.Trevor pushes the idea that great advances in visualization with Ai should not be and end in itself but a means to that end. The tools should be a part of the process not the end point in the evolution of a concept and that their personal voice, point of view, vision should not be lost in the use of the app.And in Trevor's experience, oh what a voice students of today have. Projects are influenced by subjects of racial equity, restorative justice, indigeneity, political orientations, sustainability and climate change and more.And this, it seems to me, is what architecture has always been partly about – the 3-dimensional representation of cultural ideologies. Architecture and ideas are inseparable. Buildings stand as testaments to what we believe, want to influence and aspire to. They are much more than the materials that bring them into being or the space planning at accommodate human interactions. They are epicenters of human relationships imbued with stories and meaning. That said, it brings to mind the famous quote by Marshal McLuhan - "The medium is the message." McLuhan suggested that the way information or an idea is communicated, like in a television broadcast, newspaper, social media post or I dare say architecture, has as much impact on the message itself as the content of the message.I think that this suggests that the form of communication, even if the form of architecture, significantly influences how the message is perceived by the audience.In architecture parlance – I think Mies van der Rohe phrased it as “Form Follows Function.” If beyond utility, architecture is made to convey ideas, then its Form, Space and Order are brought together as a 3-dimension embodiment of them.Thinking back to my architecture education, the tools of today's professional practice have drastically changed and some of my classmates when on to other careers other than being architects, but the education we got then gave us a understating of the interconnectedness of things and the ability to solve multilayered challenges while wielding stone, steel, glass, light all forged into a unified whole by learned discernment. Teaching discernment is not just in the service of good building design and construction, it is a life skill as emerging students navigate the volatile, unpredictable, complex and often ambiguous world that face them beyond their architecture degree.             *                         *                         *ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.  The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

I denne episoden snakker Lars og Alexander om samarbeid, og den svært sentrale posisjonen konstruktørene har i utvikling av en fremtidsrettet og høyteknologisk arkitektur. Det er en slags reise som følger Mies van der Rohe fra Europa til USA, og S.O.M. (Skidmore, Owings, Merrill), sine store prosjekter bl.a. i Chicago, og hvordan alt dette har påvirket oss i dag. Det er en lang liste med prosjekter og personer som nevnes, forsøkvis ramset opp her: Mies van der Rohe Barcelonapaviliongen, med Lilly Reich Villa Tugenhat, med Lilly Reich Lake Shore Drive SR Crown Hall (IIT) S.O.M.  Willis Tower (tidl. Sears Tower), konstruert av Fazlur Khan. John Hancock building, konstruert av Fazlur Khan. Inland Steel, konstruert av Fazlur Khan. Burj Khalifa I tillegg nevnes Johnson Wax building av Frank Lloyd Wright, Ecole de Plen Air av Marcel Lodz, Ricardo Bofill, Oriol Bohigas, og Aqua Tower og St. Regis Chicago av Jeanna Gang og Studio Gang.  Du kan gjerne følge oss på instagram Send oss gjerne en mail til podkast@lpo.no Alles ist architektur! 

***This episode is part of the ChicagoHamburg30 podcast series, which is celebrating the 30-year anniversary of the Chicago-Hamburg Sister-City partnership (1994-2024).*** In our 30th and final episode celebrating the 30-year anniversary of the Chicago-Hamburg Sister-City partnership, we look at the German architects who literally built the buildings that Chicagoans live, work, and play in today. After discussing the early history of German architects in Chicago, we discuss the life and career of Mies van der Rohe through the memories of his grandson Dirk Lohan. We cover van der Rohe's role in the Bauhaus movement, his difficulties with the Nazis, his escape from Germany, and his career in Chicago. Then, Dirk relates his memories of WWII in Germany and his cooperation with his grandfather on post-war buildings, including the New National Gallery in West Berlin as well as the IBM building and the Federal Center in Chicago. After a discussion about Helmut Jahn, another great German-American architect, Rolf and Dirk conclude with a heartfelt thank you to the people of Chicago for their generosity and kindness in accepting German immigrants throughout the years. Our guests: Dirk Lohan is a German-American architect who designed the Shedd Oceanarium, the Soldier Field expansion, and the McDonald's corporate headquarters. He is Mies van der Rohe's grandson. Rolf Achilles is an art historian who has worked extensively on Chicago art and architecture. He was also instrumental in founding the Chicago-Hamburg Sister-City partnership thirty years ago. Photo Credit: Anna Kristina Sola, The New National Gallery, Berlin

Au XXème siècle, Ludwig Mies Van der Rohe (27 mars 1886 - 17 août 1969), l'un des plus grands architectes de son temps, lançait cette fameuse maxime minimaliste qui allait devenir une formule culte : "Less is more". Aujourd'hui, où nous traversons une période marquée par le low cost, que nous reste-t-il du siècle de la "modernité" et du style international ? Dans ce Com d'Archi, dans un effet miroir, nous citons Mies van der Rohe mettant en perspective son époque.Anne-Charlotte DepondtImage teaser © AndreasJRéalisation son : Julien Rebours____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pourretrouver de belles images, toujours choisies avec soin, de manière à enrichirvotre regard sur le sujet.Bonne semaine à tous ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In the 20th century, Ludwig Mies Van der Rohe (March 27, 1886 - August 17, 1969), one of the greatest architects of his time, launched this famous minimalist maxim that was to become a cult formula: "Less is more". Today, when we are going through a period marked by low cost, what is left of the century of "modernity" and international style? In this Com d'Archi, in a mirror effect, we quote Mies van der Rohe putting his time into perspective.Anne-Charlotte DepondtImage teaser © AndreasJSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

It does not do, to speak mockingly of erections.By Drmaxc. Listen to the Podcast at Steamy Stories. "Men and their erections,""Men and their erections," Tacey laughed shrilly, "if you could harness them you'd solve the energy crisis. Forget the unpredictability of wind power, their erections rise and fall come sun, come rain, come snow; if you could only capture the energy of all those millions of cocks..."The girls giggled and laughed loudly in their gaggle at the bar. They had drunk too much and were being disrespectful of men. Jonathan did not like it, he expected women to speak of such things, the male sexual organ, in hushed, slightly awed tones: not make silly jokes as if, he paused and took a breath, a 'Teors' was something to laugh about. He used the Old English deliberately. To have used a slang term — a 'cock' as the girl had done, a 'willy' or the like would have been wrong. He gripped his glass; something would need to be done.Entering the subterranean halls of the Knights of the Teorsas always gave Jonathan a particular thrill. Unknown to virtually the whole population of London it was a closely guarded secret, not even disclosed to the authorities. All they knew about was the insignificant little house in a backstreet of Covent Garden and it was to that house that the bills for electricity and the like came. It was an unremarkable house that held a remarkable secret as it gave access, through its cellar, to the ancient home of the Knights, the Great Phallocrypt, a network of rooms, halls and passages built in stone many, many, many years ago.Jonathan was much more than an initiate, a Raphe, more than a mere knight but a man who had crossed the Fraenum, the narrow bridge between the Corpus Cavernosum, the great hall where the knights assembled in their pomp, and the grand domed meeting hall of the inner circle, the Corona, who ruled the order. Jonathan was himself a member of the Corona, albeit its most junior having only been erected to the position a bare month before. He had, by virtue of his status, access to the Grand Master of the Order, the Bacalum, and could speak to him as of right.Dressed in his ceremonial robes, the gold badge of the erect phallus woven in gold thread into the red material, Jonathan strode through the Corpus Cavernosum nodding to knights he met but there was no time to pause and engage in intercourse, he had urgent business, a matter of grave importance to report to the Bacalum himself. Crossing the bridge of the Fraenum still gave him a thrill. How many of the knights achieved that? Such a singular honour; he had been speechless for a full minute when he had been told to prepare himself. How many would ever wear the third gold band around their teors? How many of them were ever able to do the thing he was about to do? To raise the great brass phallic knocker and tap three times on the oaken door of the Lacuna Magna, the Grand Master's private office?As always, the Bacalum was dressed in his ancient robes, beautifully decorated with representations of the ancient Roman god, Priapus, and with his great red curving penile hat making him look so much taller than he actually was. A trick long realised by the designers of uniforms; whether the bearskins of the Guards, the Shako of yesteryear or, indeed, the 'tit' of the London bobby. Shaking his grey head wisely he listened as Jonathan described what he had heard only the night before."It will not do, it will not do." The Baculum's words of wisdom enervated Jonathan."I seek permission to use, to wield, the Great Mesmodildo." The words were out; Jonathan had made the request, an act of considerable presumption in one so junior.There was a sharp intake of breath, the great phallic hat jerked upwards, and the penetrating eyes of the Grand Master seemed to bore right into Jonathan. There was a pause, "It will do."They sat for a few moments in contemplation. On the walls were artists' impressions of wonderful buildings not built. Designs by some of the leading architects of their day for skyscrapers intended to be the tallest buildings in the world in their time, all unmistakeably phallic, as skyscrapers are, but not simply because they were structures pointed at the sky but true erections designed to look like erections, buildings particularly phallic in design. Unrealised plans by Mies Van de Rohe, Frank Lloyd Wright, Colonel Seifert and most recently Sir Norman Foster. Designs the Order had not been able to find sufficient backers to fund; statements to the world not yet realised; buildings intended to awe and strike a proper respectfulness, an understanding of their place in the world, in womankind.The Grand Master rose, drawing his robes around him and walked to a cupboard; opening its black ebonised door he drew out something about a foot long and wrapped in a cloth; with both hands he presented it to Jonathan who, standing, accepted it with a bow. "I shall take the greatest care, Grand Master.""Do."Walking slowly back down the Corpus Cavernosa, Jonathan mused on the wise words of the Bacalum and upon his mission. Tucked into his robes was the ancient object — it would not do for the knights to see that which he had been entrusted or to know it was amongst them.Shedding his ceremonial robes in the outermost halls, where the putative knights, the Raphes, met and took instruction in their twin, wonderfully spherical, meeting rooms, Jonathan ascended back into a rainy, wet London morning; the ancient object tucked in his duffle bag along with his laptop and sandwiches. He had his job in the world outside the Order which he must attend to from 9am to 5pm but then he would commence his mission.It was one thing to hold the Mesmodildo but another to set up the opportunity to use it. Jonathan neither knew where Tacey lived nor worked. He did not actually know her name. His only knowledge was that she sometimes frequented: rather had at least once frequented, the bar where he had heard her disrespectful statement. He should have found out more about her at the time; he realised that now — it would have been better to have gathered more evidence before reporting to the Bacalum — but he had been so incensed, so overcome that he had rushed ahead without careful reflection and contemplation. He would meditate upon it later that evening.Meditation was important to the Order. Sitting cross-legged on a mat woven with ancient designs, a knight would sit in contemplation of his teors until turgidity ensued, that First Wonder of the teors; his thoughts would roam free as he sought to better understand himself, resolve his problems and focus on the baseness of his desires whilst seeking to raise the Primo Cumum, that first flowing of the teors so aptly described as its Second Wonder; lastly came the conclusion of the ritual, the ultimate goal of the meditation—the full flowing of the teors, the Ejaculum, a sight wonderful to behold—when the teors of its own volition would spew forth its seed. Putative knights worked hard at achieving this, many sitting for hours trying to create in their heads the necessary images; erotic images necessarily to achieve the apparently spontaneous Ejaculum.At first, and Jonathan had to admit he was as one with them, putative knights would use the Manualum or hand to achieve the necessary final stimulation; but he had achieved so much more -- the result of hard work and dedication. Often appropriate texts or images were used, spread before the knight or novice to assist in his meditation. The Library of the Order, the Curiosa, contained many volumes and meditational material.Traditionally the knight would bow his head and orally accept the bounty of the Ejaculum. Ancient manuscripts, some written in Latin, some Sanskrit testified to this and the beautiful coloured illustrations showed no less. A variant much favoured in the modern Corona, and therefore too the Corpus Cavernosa, was the Art of Felicitation, requiring extensive practice, much suppleness of the body and, Jonathan admitted, a long teors. He, himself, had only managed the briefest of Teorsic Kiss at the moment of Ejaculum but the Bacalum and a few others of the Corona, knights of great experience, could hold the rounded terminus of their teors orally at the moment of the Third Wonder, an ideal act permitting the recycling of the seed so not one drop was lost to the body.Jonathan was lucky, very lucky. Inevitably he had returned to the very bar of Tacey's misdeed as the only reference point he had in relation to her; had sat there nursing a beer and wondering if he would have to use the power of the Mesmodildo on the very pretty bar girl who had, he recalled, been there on the previous night. Perhaps she would know about the disrespectful girl; know who she was and where she lived — and her name. The entrance of Tacey saved the need. It was a relief to Jonathan — the pretty bar girl with the large breasts might not have known anything about the disrespectful girl and left him with no obvious lead in his quest; it also saved the seed he might well have lost to her in the course of extracting the information; she was, after all, very pretty and perhaps worthy of the honour.Tacey moved across the room and sat on a bar stool, her long legs crossed one over the other drawing up the material of her trouser leg revealing a particularly fine pair of high heeled shoes—clearly new by the sight of the soles and undoubtedly expensive.Not for the first time Jonathan wondered both at the impudence and the illogicality of women. There sat the girl in a suit of clothes but with trousers not a skirt. Trousers were a male prerogative and unsuited to women; they were for men. A skirt would have shown her new shoes off but instead they were largely hidden by the trousers. What was the sense in buying shoes to be noticed and then wearing trousers? There was no logic. The girl would look better without the trousers. In his mind he imagined the girl naked but for the shoes; it was an appropriate image he would use for meditation later. He looked down at his own sensible, solid black shoes largely hidden by his own trousers — and that was perhaps just as well. He mentally gave himself a note to polish them in the morning—it was a task he tended to overlook though it would not do to keep the dome of his teors unpolished.A further shock came to Jonathan; instead of a white wine spritzer or some expensive but brightly coloured vodka concoction in a pretty bottle, the girl had ordered beer: not just a half but a whole pint. She was drinking beer from a pint glass! Had she no shame?Jonathan got up and walked across to her, "I have something to show you," he said without introduction and in a deep impressive voice.Tacey looked Jonathan up and down for a moment and then burst into laughter, "Ooh, you little pervert, you!" She seemed to find the whole scene very funny indeed. Jonathan was affronted. What had he said?"Well, what do you want? Who are you?" She said.It was not going well; it should be he who was asking the questions. As the Bacalum had wisely said, "it would not do." Slowly he drew from his duffle bag an object wrapped in a cloth. "I have this to show you," Jonathan said mysteriously, drawing the cloth down the object a little way.Tacey had never seen the like. It was a pearl, a great creamy, misty pearl; far, far bigger than any she had seen before; a pearl far bigger than the cultivated pearls of her best necklace; a pearl far bigger than the one Great Aunt Agatha used to wear when she, Tacey, was little and had so fascinated her on visits. Within it, great streamy swirls of creamy clouds seemed to move, captivating her, capturing her eye; she found it difficult to look away from the pearl, to stop watching the moving clouds of cream that appeared to roll around the jewel.Gradually Jonathan drew down the material covering the object and whilst her eyes could not leave the pearl she could see it was mounted on gold, indeed atop a golden acorn... or was it an acorn? As the material rolled back Tacey realised it was not so much an acorn as the bulbous end to a golden penis — a golden erect penis in exquisite detail surmounted by a great pearl; a pearl representing, quite clearly to her eye now, the bubbling up of semen or rather, what did they call it, yes, it was the 'pre-cum.' She was both shocked and fascinated; her eyes could not draw away and leave the pearl with its swirls of milky cream. Her mind was being taken.Jonathan watched Tacey's reaction; it was how it should be, no woman could resist the Great Mesmodildo, their pretty eyes were drawn to the pearl like moths to a candle and next would come the longing, a certain dryness of the mouth, an increasing need for something they could not quite place—it was no less than the desire for the milk of a man, a teosic longing in their loins. Jonathan had no need to completely un-sheathe the artefact, to reveal its shining golden glory, merely sliding back the material to expose the bulbous head was sufficientTracey's tongue moved slowly across her lips; they felt dry."Shall we sit over there, somewhere more private?" Jonathan sheathed the Mesmodildo. He had taken command of the situation.Tacey took a large swig of beer to ease the sudden dryness in her throat and followed him without question.Once again Jonathan eased back the covering revealing the golden head mounted with its strange pearl. Tacey stared; images of ejaculating penises came flooding into her mind and the thought of taking the head of this gold penis into her mouth, stroking it with her tongue, feeling the sensual smoothness of the pearl—smooth, yes smooth like... like... semen. Her nipples pricked at the material of her bra, they felt as hard as iron or, indeed, the gold of the strange penis before her. Within her panties, the new purple pair her especial friend, Diane, had bought her, she was flowing. Already the material felt soaked as if newly from the wash; it would seep into her trousers—an embarrassing wet stain."May I, may I please suck it," she asked in a small, little girl's voice.Jonathan smiled to himself. It was more like pleading. How easy these women were taken, how powerful the Mesmodildo, how easily their minds were beaten and taken and their lust aroused. In a moment she would be pleading with him to let her suck his teors, desperate to take his seed and feel it slipping down her throat. But now was not the time and not just because they were in a public bar.The bar actually was empty but for the pretty bar girl and the Mesmodildo would handle her easily. Jonathan looked again at her and thought that perhaps another time, if he had not returned the Mesmodildo, he would like to use the artefact upon her and see her kneeling before him."You may," he replied and held it for her, still wrapped, with just the very end, the beautifully rounded head showing, and watched as she made the proper rounded shape with her mouth, the Teoric Circle, that women must make, before bowing her head down and absorbing the smooth gold head. He could imagine within her mouth the rapid flicking tongue; all women did this; the tip caressing the smoothness of the pear imagining it a continuous spurt of male milk to assuage their desperate thirst.Gently he pulled, extracting the Mesmodildo. He liked the need to pull a little to overcome the natural suction of the girl wishing to retain the object. It was a pleasant resistance.Tacey looked up at him, her eyes wide and doe like, her mouth still in the shape of the Teorsic Circle ready for the Mesmodildo, his own teors or, indeed, any other teors. It was a temptation. So very pleasant to have been able to disrobe, but not there, and place his own teors in this girl's mouth; feel her tongue seeking the milk, trying to enter the very end of his teors; feeling the Second Wonder rising and watching, as his teors rested on her tongue, the small first clear drop of the Teorsic Fluid seep and run down from the acorn head; the sudden stiffening as the tongue tasted and induced a frenzy of sucking.From the bar the other girl stared. What had that man offered the girl to eat and why did her face now hold the expression of some plastic inflatable sex doll?"Come," he said — and she almost did — the feeling of arousal was so strong, but he meant for her to follow.It was but a short taxi ride; though Tacey would remember nothing of it nor walking into a small building and down some steps — the stone steps to the Great Phallocrypt, Jonathan leading her by the hand.It might have been thought that no women would have been permitted to enter the ancient halls of the Order. Certainly they could not be of the Order, being mere women and lacking teorsas though it was said in times past there had been exceptions; women who would rather have been men; women with slim boyish hips and small breasts who had worn cunningly made simulated, pseudo-teorsas and had been more than happy to join in the male rituals sometimes made upon and with other members of their sex. This, though, was most certainly not permitted by the current and recent Bacala.It was possible, though, for women to be brought for judgement, correction or punishment: but not for pleasure. It should not be thought the Order was in any way a society for 'randy' old men to enjoy countless women in a social way, a sort of 'Hellfire Club' or opportunity for hedonistic orgiastic activity. The Order's purposes were profound, mysterious and extremely serious. Any sexual gratification was a by-product, almost an accident: though to achieve the First, Second and Third Wonders of the Teors erotic thoughts a plenty were needed and sexual activity was something the knights were required to undertake regularly and in a brotherly fashion. The Wonders of the Teors, after all, had their root in sexual activity.It was appropriate for Jonathan to undress Tacey. It would not do for her to be presented to the Knights in clothes from the city above, least of all in that so wrong trouser suit. She needed to be modestly clad in a simple cream linen shift, a shapeless garment hiding her womanly attributes from the knights. First, though, she needed to be ritually washed; like the undressing it was a task Jonathan would need to undertake and it was a task he did not shirk. There were no female attendants in the Phallocrypt to assist female 'visitors' and, as Tacey was his charge, Jonathan would need to perform the ceremony. He led her into a side chamber, stone vaulted and with a stone bath sunken into the floor. The water splashed into the bath and Jonathan added scents of sandalwood, carbolic and spice.Firstly Jonathan undressed, glad to be free of his workaday clothes ready to dress in the wonderful robes of the Order; it was better for him to be naked whilst bathing Tacey as it would not do to wet his robes. Tacey stood motionless in her trouser suit, still with the Teorsic Circle fixed to her face but her eyes betrayed intelligence behind her fixed expression. It was right for her to be conscious, she now needed to remember the lessons she would be taught. He knew her eyes would be staring at his teors, she could not help it and it was right for women to focus on the teors, to think about its beauty and power. Generously, as he began to take off Tacey's jacket he permitted his teors to rise to help give her focus and bring her back from her Mesmodildo induced trance. His penis swayed magnificently and he paused to watch it in one of the many mirrors of the bath house. Inevitably she would compare it to her own biologically comparable but so much inferior organ, the Clitoris. Almost unnoticeable in some women, a mere pimple in others but for some there was an element of size, a proto-teors but, obviously, none could stand comparison with the Teors. The Bacalum was most particular and expected the size of the erect clitoris to be established and recorded. He thought it important. Jonathan was skilled in this and had a Clitometer ready.Jonathan fumbled at Tacey's bra strap. He always had difficulty with these and then pulled down her panties. Jonathan took a step back and frowned, staring at the naked girl and particularly her pudenda. Her pubic hair had been shaved into a long vertical band rising up with her Cleft of Venus. To Jonathan the upright band had an inappropriate element of the Teors about it, a column of dark curly hair standing vertically up her pubis—did it not represent a Teors—that great column of the male? Why even the top of the column, below her navel seemed rounded. Was this sign of her further disrespect or quite the opposite, a mark of respect? Jonathan did not know. He was torn between seeking out the Bacalum and asking, but thereby displaying ignorance, or leaving be, but that seemed indecisive. Perhaps it would be best for Tacey if he assumed the worse and shaved off the offending symbol leaving her pudenda naked of hair. The Bacalum, he knew, preferred girls like that— innocent and pure was Jonathan's understanding of his reasons.Leading Tacey by the hand into the water Jonathan picked up the soap and began to lather Tacey's skin. It was not an unpleasant task feeling his hands sliding over her smooth young skin, leaving no place uncleansed, but taking especial trouble over the ritualistic four parts of the woman's body which required greatest care—the nipples, the bottom and the pudenda. A full minute being allotted to each in the proper order. First the left nipple, then the right, followed by the bottom and lastly the pudenda. Jonathan looked into Tacey's eyes and saw considerable surprise as his right index finger, liberally coated in soap, slipped up her bottom. It was appropriate. A woman should be surprised at the unexpected acts of a man.Finally Jonathan washed Tacey's hair, lathering it enthusiastically as he stood and she knelt in the bath in the proper position a woman should take when a man is shampooing her hair. Equally properly Jonathan placed his teors between Tacey's lips, still in the Teorsic Circle, and pushed. A woman should always suck the man's teors when he is washing her hair. It was clearly shown in the old manuscripts. Tacey reacted rather dopily but instinctively seeking the Teorsic Fluid. It was not, though, appropriate yet.The full minute spent soapily washing, shaving and examining Tracey's pudenda also ensured, had the Mesmodildo not done its arousing work, the clitoris was fully erect. Drying Tacey with towels he had her lie down and open her legs wide, giving him not only full access but a full view of her sex. He readied his instrument, his Clitometer, adjusting the wheels and shiny metal dividers to measure both circumference and length. The cold metal touched Tacey's sensitive button and she winced slightly. "Why?" she said in a slightly slurred voice. Her faculties were returning."Because it is necessary." He was being kind. It was not necessary to answer a woman's questions or even to listen to her.The last part of the preparation now needed to be undertaken. Jonathan brought Tacey to a curved marble saddle surmounted by a gorgeous golden teors. Of realistic size; unlike many of the beautiful representations in the halls; not too large because this had to fit all women; and more stylistic in design than many more faithful depictions. It was in an art nouveau style which so fitted the curving nature of the teors and the artist had taken liberty with his depiction of the glans which swept unusually far down the shaft giving a particularly streamlined look. A beautiful object which would give any women great pleasure to mount. Carefully he sat Tacey astride ensuring she lowered herself so the teors pushed up inside her. Instinctively, as before, Tacey began to ride the teors. Jonathan smiled a little in pity. Women had such a need for and such a longing to steal the Teorsic Fluid. They could not help themselves.Jonathan depressed a lever and Tacey betrayed surprise. It was not Teorsic Fluid but a sweet Almond oil that was being injected by the golden teors into her as she rode. A cunning contraption pumped out the oil in carefully regulated spurts mimicking the Third Wonder but in a profusion only the most adept knights were able to achieve—and the truth was that Jonathan was not one of them; much to his chagrin. He was, though, working at raising his TFL, performing the exercises at morning and night. He carefully recorded the outcome in a spreadsheet stored on his laptop and the chart did show a rising trend. (TFL = Teorsic Fluid Level).The purpose of the Almond ejaculation was not the pleasure of the women, or deceiving her she had taken Teorsic Fluid, but to prepare her. In Tacey's case the Mesmodildo had caused her to literally drip but the liberal amount of Almond oil being pumped into her would ensure ease of teorsic insertion and a most appropriate sheen of oily lubrication running down the inside of her thighs. The Order expected not just the substance but the appearance of things and it was so very important for a woman appearing before the massed knights not only to be massively aroused by the honour shown but to visibly demonstrate it as well.Prepared, Jonathan dressed Tacey in the linen shift and finished his own ritual. Washed, he merely needed to don the badges of his rank and his robes. At the very base of his teorsic shaft, indeed clasping it tightly behind his scrotum, he tied, with leather thongs, a thin leather belt encircling the shaft forcing the scrotum forwards and the testes into greater prominence. It was the first symbol of a member of the Order and many wore it ordinarily under their street clothes.From a small red leather box Jonathon drew out three intricately engraved gold rings, rings prepared by the Order's goldsmith—a member himself. The first ring for a raphe, the second for a knight and the third ring for a member of the Corona. Jonathan had not possessed the third ring for long, indeed had only recently been erected to the Corona, and was only just getting used to wearing it tightly and impressively below his glans. Lifting his now unerect teors by the prepuce, with an ease gained by long practice Jonathan slipped the first, second and then third ring down the shaft and willed the First Wonder. His teors rose proudly, the flesh expanding into the rings so they were held tightly in their allotted positions as if the shaft was bound in gold. His teors looked magnificent in the mirror; Jonathan admired himself turning to the right and left as if trying on a new suit of clothes; it was big, knurled by veins, beautifully banded in gold and surmounted by the shiny purple head with its eye of mystery. It never ceased to impress him.Only the Bacalum wore the fifth symbol, a gold, bejewelled hat or helmet sitting atop his teors-head.Pulling on his great red robe Jonathan was prepared and led Tacey out into the great hall of the knights, the Corpus Cavernosum. The Knights of the Teorsas were assembled and waiting.The grand phallic ritual is concluded.The shock to Tacey must have been immense, shock and awe at walking into such a beautiful stone vaulted place and seeing the knights and raphes, perhaps a hundred in all, standing in their red robes watching her, their eyes focused just upon her; and, at their centre, the figure of the Bacalum looking so serene and wonderful in his great curving red penile hat. Jonathan could not but sense what she was feeling as he led her down the massed rows of the knights. Certainly her eyes were wide.A low chanting filled the hall as Jonathan led Tacey forward to the centre of the hall. Speaking in a clear voice he outlined to the assembly Tacey's grave misdemeanour. It was certain, very certain they were not pleased and Jonathan felt for Tacey as she must now realise how great was her error, how unwise and wrong it was to speak lightly of the teors and in a flippant manner. It was possible she thought herself there for punishment but that was not often the way of the Order. Perhaps once upon a time Tacey would have been bound tightly and her bottom roundly punished as the Knights watched; the sight of a helpless, naked, bound girl wriggling under torment greatly assisting their meditation.

It does not do, to speak mockingly of erections.By Drmaxc. Listen to the Podcast at Steamy Stories. "Men and their erections,""Men and their erections," Tacey laughed shrilly, "if you could harness them you'd solve the energy crisis. Forget the unpredictability of wind power, their erections rise and fall come sun, come rain, come snow; if you could only capture the energy of all those millions of cocks..."The girls giggled and laughed loudly in their gaggle at the bar. They had drunk too much and were being disrespectful of men. Jonathan did not like it, he expected women to speak of such things, the male sexual organ, in hushed, slightly awed tones: not make silly jokes as if, he paused and took a breath, a 'Teors' was something to laugh about. He used the Old English deliberately. To have used a slang term — a 'cock' as the girl had done, a 'willy' or the like would have been wrong. He gripped his glass; something would need to be done.Entering the subterranean halls of the Knights of the Teorsas always gave Jonathan a particular thrill. Unknown to virtually the whole population of London it was a closely guarded secret, not even disclosed to the authorities. All they knew about was the insignificant little house in a backstreet of Covent Garden and it was to that house that the bills for electricity and the like came. It was an unremarkable house that held a remarkable secret as it gave access, through its cellar, to the ancient home of the Knights, the Great Phallocrypt, a network of rooms, halls and passages built in stone many, many, many years ago.Jonathan was much more than an initiate, a Raphe, more than a mere knight but a man who had crossed the Fraenum, the narrow bridge between the Corpus Cavernosum, the great hall where the knights assembled in their pomp, and the grand domed meeting hall of the inner circle, the Corona, who ruled the order. Jonathan was himself a member of the Corona, albeit its most junior having only been erected to the position a bare month before. He had, by virtue of his status, access to the Grand Master of the Order, the Bacalum, and could speak to him as of right.Dressed in his ceremonial robes, the gold badge of the erect phallus woven in gold thread into the red material, Jonathan strode through the Corpus Cavernosum nodding to knights he met but there was no time to pause and engage in intercourse, he had urgent business, a matter of grave importance to report to the Bacalum himself. Crossing the bridge of the Fraenum still gave him a thrill. How many of the knights achieved that? Such a singular honour; he had been speechless for a full minute when he had been told to prepare himself. How many would ever wear the third gold band around their teors? How many of them were ever able to do the thing he was about to do? To raise the great brass phallic knocker and tap three times on the oaken door of the Lacuna Magna, the Grand Master's private office?As always, the Bacalum was dressed in his ancient robes, beautifully decorated with representations of the ancient Roman god, Priapus, and with his great red curving penile hat making him look so much taller than he actually was. A trick long realised by the designers of uniforms; whether the bearskins of the Guards, the Shako of yesteryear or, indeed, the 'tit' of the London bobby. Shaking his grey head wisely he listened as Jonathan described what he had heard only the night before."It will not do, it will not do." The Baculum's words of wisdom enervated Jonathan."I seek permission to use, to wield, the Great Mesmodildo." The words were out; Jonathan had made the request, an act of considerable presumption in one so junior.There was a sharp intake of breath, the great phallic hat jerked upwards, and the penetrating eyes of the Grand Master seemed to bore right into Jonathan. There was a pause, "It will do."They sat for a few moments in contemplation. On the walls were artists' impressions of wonderful buildings not built. Designs by some of the leading architects of their day for skyscrapers intended to be the tallest buildings in the world in their time, all unmistakeably phallic, as skyscrapers are, but not simply because they were structures pointed at the sky but true erections designed to look like erections, buildings particularly phallic in design. Unrealised plans by Mies Van de Rohe, Frank Lloyd Wright, Colonel Seifert and most recently Sir Norman Foster. Designs the Order had not been able to find sufficient backers to fund; statements to the world not yet realised; buildings intended to awe and strike a proper respectfulness, an understanding of their place in the world, in womankind.The Grand Master rose, drawing his robes around him and walked to a cupboard; opening its black ebonised door he drew out something about a foot long and wrapped in a cloth; with both hands he presented it to Jonathan who, standing, accepted it with a bow. "I shall take the greatest care, Grand Master.""Do."Walking slowly back down the Corpus Cavernosa, Jonathan mused on the wise words of the Bacalum and upon his mission. Tucked into his robes was the ancient object — it would not do for the knights to see that which he had been entrusted or to know it was amongst them.Shedding his ceremonial robes in the outermost halls, where the putative knights, the Raphes, met and took instruction in their twin, wonderfully spherical, meeting rooms, Jonathan ascended back into a rainy, wet London morning; the ancient object tucked in his duffle bag along with his laptop and sandwiches. He had his job in the world outside the Order which he must attend to from 9am to 5pm but then he would commence his mission.It was one thing to hold the Mesmodildo but another to set up the opportunity to use it. Jonathan neither knew where Tacey lived nor worked. He did not actually know her name. His only knowledge was that she sometimes frequented: rather had at least once frequented, the bar where he had heard her disrespectful statement. He should have found out more about her at the time; he realised that now — it would have been better to have gathered more evidence before reporting to the Bacalum — but he had been so incensed, so overcome that he had rushed ahead without careful reflection and contemplation. He would meditate upon it later that evening.Meditation was important to the Order. Sitting cross-legged on a mat woven with ancient designs, a knight would sit in contemplation of his teors until turgidity ensued, that First Wonder of the teors; his thoughts would roam free as he sought to better understand himself, resolve his problems and focus on the baseness of his desires whilst seeking to raise the Primo Cumum, that first flowing of the teors so aptly described as its Second Wonder; lastly came the conclusion of the ritual, the ultimate goal of the meditation—the full flowing of the teors, the Ejaculum, a sight wonderful to behold—when the teors of its own volition would spew forth its seed. Putative knights worked hard at achieving this, many sitting for hours trying to create in their heads the necessary images; erotic images necessarily to achieve the apparently spontaneous Ejaculum.At first, and Jonathan had to admit he was as one with them, putative knights would use the Manualum or hand to achieve the necessary final stimulation; but he had achieved so much more -- the result of hard work and dedication. Often appropriate texts or images were used, spread before the knight or novice to assist in his meditation. The Library of the Order, the Curiosa, contained many volumes and meditational material.Traditionally the knight would bow his head and orally accept the bounty of the Ejaculum. Ancient manuscripts, some written in Latin, some Sanskrit testified to this and the beautiful coloured illustrations showed no less. A variant much favoured in the modern Corona, and therefore too the Corpus Cavernosa, was the Art of Felicitation, requiring extensive practice, much suppleness of the body and, Jonathan admitted, a long teors. He, himself, had only managed the briefest of Teorsic Kiss at the moment of Ejaculum but the Bacalum and a few others of the Corona, knights of great experience, could hold the rounded terminus of their teors orally at the moment of the Third Wonder, an ideal act permitting the recycling of the seed so not one drop was lost to the body.Jonathan was lucky, very lucky. Inevitably he had returned to the very bar of Tacey's misdeed as the only reference point he had in relation to her; had sat there nursing a beer and wondering if he would have to use the power of the Mesmodildo on the very pretty bar girl who had, he recalled, been there on the previous night. Perhaps she would know about the disrespectful girl; know who she was and where she lived — and her name. The entrance of Tacey saved the need. It was a relief to Jonathan — the pretty bar girl with the large breasts might not have known anything about the disrespectful girl and left him with no obvious lead in his quest; it also saved the seed he might well have lost to her in the course of extracting the information; she was, after all, very pretty and perhaps worthy of the honour.Tacey moved across the room and sat on a bar stool, her long legs crossed one over the other drawing up the material of her trouser leg revealing a particularly fine pair of high heeled shoes—clearly new by the sight of the soles and undoubtedly expensive.Not for the first time Jonathan wondered both at the impudence and the illogicality of women. There sat the girl in a suit of clothes but with trousers not a skirt. Trousers were a male prerogative and unsuited to women; they were for men. A skirt would have shown her new shoes off but instead they were largely hidden by the trousers. What was the sense in buying shoes to be noticed and then wearing trousers? There was no logic. The girl would look better without the trousers. In his mind he imagined the girl naked but for the shoes; it was an appropriate image he would use for meditation later. He looked down at his own sensible, solid black shoes largely hidden by his own trousers — and that was perhaps just as well. He mentally gave himself a note to polish them in the morning—it was a task he tended to overlook though it would not do to keep the dome of his teors unpolished.A further shock came to Jonathan; instead of a white wine spritzer or some expensive but brightly coloured vodka concoction in a pretty bottle, the girl had ordered beer: not just a half but a whole pint. She was drinking beer from a pint glass! Had she no shame?Jonathan got up and walked across to her, "I have something to show you," he said without introduction and in a deep impressive voice.Tacey looked Jonathan up and down for a moment and then burst into laughter, "Ooh, you little pervert, you!" She seemed to find the whole scene very funny indeed. Jonathan was affronted. What had he said?"Well, what do you want? Who are you?" She said.It was not going well; it should be he who was asking the questions. As the Bacalum had wisely said, "it would not do." Slowly he drew from his duffle bag an object wrapped in a cloth. "I have this to show you," Jonathan said mysteriously, drawing the cloth down the object a little way.Tacey had never seen the like. It was a pearl, a great creamy, misty pearl; far, far bigger than any she had seen before; a pearl far bigger than the cultivated pearls of her best necklace; a pearl far bigger than the one Great Aunt Agatha used to wear when she, Tacey, was little and had so fascinated her on visits. Within it, great streamy swirls of creamy clouds seemed to move, captivating her, capturing her eye; she found it difficult to look away from the pearl, to stop watching the moving clouds of cream that appeared to roll around the jewel.Gradually Jonathan drew down the material covering the object and whilst her eyes could not leave the pearl she could see it was mounted on gold, indeed atop a golden acorn... or was it an acorn? As the material rolled back Tacey realised it was not so much an acorn as the bulbous end to a golden penis — a golden erect penis in exquisite detail surmounted by a great pearl; a pearl representing, quite clearly to her eye now, the bubbling up of semen or rather, what did they call it, yes, it was the 'pre-cum.' She was both shocked and fascinated; her eyes could not draw away and leave the pearl with its swirls of milky cream. Her mind was being taken.Jonathan watched Tacey's reaction; it was how it should be, no woman could resist the Great Mesmodildo, their pretty eyes were drawn to the pearl like moths to a candle and next would come the longing, a certain dryness of the mouth, an increasing need for something they could not quite place—it was no less than the desire for the milk of a man, a teosic longing in their loins. Jonathan had no need to completely un-sheathe the artefact, to reveal its shining golden glory, merely sliding back the material to expose the bulbous head was sufficientTracey's tongue moved slowly across her lips; they felt dry."Shall we sit over there, somewhere more private?" Jonathan sheathed the Mesmodildo. He had taken command of the situation.Tacey took a large swig of beer to ease the sudden dryness in her throat and followed him without question.Once again Jonathan eased back the covering revealing the golden head mounted with its strange pearl. Tacey stared; images of ejaculating penises came flooding into her mind and the thought of taking the head of this gold penis into her mouth, stroking it with her tongue, feeling the sensual smoothness of the pearl—smooth, yes smooth like... like... semen. Her nipples pricked at the material of her bra, they felt as hard as iron or, indeed, the gold of the strange penis before her. Within her panties, the new purple pair her especial friend, Diane, had bought her, she was flowing. Already the material felt soaked as if newly from the wash; it would seep into her trousers—an embarrassing wet stain."May I, may I please suck it," she asked in a small, little girl's voice.Jonathan smiled to himself. It was more like pleading. How easy these women were taken, how powerful the Mesmodildo, how easily their minds were beaten and taken and their lust aroused. In a moment she would be pleading with him to let her suck his teors, desperate to take his seed and feel it slipping down her throat. But now was not the time and not just because they were in a public bar.The bar actually was empty but for the pretty bar girl and the Mesmodildo would handle her easily. Jonathan looked again at her and thought that perhaps another time, if he had not returned the Mesmodildo, he would like to use the artefact upon her and see her kneeling before him."You may," he replied and held it for her, still wrapped, with just the very end, the beautifully rounded head showing, and watched as she made the proper rounded shape with her mouth, the Teoric Circle, that women must make, before bowing her head down and absorbing the smooth gold head. He could imagine within her mouth the rapid flicking tongue; all women did this; the tip caressing the smoothness of the pear imagining it a continuous spurt of male milk to assuage their desperate thirst.Gently he pulled, extracting the Mesmodildo. He liked the need to pull a little to overcome the natural suction of the girl wishing to retain the object. It was a pleasant resistance.Tacey looked up at him, her eyes wide and doe like, her mouth still in the shape of the Teorsic Circle ready for the Mesmodildo, his own teors or, indeed, any other teors. It was a temptation. So very pleasant to have been able to disrobe, but not there, and place his own teors in this girl's mouth; feel her tongue seeking the milk, trying to enter the very end of his teors; feeling the Second Wonder rising and watching, as his teors rested on her tongue, the small first clear drop of the Teorsic Fluid seep and run down from the acorn head; the sudden stiffening as the tongue tasted and induced a frenzy of sucking.From the bar the other girl stared. What had that man offered the girl to eat and why did her face now hold the expression of some plastic inflatable sex doll?"Come," he said — and she almost did — the feeling of arousal was so strong, but he meant for her to follow.It was but a short taxi ride; though Tacey would remember nothing of it nor walking into a small building and down some steps — the stone steps to the Great Phallocrypt, Jonathan leading her by the hand.It might have been thought that no women would have been permitted to enter the ancient halls of the Order. Certainly they could not be of the Order, being mere women and lacking teorsas though it was said in times past there had been exceptions; women who would rather have been men; women with slim boyish hips and small breasts who had worn cunningly made simulated, pseudo-teorsas and had been more than happy to join in the male rituals sometimes made upon and with other members of their sex. This, though, was most certainly not permitted by the current and recent Bacala.It was possible, though, for women to be brought for judgement, correction or punishment: but not for pleasure. It should not be thought the Order was in any way a society for 'randy' old men to enjoy countless women in a social way, a sort of 'Hellfire Club' or opportunity for hedonistic orgiastic activity. The Order's purposes were profound, mysterious and extremely serious. Any sexual gratification was a by-product, almost an accident: though to achieve the First, Second and Third Wonders of the Teors erotic thoughts a plenty were needed and sexual activity was something the knights were required to undertake regularly and in a brotherly fashion. The Wonders of the Teors, after all, had their root in sexual activity.It was appropriate for Jonathan to undress Tacey. It would not do for her to be presented to the Knights in clothes from the city above, least of all in that so wrong trouser suit. She needed to be modestly clad in a simple cream linen shift, a shapeless garment hiding her womanly attributes from the knights. First, though, she needed to be ritually washed; like the undressing it was a task Jonathan would need to undertake and it was a task he did not shirk. There were no female attendants in the Phallocrypt to assist female 'visitors' and, as Tacey was his charge, Jonathan would need to perform the ceremony. He led her into a side chamber, stone vaulted and with a stone bath sunken into the floor. The water splashed into the bath and Jonathan added scents of sandalwood, carbolic and spice.Firstly Jonathan undressed, glad to be free of his workaday clothes ready to dress in the wonderful robes of the Order; it was better for him to be naked whilst bathing Tacey as it would not do to wet his robes. Tacey stood motionless in her trouser suit, still with the Teorsic Circle fixed to her face but her eyes betrayed intelligence behind her fixed expression. It was right for her to be conscious, she now needed to remember the lessons she would be taught. He knew her eyes would be staring at his teors, she could not help it and it was right for women to focus on the teors, to think about its beauty and power. Generously, as he began to take off Tacey's jacket he permitted his teors to rise to help give her focus and bring her back from her Mesmodildo induced trance. His penis swayed magnificently and he paused to watch it in one of the many mirrors of the bath house. Inevitably she would compare it to her own biologically comparable but so much inferior organ, the Clitoris. Almost unnoticeable in some women, a mere pimple in others but for some there was an element of size, a proto-teors but, obviously, none could stand comparison with the Teors. The Bacalum was most particular and expected the size of the erect clitoris to be established and recorded. He thought it important. Jonathan was skilled in this and had a Clitometer ready.Jonathan fumbled at Tacey's bra strap. He always had difficulty with these and then pulled down her panties. Jonathan took a step back and frowned, staring at the naked girl and particularly her pudenda. Her pubic hair had been shaved into a long vertical band rising up with her Cleft of Venus. To Jonathan the upright band had an inappropriate element of the Teors about it, a column of dark curly hair standing vertically up her pubis—did it not represent a Teors—that great column of the male? Why even the top of the column, below her navel seemed rounded. Was this sign of her further disrespect or quite the opposite, a mark of respect? Jonathan did not know. He was torn between seeking out the Bacalum and asking, but thereby displaying ignorance, or leaving be, but that seemed indecisive. Perhaps it would be best for Tacey if he assumed the worse and shaved off the offending symbol leaving her pudenda naked of hair. The Bacalum, he knew, preferred girls like that— innocent and pure was Jonathan's understanding of his reasons.Leading Tacey by the hand into the water Jonathan picked up the soap and began to lather Tacey's skin. It was not an unpleasant task feeling his hands sliding over her smooth young skin, leaving no place uncleansed, but taking especial trouble over the ritualistic four parts of the woman's body which required greatest care—the nipples, the bottom and the pudenda. A full minute being allotted to each in the proper order. First the left nipple, then the right, followed by the bottom and lastly the pudenda. Jonathan looked into Tacey's eyes and saw considerable surprise as his right index finger, liberally coated in soap, slipped up her bottom. It was appropriate. A woman should be surprised at the unexpected acts of a man.Finally Jonathan washed Tacey's hair, lathering it enthusiastically as he stood and she knelt in the bath in the proper position a woman should take when a man is shampooing her hair. Equally properly Jonathan placed his teors between Tacey's lips, still in the Teorsic Circle, and pushed. A woman should always suck the man's teors when he is washing her hair. It was clearly shown in the old manuscripts. Tacey reacted rather dopily but instinctively seeking the Teorsic Fluid. It was not, though, appropriate yet.The full minute spent soapily washing, shaving and examining Tracey's pudenda also ensured, had the Mesmodildo not done its arousing work, the clitoris was fully erect. Drying Tacey with towels he had her lie down and open her legs wide, giving him not only full access but a full view of her sex. He readied his instrument, his Clitometer, adjusting the wheels and shiny metal dividers to measure both circumference and length. The cold metal touched Tacey's sensitive button and she winced slightly. "Why?" she said in a slightly slurred voice. Her faculties were returning."Because it is necessary." He was being kind. It was not necessary to answer a woman's questions or even to listen to her.The last part of the preparation now needed to be undertaken. Jonathan brought Tacey to a curved marble saddle surmounted by a gorgeous golden teors. Of realistic size; unlike many of the beautiful representations in the halls; not too large because this had to fit all women; and more stylistic in design than many more faithful depictions. It was in an art nouveau style which so fitted the curving nature of the teors and the artist had taken liberty with his depiction of the glans which swept unusually far down the shaft giving a particularly streamlined look. A beautiful object which would give any women great pleasure to mount. Carefully he sat Tacey astride ensuring she lowered herself so the teors pushed up inside her. Instinctively, as before, Tacey began to ride the teors. Jonathan smiled a little in pity. Women had such a need for and such a longing to steal the Teorsic Fluid. They could not help themselves.Jonathan depressed a lever and Tacey betrayed surprise. It was not Teorsic Fluid but a sweet Almond oil that was being injected by the golden teors into her as she rode. A cunning contraption pumped out the oil in carefully regulated spurts mimicking the Third Wonder but in a profusion only the most adept knights were able to achieve—and the truth was that Jonathan was not one of them; much to his chagrin. He was, though, working at raising his TFL, performing the exercises at morning and night. He carefully recorded the outcome in a spreadsheet stored on his laptop and the chart did show a rising trend. (TFL = Teorsic Fluid Level).The purpose of the Almond ejaculation was not the pleasure of the women, or deceiving her she had taken Teorsic Fluid, but to prepare her. In Tacey's case the Mesmodildo had caused her to literally drip but the liberal amount of Almond oil being pumped into her would ensure ease of teorsic insertion and a most appropriate sheen of oily lubrication running down the inside of her thighs. The Order expected not just the substance but the appearance of things and it was so very important for a woman appearing before the massed knights not only to be massively aroused by the honour shown but to visibly demonstrate it as well.Prepared, Jonathan dressed Tacey in the linen shift and finished his own ritual. Washed, he merely needed to don the badges of his rank and his robes. At the very base of his teorsic shaft, indeed clasping it tightly behind his scrotum, he tied, with leather thongs, a thin leather belt encircling the shaft forcing the scrotum forwards and the testes into greater prominence. It was the first symbol of a member of the Order and many wore it ordinarily under their street clothes.From a small red leather box Jonathon drew out three intricately engraved gold rings, rings prepared by the Order's goldsmith—a member himself. The first ring for a raphe, the second for a knight and the third ring for a member of the Corona. Jonathan had not possessed the third ring for long, indeed had only recently been erected to the Corona, and was only just getting used to wearing it tightly and impressively below his glans. Lifting his now unerect teors by the prepuce, with an ease gained by long practice Jonathan slipped the first, second and then third ring down the shaft and willed the First Wonder. His teors rose proudly, the flesh expanding into the rings so they were held tightly in their allotted positions as if the shaft was bound in gold. His teors looked magnificent in the mirror; Jonathan admired himself turning to the right and left as if trying on a new suit of clothes; it was big, knurled by veins, beautifully banded in gold and surmounted by the shiny purple head with its eye of mystery. It never ceased to impress him.Only the Bacalum wore the fifth symbol, a gold, bejewelled hat or helmet sitting atop his teors-head.Pulling on his great red robe Jonathan was prepared and led Tacey out into the great hall of the knights, the Corpus Cavernosum. The Knights of the Teorsas were assembled and waiting.The grand phallic ritual is concluded.The shock to Tacey must have been immense, shock and awe at walking into such a beautiful stone vaulted place and seeing the knights and raphes, perhaps a hundred in all, standing in their red robes watching her, their eyes focused just upon her; and, at their centre, the figure of the Bacalum looking so serene and wonderful in his great curving red penile hat. Jonathan could not but sense what she was feeling as he led her down the massed rows of the knights. Certainly her eyes were wide.A low chanting filled the hall as Jonathan led Tacey forward to the centre of the hall. Speaking in a clear voice he outlined to the assembly Tacey's grave misdemeanour. It was certain, very certain they were not pleased and Jonathan felt for Tacey as she must now realise how great was her error, how unwise and wrong it was to speak lightly of the teors and in a flippant manner. It was possible she thought herself there for punishment but that was not often the way of the Order. Perhaps once upon a time Tacey would have been bound tightly and her bottom roundly punished as the Knights watched; the sight of a helpless, naked, bound girl wriggling under torment greatly assisting their meditation.

In the eyes of the architecture critic Paul Goldberger, a building is a living, breathing thing, a structure that can have a spirit and even, at its best, a soul. It's this optimistic perspective that has given Goldberger's writing a certain ineffable, captivating quality across his prolific career—first at The New York Times, where he served as the paper's longtime architecture critic, winning a Pulitzer Prize in 1984; then as the architecture critic at The New Yorker from 1997 to 2011; and now, as a contributing editor at Vanity Fair. Goldberger is the author of several books, including Building Art: The Life and Work of Frank Gehry (2015), Why Architecture Matters (2009), and Building Up and Tearing Down: Reflections on the Age of Architecture (2009). He is also the chair of the advisory board of the Glass House in New Canaan, Connecticut, where we recorded this episode, our third “site-specific” interview on Time Sensitive.On the episode, Goldberger discusses the Glass House's staying power as it turns 75, the evolution of architecture over the past century, what he's learned from writing architects' obituaries, and the Oreo cookie from a design perspective.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Paul Goldberger[05:17] Glass House[05:17] Philip Johnson[07:06] Ludwig Mies van der Rohe[07:06] Farnsworth House[08:42] Brick House[12:37] Gordon Bunshaft[12:37] Lever House[12:37] Frank Lloyd Wright[12:37] Guggenheim Museum[13:18] TWA Flight Center[13:18] Kevin Roche[13:18] Ford Foundation building[13:18] CBS Building[15:17] Noyes House[16:17] U.N. Headquarters[17:50] Centre Pompidou[17:50] I.M. Pei[17:50] Louvre Pyramid[17:50] Frank Gehry[17:50] Guggenheim Bilbao[20:00] Walt Disney Concert Hall[23:20] Stuyvesant Town[24:24] “Oreo, at 75, the World's Favorite Cookie; Machine Imagery, Homey Decoration”[25:46] “Quick! Before It Crumbles!: An architecture critic looks at cookie architecture”[25:46] Nora Ephron[26:18] “Design Notebook; Commonplace Things Can Be Great Designs”[27:16] Bauhaus[29:10] Fallingwater[29:10] Richard Neutra[29:10] Lovell House[29:10] Gehry House[29:10] Louis Kahn[32:38] “Philip Johnson, Architecture's Restless Intellect, Dies at 98”[32:38] “Louis I. Kahn Dies; Architect Was 73”[35:30] Paul Rudolph[36:50] Zaha Hadid[37:22] “New Police Building”[38:19] Henry Geldzahler[41:31] Why Architecture Matters[43:21] Chrysler Building[47:28] Vincent Scully[48:18] Lewis Mumford[1:00:47] The City Observed: A Guide to the Architecture of Manhattan[1:00:47] World Trade Center[1:02:49] “Here Is New York” by E.B. White[1:05:33] Design: The Leading Hotels of the World[1:07:25] Ritz Paris[1:07:25] The Dylan Amsterdam[1:09:01] “Why Buildings Grow On Us”

Send us a textCorey Gilchrist and John Rohe chat about pickleball, compassion, and curiosity while on the court. They share insights into pickleball's origins, who can play, and why you should give it a try. The conversation also touches on lessons from The Village and how John applies them, not only at IBM but also in those in-between moments on the pickleball court. Support the show"Healing the City" is a profound and dynamic weekly podcast that dives into the complexities of creating healthier communities. Featuring the voices and perspectives of the esteemed members of the Village Church, each episode is thoughtfully crafted to address the challenges and opportunities for meaningful change in our cities. With a holistic approach to healing, the podcast explores a wide range of topics, from soul care and spiritual direction to mental health and community involvement. It provides listeners with insightful and thought-provoking perspectives on the issues facing our cities, as well as practical steps they can take to make a difference. Join hosts Corey Gilchrist, Eric Cepin, Ashley Cousineau, Jessica Dennes, Michael Cousineau, Mark Crawford, and Susan Cepin as they navigate the complexities of our communities with wisdom, grace, and a deep commitment to positive change. Through their engaging discussions, listeners will be inspired to become active participants in healing the city and creating a brighter, healthier future for all. The Village Churchvillagersonline@gmail.comThe Village Church meets at 10a and 5p on Sundays1926 N Cloverland Ave, Tucson AZ 85712Mail: PO Box 30790, Tucson AZ 85751

ABOUT SAMAR YOUNES:LinkedIn Profile: https://www.linkedin.com/in/samaryounes/Websites:bio.site/samaritualwww.samaritual.comBio:Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. As the visionary behind SAMARITUAL, a multidisciplinary creative studio, she weaves multidimensional narratives at the intersection of humanity, technology, and nature. With over 20 years of experience as an artistic director and brand strategist, Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.A Central Saint Martins alumna, Samar's work explores global south futures, otherworldly narratives, and interspecies harmonies through three interconnected spheres: Creator, Catalyst, and Cultivator. As a Creator, she crafts visionary artworks and installations that blur the lines between art, fashion, and architecture. In her Catalyst role, she provides strategic foresight and cultural alchemy for organizations navigating our evolving world. As a Cultivator, she nurtures future creativity through her Imaginalogy hybrid future edu lab, empowering individuals with tools and perspectives to thrive in an ever-changing creative landscape in the age of AI.Samar's transcultural perspective allows her to seamlessly integrate diverse cultural influences, creating a unique aesthetic and transcultural language symbiotic to her diasporic and third culture experience. Using a neuroaesthetic lens, she celebrates kaleidoscopic identities that resist binary categorizations. Through SAMARITUAL, Samar fosters interconnectedness, radical imagination, and visionary world-building, inviting us to participate in crafting inclusive, sustainable narratives that bridge ancestral wisdom with speculative futures. SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.Well here we are…SEASON 6…our 70th episode. And we've had some great interactions in the first 69. This season will be no less engaging.In the coming weeks we'll have artists, architects, authors and educators. We dig into tech issues with people who make crafting a digital future their lives work. Scientists who will expand our understand of the way we work and how the environments around us work on us. These dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    The NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgIn this 70th episode I talk with Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.First though, a few thoughts…             *                         *                         *At the core of this podcast is the idea of fostering “dynamic dialogues on data DATA” an acronym to include Architecture, Design, Technology and the Arts. Of course, the idea of talking about DATA is that it's a double entendre that allows me to dive into subjects about the impact that a data-driven society has on a myriad aspects of our human experience. Since writing my book “Retail Revolution: Why creating right brain stores will shape the future of shopping in a digitally driven world,” I've had a persistent interest in studying how technological advances are reshaping the way we interact with each other and the world around us.  The impact on various industries - commercial enterprises like the retail and hospitality worlds where I have built a 30 year career. And I've often chosen to discuss how artists and creators of all kinds can wield this amazing tool of data as a new medium for the creation of places where we can interact and connect in relevant ways. At both a city level or small footprint retail store level, I've looked at how digital technologies have grown beyond touch screen interfaces and wayfinding devices to fully immersive environments that deeply affect the way we experience a brand, a product assortment, entertainment venues, a night out for dinner a hotel museums or libraries…the list could go on.In many of my discussions with guests in previous seasons, when we've talked about the emergence of digital technologies, there have been the obvious concerns about how AI and super intelligence could begin to replace humankind.While I don't discount the possibility of those dystopian views being possible, I've tended to land on the side of thinking about technology and its extraordinary capacity for creating and making - or for ‘making right,' some of the things that design, even though some of the things that we have designed into the world have been extremely successful in supporting human advancement, have resulted in other challenges that we now face like the global climate crisis. We've looked at how technologies have been used for pure entertainment as well as applying technology to new approaches in farming. We've had guests with whom I have talked about how technological advancements in neuroscience have allowed us to understand more about how the human brain's capacity to spontaneously create, as in a jazz improvisation, and how that is even possible. Across the 70 episodes that we've published we've intentionally cut across a wide range of subjects. That has been intentional because I happen to believe that everything is connected to everything - that we live in a world of intricate interdependencies where nothing exists in a vacuum and everything in some way either directly, physically, or energetically impacts everything else.And so, when we talk about things like artificial intelligence, we don't do that in a vacuum either. My guests tend to understand the interrelationship of these extraordinary advances in technologies and that they are derived from a human hand or a human brain.This idea of the touch of a hand is important to me because I've always believed that there's something magical in making.That one of the clear defining features of humankind is that we are makers - that we make things that make other things.I've said this often before - birds make nests and so do the great apes but they don't make nests that create other nests on their own.I think that when we look at AI, there's often this idea that artificial intelligence is this deep dark cold entity. Perhaps we tend to paint it that way in dystopian movies the capture our imagination and our strange propensity for thinking about destroying ourselves - but I'd rather talk about how artificial intelligence and the hand of the artisan can collaborate to make things that have never existed before and how that collaboration is a critical component to envisioning the new possible.If you begin to interact with things like ChatGPT and Dall E or Mid Journey, creating visualizations of things that you initially write as prompts, you begin to see what is possible from machines hallucinating but the even those outputs don't exist entirely on their own. They require a human to start the ball rolling. Sitting a the keyboard, I need to be able to initially imagine something and then write a text-based prompt that will effectively give instructions to the AI upon which it builds an imaginary reality.And so, it's not exactly true that there is some robotic process at work entirely devoid of emotion and feeling when using Ai tools as way to generate inspiration. We can introduce emotion - one of our foundational human qualities - into Ai created content and see what emerges from the machine when asked to represent the emotional experience of a place or things. Ask Mid Journey to create a light blue box and it will do a spectacular job. Ask the ai to create a visual representation of the emotions felt when opening a gift from Tiffany and that‘s an entirely different output.We can infuse the prompts with emotional content and when we do, the output can be really fascinating. I think we've often turned to art and in its many forms as expressions of emotion. Sometimes the things that we can't put into words are somehow better expressed through dance, music, painting or other graphic visualizations. And yet when we think about places of human experience it seems that art is often considered decorative rather than part of the strategy.Now… I know that that's not entirely true and cannot be used as a sweeping generalization because certainly there is architecture that in its detailing is considered high art and that the artful design of places it is very much part of the overall experience.Think of places created for the purpose of the enactment of religious rituals or other public or cultural institutions.  Remember the Mies van der Rohe quote “God is in the details.”I think there is something magical and mystical about the maker who take materials and transforms them into places and things that have not been before. And now we have new materials in our palette of things to use. Data is a new medium, yet it doesn't exist alone in the tool box. When we combine “hand intelligence” with artificial intelligence, the skill of the craftsman with the collective intelligence of the masses, we are in for some really interesting creative futures.This is where my guest Samar Younes comes into the story…Samar Younes is a Beirut-born hybrid artist, futurist, and creative catalyst whose work embodies a transcultural approach. As the visionary behind SAMARITUAL, a multidisciplinary creative studio, she weaves together multidimensional narratives at the intersection of humanity, technology, and nature. With over 20 years of experience as an artistic director and brand strategist, Samar blends generative AI with artisanal craftsmanship and ancestral wisdom to create immersive experiences that challenge stereotypes and envision nuanced futures.Samar explains that her work explores otherworldly narratives, and interspecies harmonies through three interconnected spheres: Creator, Catalyst, and Cultivator. As a Creator, she crafts visionary artworks and installations that blur the lines between art, fashion, and architecture. In her Catalyst role, she provides strategic foresight and cultural alchemy for organizations navigating our evolving world. As a Cultivator, she nurtures future creativity through her Imaginalogy hybrid future edu lab, empowering individuals with tools and perspectives to thrive in an ever-changing creative landscape in the age of AI.When seeing Samar's work, I am transported to a new place where imagination plays. She is a creativity maven who wields the tools and touch of an artisan and the deftness of a data scientist in making the new possible. I was lucky to sit down with her at the SHOP Marketplace show to talk about the worlds of artisan craft and its new creative partner in artificial intelligence…             *                         *                         *ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.  The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

Saates on seekord Rohe.geenius.ee toimetaja Ivar Soopan, kes käis Pariisis Toyota suurel tehnoloogiaüritusel ning sai ka mõnda sõidukit proovida. Räägimegi tulevikukütustest ja sellest, kuhu automaailm võiks liikuda. Aga päris kütustele pidama ei jää. Ivar räägib, kuidas ta põhupalli Minisse toppis, mis auto ta hiljuti ostis ning kvoodi-Mitsudest. Saatejuht on Tarmo Tähepõld Geeniuse uudisteportaalist.

Da sind sie wieder, eure beiden Salamander-Lookalikes und sie sind auch in dieser Episode erneut zu allem fähig. Eschi hat seine Dortmunder live in seinem zweiten Wohnzimmer gegen die Frankfurter Eintracht gesehen und berichtet seine Eindrücke. Außerdem hat man ihm in der Düsseldorfer Arena beim Interview mit Axel Bellinghausen verraten, wie teuer einmal Dach zumachen ist (und das dürft ihr mal parallel mitraten). Ansonsten: Schiffi zieht um, Kiss-Frontmann Gene Simmons übernimmt die alte Butze. Der FC hat irgendwie 5 Tore geschossen und wir grübeln nach, wie so was möglich war… Der Hutzibutzi war anscheinend auf großer Himalaya-Expedition und Krone-Schmalz war auch vor 30 Jahren schon ne Nummer im Fernsehen…Kurvis, tankt den Aperol in die Schnabeltasse, denn es geht wieder rasant ab. ❤️ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Als Thomas Anfang des Jahres eine Schreinerin fand, die seiner Tochter zum Geburtstag ein Custom-Puppenhaus in den Proportionen des neuen tatsächlichen Hauses bauen konnte, ahnte er nicht, dass es sich bei Joy Ludorf um die Sängerin des Superhits „Schnappi“ von 2004 handelte. Nach dem Umzug luden Hazel und Thomas Joy in ihr Haus im Maßstab 1:1 ein. Inhalt: 00:00 Kennenlerngeschichte Hazel, Thomas und Joy 03:49 Joy als Tischlerin und Sängerin von Schnappi 13:53 Erfolgsgeschichte Schnappi 19:15 Joys Highlights und Erfahrungen zu Schnappi 27:03 Schnappis Social Media Accounts und Lama aus Yokohama 29:40 Joys Parallelen: Musik und Handwerk 34:22 Inspiration Architektur 39:55 Kontroverse Gebäude 43:53 Hausbau oder Umbau? 53:51 Konkrete Ideen Hausgestaltung 01:02:14 Grenzen bei Aufträgen Innenarchitektur 01:06:57 DamiLee und Sims 01:12:13 Stadtentwicklung und Joys Zukunft als Architektin Die Zeitstempel können variieren. Artikel zum Puppenhaus von Hazels Tochter https://www.schweizer-illustrierte.ch/family/familien-geschichten/hazel-brugger-und-thomas-spitzer-schenken-ihrer-tochter-ein-haus-687109 Joy Ludorf Design https://www.instagram.com/this.is.concept.joy Über die Wanderjahre https://de.m.wikipedia.org/wiki/Wanderjahre Schnappi auf Instagram https://www.instagram.com/p/CUIe42OAv71/?hl=de Joy spricht über den Architekten „Ludwig Mies van der Rohe“ https://de.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe Sagrada Familia https://de.wikipedia.org/wiki/Sagrada_Família Düsseldorfer Medienhafen von Frank Gehry https://de.wikipedia.org/wiki/Neuer_Zollhof Stadthaus Ulm https://de.wikipedia.org/wiki/Stadthaus_Ulm Thomas empfiehlt diese Architektin auf Social Media https://www.youtube.com/@DamiLeeArch Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/hoererlebnis

Crain's residential real estate reporter Dennis Rodkin joins host Amy Guth to talk news from the local housing market, including the story behind a condo for sale in one of the very first Mies van der Rohe buildings on Lake Shore Drive and the legal fight over a Sonoma-style Galena resort project.Plus: Boeing names Kelly Ortberg as new CEO, Deere adds nearly 300 HQ staff to mounting layoffs, record payouts on biggest U.S. grid signal costs of reliable power and U.S. Soccer to sell $200M of debt to finance Chicago-to-Atlanta HQ move.

Greetings! Welcome to the Season 5 premiere of Stamper Cinema! We're kicking off the new season with an absolute 90s banger. TRAINSPOTTING! If you haven't seen this one - here's its summary straight outta wikipedia... Trainspotting is a 1996 British black comedy-drama film directed by Danny Boyle, and starring Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle and Kelly Macdonald in her film debut. Based on the 1993 novel of the same title by Irvine Welsh, the film was released in the United Kingdom on 23 February 1996.[5] The film follows a group of heroin addicts in an economically depressed area of Edinburgh and their passage through life. Beyond drug addiction, other themes in the film include an exploration of the urban poverty and squalor in Edinburgh. Sounds good, right? It is good! And joining us to unpack this good one is Stamper Cinema regular, ATX's very own, John Rohe! Enjoy! Trainspotting links IMDB Rotten Tomatoes Wiki Stamper Cinema links https://www.stampercinema.com

What is your success rate? Would you like it to go up? Today, Nikki shares an approach designed to do exactly that. It's the “less is more” approach. Sometimes we get into a mindset of “more is more.” There are times when we need to pull back a little bit, and that's what today's show is all about. From the poet Robert Browning to the architect Ludwig Mies van der Rohe, “less is more” has been used to promote simplicity, restraint, and direct expression. It is also a powerful sales approach. Nikki shares three real-life scenarios where “less is more” is the better strategy. She talks about why we don't need to put everything, including the kitchen sink, in our offers and why it's better not to. We learn the disadvantages of putting too much information in our sales conversations. Finally, this strategy is perfect for those times when a mistake is made, and we need to express concern and make a correction. Tune in to tighten up your language when selling and interacting with clients, and get inspired to use the “less is more” approach for improved sales and communication. Nikki invites you to join the Sales Maven Society. Take advantage of this opportunity for you and Nikki to work together. Bring your questions, concerns, and sales situations; she provides answers and guidance to boost your confidence. Join the Sales Maven Society here, click Join Today, and then checkout and use coupon code 47trial to get your first month for $47.00!   In This Episode: [01:40] -  Scenario #1. Offers and packages. Nikki recently put together a comprehensive one-on-one coaching package. She wanted to give it all, so she included a bunch of additional features. [02:29] -  She received feedback from someone who didn't sign up because they didn't have time to take advantage of all the extras she added to the package, even though they actually needed one-on-one coaching. [03:10] -  Sometimes, we want to throw everything into the offer, yet it can actually slow down the sales process. [05:45] -  Scenario #2. "Less is more" works in your favor during your sales conversations. [06:28] -  Educating potential customers about everything you know can overwhelm them and prevent sales. [07:01] -  More is more will slow people down or overwhelm them, and they'll find someone else who made it easier for them to buy. [08:02] -  Don't give advice or coach during your consultation calls. Great responses include, "That is a fantastic question. That is definitely something that we will cover in your strategy session." [10:19] -  What about this would be helpful for you to know? What haven't we covered yet that you would like more information on? [11:47] -  Scenario #3. When you have to acknowledge or apologize for a misstep. [13:13]—Be direct and apologize; don't share all of the details. In sales, it's about making things easy for the client and giving them the information they want. [17:48] -  It's better just to acknowledge and apologize. Don't feel compelled to share all of the information and reasoning behind the mistake. [20:19] -  When you find yourself in these scenarios, ask whether “less is more.”   For more actionable sales tips, download the FREE Closing The Sale Ebook.   Find Nikki: Nikki Rausch nikki@yoursalesmaven.com Facebook | Twitter | LinkedIn | Instagram Sales Maven Society Work With Nikki Discussion To download free Resources from Nikki: www.yoursalesmaven.com/maven    Resources: Simple Pin Media  

In this weeks mission Holden seated on the Marshmallow Sofa, designed by Irving Harper of Herman Miller Inc and Jake sitting upon his Barcelona Chair, designed by Ludwig Mies van der Rohe and Lilly Reich tread into the espionage/assassin/telepath filled world of Tatsuya Endo's SPY×FAMILY! Want even more WizBru? Support us on Patreon! Patreon.com/WizBru 

During the past year in New York, I've explored countless stunning buildings, each with its own unique story. In this episode, I'm excited to be joined by my friend Riccardo Palma to dive into some of the city's most iconic modern buildings. Riccardo, an architect at the Bjarke Ingels Group, constantly challenges me with his unique perspective on space and architecture. Riccardo and I always discuss the places we visit, so join us as we share our New York must-see favorites to add to your list. We'll be talking about the Seagram Building, designed by Ludwig Mies van der Rohe and completed in 1958; Donald Judd's estate in SoHo, a landmark of minimalist design completed in 1968; and the Ford Foundation Building, designed by Kevin Roche and completed in 1967.Follow us on Instagram under the name Architecture.Talk to get a visual experience of our conversation. Hosted on Acast. See acast.com/privacy for more information.

Join us in this episode as we recount our time at the 2024 AIA Conference on Architecture recently held in Washington DC. We highlight the travel, keynote speakers, the expo hall, the incredible museums, and the architectural community.Episode Links:Mecanoo and OTJ Architects complete renovation of Mies van der Rohe's Martin Luther King Jr Memorial LibrarySteven F. Udvar-Hazy Center (the other Smithsonian air and apace museum)Eero Saarinen's Revolutionary Design of the Dulles AirportSmithsonian Institution, National Portrait Gallery (Architizer)Phil Freelon and the Creation of the National Museum of African American History and CultureNational Museum of African American History and Culture (Wikipedia)Frank Lloyd Wright's Pope-Leighey houseNational Museum of the US ArmyArthur C. Brooks (Wikipedia)Evan Troxel on InstagramCormac Phalen on Instagram-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

Kleines Wochen-Update: Warum Caro Schuld an Rachel's schlechter Laune war und was es mit rohen Eiern als Mealprep auf sich hat. Außerdem gibt es in der neuen Folge salted dates den versprochenen New York-Recap!

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats

Trump says American reporter held hostage in Russia won't be released until he's elected. Did he cut a deal with Putin? Ukraine will fall if Trump wins. Why we need to brag about Biden's successful record on the economy. Trump is inciting violence against Democrats again. Mar-a-lago filing indicates more obstruction of justice. Sam Alito's Appeal to Heaven flag. Biden AI voice imagines the Supreme Court granting presidential immunity. Kaitlan Collins sticks it to Ted Cruz. Clint Webb for Senate. With Jody Hamilton, David Ferguson, music by Razorhouse, Robinson and Rohe, and more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

La sesión se desarrolla en inglés (con subtítulos en español). El arquitecto y urbanista británico, galardonado con el premio Pritzker de Arquitectura 2023, Sir David Chipperfield (Londres, 1953) dialogará con el arquitecto, catedrático y crítico Luis Fernández-Galiano en esta sesión de Diálogos cosmopolitas, la nueva serie de entrevistas a destacadas personalidades internacionales en los diferentes ámbitos de la cultura. David Chipperfield, considerado como uno de los arquitectos más comprometidos con el bienestar social y la sostenibilidad, recibió en 2011 el premio de Arquitectura Contemporánea de la Unión Europea Mies van der Rohe por la reconstrucción, con Julian Harp, del Museo Nuevo de Berlín. A lo largo de cuatro décadas de trabajo, entre sus obras destacan la Ciudad de la Justicia de Barcelona, la renovación y ampliación de la Real Academia de las Artes de Londres y la rehabilitación de la Nueva Galería Nacional de Berlín, diseñada por Mies van der Rohe. En 2017 creó la Fundación RIA (Rede de Innovación Arousa), con sede en Galicia.Más información de este acto

2 Hours of Mid Era: new Lisa Bella Donna (USA), Steve Roach (USA), Syndromeda (Belgium), Thaneco & DASK (Greece/England) & Lensflare (Italy) TIME ARTIST TRACK RELEASE 0:00:00 ***Intro*** [Mid Era]   0:00:00 Redshift quenzer: livetudio 2002 A Tribute Album For Mark Shreeve 0:11:28 Lisa Bella Donna piece for flute and organ Christmas Album 0:14:33 Steve Roach desert winds 2 & 3 The Desert Winds Of Change 0:31:02 Joerg Dankert strange new worlds Strange New Worlds 0:36:10 Syndromeda three Liftoff To Infinity 0:42:36 Thaneco & DASK the ariel school incident Ships In The Sky 0:53:32 Pabellón Sintético villa tugendhat Mies van der Rohe's Dreams 0:59:21 MOS-Lab starwave 1984   1:04:36 Lensflare sic mundus creatus est Sic Mundus creatus est 1:16:24 Tangent Dreams okefenokee Edgar's Journeys  1:28:05 Odyssey neurogenesis Syntharsis 1:32:40 Eguana deep sleep Invisible Civilization Vol 3 1:39:32 SpiralDreams transmigration Anywhere 1:48:45 Gert Blokzijl part four The Wine-Forest Sequences 1:58:30 ***Outro***       Keywords: International electronic music internet electronic artists unsigned electronic artists Low Orbit Satellite Ambient Symphonic Rock Progressive Rock Art Rock Tribal Trance PsyTrance Ethno/PsyTrance IDM Nonima Dub Step Mid Era Berlin School    

In the last segment of UnMind, the second installment discussing the sameness and differences I have noted in teaching Zen or design as a profession, I wrapped up the essay by mentioning the concept of “control,” as it might apply to either or both: In meditation circles, we often hear phrases such as “controlling the breath” or “emptying your mind of thoughts.” These represent attitudes 180-degrees from that in Zen meditation, which is not one of exerting control, but rather relinquishing any real or imagined level of control. Using that as a springboard for this segment, let's examine our approach to Zen meditation, in the context of the well-known adage from minimalist design, “Less is more.” According to Google: Minimalism is exemplified by the idea of “less is more” as first coined by architect Ludwig Mies van der Rohe. The idea that less may be more, in applying the method of zazen, is implicit in many dimensions of the character of Zen training, from Buddha's Middle Way of moderation to the “chop wood, carry water” practicality of the Chinese history, the seven items a monk was allowed to own, and the sparse serenity of the zendo interiors of Japan, with their starkly minimalist sand and rock gardens. The Institute of Design, during my years there in undergraduate and graduate studies, was housed in the basement of Crown Hall, while the Mies school of architecture was on the upper floor. His contribution to minimalist architecture lay in the combination of glass and steel to construct high-efficiency buildings, of which Crown Hall was an early archetype.Another aphorism from design thinking that I mentioned: ...there are many design ideas that are simple in concept, but difficult in execution. Zen may be the poster boy for this truism. Zazen is irreducibly simple in design, but Zen can be maddeningly difficult in daily execution. This is where I would like to begin this segment. Thinking about meditation, particularly Zen's zazen — as I understand this “excellent method,” as Master Dogen repeatedly referred to it — it occurred to me that during zazen, as a process of “unlearning,” or “subtracting” the preconceptions we harbor as to our conventional take on reality, we might usefully question a variety of such attitudes and concepts, as to whether we are unintentionally, perhaps even unconsciously, striving to attain something as a presumed goal of our practice. Only if we recognize that we are doing so, can we then consciously relinquish that particular problematic attitude or opinion, and see what it is like to sit without it getting in our way. A number of these came up for me, which we can consider one at a time, perhaps extending into the next segment. They are expressed herein with the suffix of “-less,” which implies “the absence of.” Let's begin with the very idea of goals in general, embracing the approach of “letting go” of our predilections. GOALLESS MEDITATIONOf course, we all sit in meditation with some kind of goal, whether simply to calm the mind under stress; to get back to normal; or more deeply, to “wake up” to reality, which might be said to be the principle goal of Buddhism. But Master Dogen cautions us, in “Principles of Seated Meditation—Fukanzazengi,” to avoid taking goal-setting too far: ...think neither good nor evil, right or wrong thus stopping the functions of your mind give up even the idea of becoming a Buddha In other words, resist setting up what seems a more lofty goal, in place of the pedestrian objectives we might associate with meditation. Which begs the question, can we do away with all goals and objectives, at least while we are sitting? We might say that it is not that Zen meditation has no goal, but it is just that the actual goal is too deep and too broad to be expressed in words, especially a priori. We meditate to discover the goal. TIMELESS MEDITATIONMost instructions for meditation include imposing time constraints on it, for example by setting a timer, using an app with a built-in alarm, burning a stick of incense, or following the schedule of timed sessions on retreat, or during daily practice at a Zen center. When we experience the latter, sitting with somebody else tracking the time, we feel somewhat liberated from the necessity of thinking about the time, or paying attention to the clock; someone else is doing that for us. When we take a turn as time-keeper (“doan” in Soto Zen), we experience the discipline of being responsible for others' time on the cushion. Both are highly recommended. But someone once said that in zazen, “the barriers of time and space fall away.” When I see someone restively glancing at their watch in the zendo, I will often ask to borrow it. Then, they are unable to indulge their fidgeting obsession with time, at least while sitting. This goes to the larger question of all the measurables associated with our meditation — such as how long we sit, how often, how regularly, et cetera — which are not as important as the immeasurable aspects: that we simply never give up. We keep returning to zazen, in good times or bad, for whatever time we have available for it. I recommend that occasionally, perhaps the next time you sit in meditation, that you forego your tendency to time the period. Sit without any stopping time in mind. Then you may finally reenter real time, which is not measured; indeed, it is not even measurable. You may find that time is all you really have; that in fact, you have all the time there is. This reality of real time versus measured time is captured in the sardonic expression — “The man who has one watch always knows what time it is; the man who has two never knows for sure” — attributed, as many such wisecracks are, to Chinese origin. EFFORTLESS MEDITATIONIn his paraphrase of a brief Ch'an poem about meditation, titled “Zazenshin,” meaning something like an “acupuncture needle” or “lancet” for zazen — something exceedingly sharp or pointed — Master Dogen points to the true meaning of “right effort” toward the end of the poem: Intimacy without defilement is dropping off without relying on anythingVerification beyond absolute and relative is making effort without aiming at it “Making effort” includes assuming the posture, which is not always easy, especially when we overdo it; and breathing, which can be labored, especially when we catch a cold, or during flu season. I have heard that the posture should feel more like a stretching sensation than physical effort, and that the breath should be more like a sigh than belabored breathing. My root teacher, Matsuoka Roshi, said “the breath should be like a gate swinging in the breeze, first this way, and then the other way,” a rather pleasant, languid, relaxed image. And, he would say, “Zazen is the comfortable way.” This should give us pause, in our pursuit of overweening effort, characterized as “macho Zen,” which we get from our impression of Rinzai's more driven practice of externally-imposed discipline. I suspect that this meme is more a social dimension of the culture, than having anything to do with the reality of Zen practice — other than inculcating a sense of urgency: that we have no time to waste, in getting after this most important and central “great matter.” In the next segment of UnMind we will continue with this exploration of the “less” side of the practice. As a semantic curio, the English meaning of the prefix “un” — which in my dharma name means “cloud” — connotes the “opposite” of something, or something very different, as in the “un-cola” campaign promoting the soft drink Seven Up, which I know dates me. It is similar in effect to the suffix “-less,” which connotes the “absence” of something. If you have any suggestions along these lines for me to entertain in the next segment, let me know. My list is quite long, but there is always room for one more consideration to eliminate, from distracting us from our meditation. * * * Elliston Roshi is guiding teacher of the Atlanta Soto Zen Center and abbot of the Silent Thunder Order. He is also a gallery-represented fine artist expressing his Zen through visual poetry, or “music to the eyes.”UnMind is a production of the Atlanta Soto Zen Center in Atlanta, Georgia and the Silent Thunder Order. You can support these teachings by PayPal to donate@STorder.org. Gassho.Producer: Shinjin Larry Little

We talk amateur golf in St. Louis to amateur golf nationwide. Also, we have expert Dr. Rick fill us in on sports injury and how to avoid them. Golf with Jay Delsing is presented by the ascensioncharityclassic.com

Chicago. Designer. Artist. And. Jazz fan. Norman Teague, joins us to touch on craft, music, Mies van der Rohr, bringing one's cousins along. Come along us as we dance through a racialized modern, Martian Puryear, craft and art, and the affect of music. All while we investigate “A LOVE SUPREME” at the Elmhurst Art Museum. Image... Install at Elmhurst Art Museum   Elmhurst Art Museum https://elmhurstartmuseum.org/ Norman Teague https://www.normanteaguedesignstudios.com/ John Coltrane https://en.wikipedia.org/wiki/John_Coltrane Rose Camara https://www.rosecamara.com/ Chipstone Foundation https://www.chipstone.org/ Terra Foundation https://www.terraamericanart.org/ Art Design Chicago https://artdesignchicago.org/ Martian Puryear https://matthewmarks.com/artists/martin-puryear Mies van der Rohe https://www.moma.org/artists/7166      

In architecture up until the 1990's, it was raining men, and the few women architects had to work twice as hard to get the same recognition and the same pay, if they got either at all. That's slowly changing, thanks to pioneering leaders like today's guests.  Phyllis Bronfman Lambert is a Canadian architect, philanthropist, and member of the family that brought Seagrams spirits to fame in the 20th century.  She created the Canadian Centre for Architecture, one of the world's leading architectural museums and research centers and 1954, she oversaw the design of the Seagram Building in New York City by Mies van der Rohe.  Later on, it's the first woman president of the AIA, Susan Maxman, who in the 90's broke a century of male leadership in America's largest professional association for architects.

Most loyal Art Angle followers will be familiar with the curator Klaus Biesenbach. The German-born artist made his mark in Berlin in the 1990s, founding the city's biennale and one of its most-beloved art institutions, Kunst-Werke. He moved West, across the water, becoming director of MoMA PS1, and chief curator at the Museum of Modern Art in New York, before moving even further west in 2021 to take up a directorship at MOCA, Los Angeles. Biesenbach gained a reputation for leveraging the power of celebrity, working with artists and stars like Marina Abramovic and art-adjacent creatives like Patti Smith and Bjork; he is known for creating and capturing social moments while also rethinking the social nature of museums. Now, he's back home in Germany, heading up not just one, but two of the country's most important museum projects, in a post he called “once-in-a-life-time honor.” One museum is a highly symbolic historical treasure, the Neue Nationalgalerie in Berlin, which was designed by Mies van der Rohe. The other, is a museum still to come, the massive Berlin Modern, which is set to open next door to the Neue Nationalgalerie in 2026. Artnet News's Berlin-based senior editor Kate Brown checked in with Biesenbach just as he was closing a major retrospective dedicated to Isa Genzken and while the foundation is being laid at the Berlin Modern. 

In another life, the German-born architect Annabelle Selldorf might have been a painter or a profile writer. In this one, she expresses her proclivity for portraiture as the principal of the New York–based firm Selldorf Architects, which she founded in 1988. Renowned for its work in the art world—from galleries for the likes of David Zwirner and Hauser & Wirth to cultural institutions including The Frick Collection in New York, the National Gallery in London, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.—Selldorf's firm has also designed a wide variety of residential projects and civic buildings. Many of these designs serve as architectural depictions of their respective clients, revealing each one's inner nature and underlying ethos.On this episode, Selldorf discusses the links she sees between Slow Food and her architecture, the intuitive aspects of form-making, and why she considers architecture “the mother of all arts.”Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes: [00:31] Selldorf Architects[08:19] The Frick Collection[10:42] Lucian Freud[17:45] Dia Beacon[18:43] Art Gallery of Ontario expansion[18:54] Two Row[18:57] Diamond Schmitt[26:08] Sunset Park Material Recovery Facility[30:03] CSO Red Hook[30:05] CSO Owls Head[34:31] National Gallery, London[35:17] One Domino Park[37:15] John Russell Pope[37:28] Thomas Hastings[43:13] I.M. Pei[55:38] Ludwig Mies van der Rohe[58:54] Neue Galerie

March 2 Matchday is now Jersey Swap! It's the Winged Lions versus the Wingless Lions! It's been a good few months since paths have crossed, so Geoff talks with David to see how different this O-Town team is and who could be the X-factors in the latest matchup between potential playoff powerhouses. Tune in and trade threads with us! #MLS #FCCincinnati #soccer Become a Patron! Special thanks to this month's new Patreon signups Subscribe to Cincinnati Soccer Talk Don't forget you can now download and subscribe to Cincinnati Soccer Talk on iTunes today! The podcast can also be found on Stitcher Smart Radio now. We're also available in the Google Play Store and NOW ON SPOTIFY! As always we'd love your feedback about our podcast! You can email the show at feedback@cincinnatisoccertalk.com. We'd love for you to join us on our Facebook page as well! Like us at Facebook.com/CincinnatiSoccerTalk.

[Explicit Content] Elon's Twitter sabotaged Ron DeSantis's campaign kickoff event. The headlines. The live streams that got more views than DeSantis. Super PAC added fake fighter jets to DeSantis video. DeSantis's gigantic mouth. Trump and his lawyers are freaked out by Jack Smith for some reason. Oath Keeper Stewart Rhodes sentenced. The Republican holy war against Target. Charlie Kirk threatens violence against the retailer. Steve Bannon's trial date is set. The Brady Bunch house is for sale. House Democrats laugh at Marjorie Taylor Greene. Matt Schlapp pummeled CPAC's finances. Great news about the electoral college. With Jody Hamilton, David Ferguson, music by Robinson & Rohe, Astral Summer, and more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.