Construction Before The Airport - Las Vagas.
big for a building and... too few to support a building. The driver continued..."We don't have any
building contract for a long time, he used to be in the construction trade and very few tourist came
until recently. How would anybody want to build a new hotel with low occupancy?".
My assumption could be a overpass or bridge...but who knows...
Sand Storm Day - Las Vegas
Mandalay Bay Resort & Casino - Las Vegas VI
Mandalay Bay Resort & Casino - Las Vegas IV
Mandalay Bay Resort & Casino - Las Vegas III
Mandalay Bay Resort & Casino - Las Vegas II
Mandalay Bay Resort & Casino - Las Vegas I
Flying Horse Pub At Gatwick Airport, London
Passengers On The Piccadilly Line Subway, London
The Piccadilly line is a line of the London Underground, coloured dark blue on the Tube map. It is the fifth busiest line on the Underground network on the basis of the number of passengers transported per year. It is mainly a deep-level line, running from the north to the west of London via Zone 1, with a number of surface sections mostly in its westernmost parts. Out of the 53 stations served, 25 are underground. It is the second longest line on the system, after the Central Line. It serves many of London's top tourist attractions including Harrods, Hyde Park, Buckingham Palace, Piccadilly Circus (after which the line is named), Leicester Square and Covent Garden, as well as London's biggest airport, Heathrow.
http://en.wikipedia.org/wiki/Piccadilly_line
Yesterday, before getting on a plane to Milan, Scott and I made a quick trip around the National Portrait Gallery of London. That’s where I saw this sculptural silhouette of Isabella Blow (which I snapped with my Iphone before a security agent told me not to), the cult stylist and muse who discovered Alexander McQueen… and Stella Tennant, who we talked about yesterday.
This is actually a shadow silhouette comprised of stuffed animals and feathers that recreate her profile perfectly.
It’s a work by Noble and Webster. Simply fantastic.
The Portrait Of Isabella Blow by Noble and Webster, at the National Portrait Gallery of London, until the 13 of march. Free admission.
http://www.garancedore.fr/en/2011/02/23/le-portrait-disabella-blow/
Lucian Freud - Entrance To The Exhibition
Lucian Freud Portraits – review by Adrian Searie, Guardian.co.uk
Lucian Freud painted strange, uneasy, figures, from first to last. Maybe they were uneasy because he was painting them. There was as much violence as tenderness in his stare, and in the ways he devised to paint.
This tremendous show tracks Freud's inquisitiveness and inventiveness, his constant returns to the mystery of presence. Almost everything Freud did was a portrait of a situation or a confrontation as much as it was a body in a room, whether the body belonged to a lover, a daughter, the artist's mother, a baron, a bank robber or the Queen.
Freud was 18 in 1940 when he painted his art college tutor Cedric Morris , the earliest work in this large, though far from complete exhibition, planned in close co-operation with the artist himself during the last five years of his life.
Freud's final painting, of his pet dog and his studio assistant David Dawson, was left unfinished on the easel when Freud died last year at 88. Its incompleteness is extremely affecting.
The first of these two paintings is small, querulous and faux-naive (though it is hard to imagine Freud naive at any stage in his life), the last full of eccentric impetuosities: Dawson looks up; Freud's eye circles like a bird of prey, quartering its subject from above. The painting runs the gamut from sketchy indications of what might have been, to revised and much reworked detail. Dawson's head is an encrusted eruption of granular pustules of paint. I churn too, as I look at it.
In his very late works Freud seems to have got fixated on certain details. There is an enormous, disjunctive, variety in Ria, Naked Portrait 2006-7. Ria's head is a coarse impastoed lump, the bedcover a fastidious off-white rumpled plain, its pattern emerging and disappearing. The painting is marvellous and terrible at the same time, both exhilarating and awful. There's frailty and failure as well as richness and complexity there, which makes it all the better.
Through a sequence of larger and smaller rooms, Freud's portraiture is unpacked, in all its variety, from the thinly-painted acuteness of his 1950s work to his affecting, grand and vulnerable portraits of the performance artist Leigh Bowery, and the mountainous and magnificent Sue Tilley (Big Sue, the Benefits Supervisor). Each has a room devoted to them.
Elsewhere, however, earlier, smaller, works are hung too close together. In some rooms there are too many confrontations and painted intimacies to take in. It's going to be tough when the crowds arrive.
Neither a realist nor an expressionist – though there is as much reality as there is expression in his art – Freud depicted the psychological tensions between himself and his subjects. His paintings are full of life. There is always a palpable atmosphere, even if it is often conjured from dead time in the studio, his models' lassitude or alertness, a sense of someone waiting for those interminable sittings at their appointed hours to be over.
Freud almost always found something new, or a new way to describe, the experience of being in a room with someone else. It was usually the same room, with the same bits of furniture and piles of paint-soiled rags.
Details as much as whole paintings arrest me. So many details! The weave of a wicker chair, the paisley pattern on his mother's suit, the halo of light reflected behind a head on a leather seat, the Paddington skyline rippling in the windowpane, iridescent blue nail varnish flickering on a woman's toes.
Freud's paintings always have great and often unexpected moments, things the eye snags on. His was a process of describing sensation and presence, people and things and spaces and light, through the language of painting.
He was continually trying to find new ways to describe the familiar: clasped hands, a man's dangling cock, a cheekbone, a turn of the head. His touch is almost never dutiful or rote.
Freud would steer through a sitter's boredom, their disquiet or their flamboyance or their awkwardness, to find something new in their introspection, their nakedness. His art is wonderfully perverse, and perversity was the method by which it constantly reinvented itself.
Being Sigmund Freud's grandson did not give Lucian any particular insights into his sitters, and he disparaged familial comparisons, but like his grandfather his work was largely concerned with being alone in a room with another, delving into the silence that falls between them, analysing the ongoing situation. This exhibition is unmissable. Go more than once, if you can.
• Lucian Freud Portraits is at the National Portrait Gallery, London, from 9 February to 27 May
http://www.guardian.co.uk/artanddesign/2012/feb/05/lucian-freud-portraits-review
This tremendous show tracks Freud's inquisitiveness and inventiveness, his constant returns to the mystery of presence. Almost everything Freud did was a portrait of a situation or a confrontation as much as it was a body in a room, whether the body belonged to a lover, a daughter, the artist's mother, a baron, a bank robber or the Queen.
Freud was 18 in 1940 when he painted his art college tutor Cedric Morris , the earliest work in this large, though far from complete exhibition, planned in close co-operation with the artist himself during the last five years of his life.
Freud's final painting, of his pet dog and his studio assistant David Dawson, was left unfinished on the easel when Freud died last year at 88. Its incompleteness is extremely affecting.
The first of these two paintings is small, querulous and faux-naive (though it is hard to imagine Freud naive at any stage in his life), the last full of eccentric impetuosities: Dawson looks up; Freud's eye circles like a bird of prey, quartering its subject from above. The painting runs the gamut from sketchy indications of what might have been, to revised and much reworked detail. Dawson's head is an encrusted eruption of granular pustules of paint. I churn too, as I look at it.
In his very late works Freud seems to have got fixated on certain details. There is an enormous, disjunctive, variety in Ria, Naked Portrait 2006-7. Ria's head is a coarse impastoed lump, the bedcover a fastidious off-white rumpled plain, its pattern emerging and disappearing. The painting is marvellous and terrible at the same time, both exhilarating and awful. There's frailty and failure as well as richness and complexity there, which makes it all the better.
Through a sequence of larger and smaller rooms, Freud's portraiture is unpacked, in all its variety, from the thinly-painted acuteness of his 1950s work to his affecting, grand and vulnerable portraits of the performance artist Leigh Bowery, and the mountainous and magnificent Sue Tilley (Big Sue, the Benefits Supervisor). Each has a room devoted to them.
Elsewhere, however, earlier, smaller, works are hung too close together. In some rooms there are too many confrontations and painted intimacies to take in. It's going to be tough when the crowds arrive.
Neither a realist nor an expressionist – though there is as much reality as there is expression in his art – Freud depicted the psychological tensions between himself and his subjects. His paintings are full of life. There is always a palpable atmosphere, even if it is often conjured from dead time in the studio, his models' lassitude or alertness, a sense of someone waiting for those interminable sittings at their appointed hours to be over.
Freud almost always found something new, or a new way to describe, the experience of being in a room with someone else. It was usually the same room, with the same bits of furniture and piles of paint-soiled rags.
Details as much as whole paintings arrest me. So many details! The weave of a wicker chair, the paisley pattern on his mother's suit, the halo of light reflected behind a head on a leather seat, the Paddington skyline rippling in the windowpane, iridescent blue nail varnish flickering on a woman's toes.
Freud's paintings always have great and often unexpected moments, things the eye snags on. His was a process of describing sensation and presence, people and things and spaces and light, through the language of painting.
He was continually trying to find new ways to describe the familiar: clasped hands, a man's dangling cock, a cheekbone, a turn of the head. His touch is almost never dutiful or rote.
Freud would steer through a sitter's boredom, their disquiet or their flamboyance or their awkwardness, to find something new in their introspection, their nakedness. His art is wonderfully perverse, and perversity was the method by which it constantly reinvented itself.
Being Sigmund Freud's grandson did not give Lucian any particular insights into his sitters, and he disparaged familial comparisons, but like his grandfather his work was largely concerned with being alone in a room with another, delving into the silence that falls between them, analysing the ongoing situation. This exhibition is unmissable. Go more than once, if you can.
• Lucian Freud Portraits is at the National Portrait Gallery, London, from 9 February to 27 May
http://www.guardian.co.uk/artanddesign/2012/feb/05/lucian-freud-portraits-review
Morgan Aero Display
For over 100 years the Morgan Motor Company have been making exciting sports cars in the beautiful spa town of Malvern
Morgan cars are famous the world over for their unique blend of charisma, quality materials, craftsmanship and performance.
Equally at home on the race track or the open road, there is nothing quite like a Morgan.
http://www.morgan-motor.co.uk/mmc/factoryvisits.html#
Fireplace At Daylesford Organic Farm
SHOP, CAFE, BUTCHER, BAKERY, CREAMERY, FISHMONGER, GROCER, FRUIT, VEGETABLES, DAIRY, WINE, COOKSHOP, HOMEWARE, GARDEN SHOP, COOKERY SCHOOL, ORGANIC FARM SCHOOL, HAY BARN SPA, BAMFORD BARN
At the heart of our farm in Gloucestershire is our award-winning Farmshop. It takes full advantage of its location; vegetables, fruit and herbs are picked each morning from the market garden and go a few yards into the shop and to our chefs in our award-winning cafe. Next door is our dairy and creamery, our farm kitchens and our organic animals, who roam freely on the surrounding organic pastures.
Farmshop & Café, Daylesford
Daylesford nr Kingham, Gloucestershire, GL56 0YG
Telephone 01608 731 700
http://www.daylesfordorganic.com/engine/shop/page/our+shops
Peach Trees At The Back Of Arthur's House
Arthur's Garden In Mill Cottage, Worcestershire
Across The Sloane Square, London
Sloane Square is a small hard-landscaped square on the boundaries of the fashionable London districts of Knightsbridge, Belgravia and Chelsea, located 2.1 miles (3.4 km) southwest of Charing Cross, in the Royal Borough of Kensington and Chelsea. The square is part of the Hans Town area designed in 1771 by Henry Holland Snr. and Henry Holland Jnr. Both the town and square were named after Sir Hans Sloane (1660–1753), whose heirs owned the land at the time.
http://en.wikipedia.org/wiki/Sloane_Square
Partridges On The Sloane Square, London
with wood seating.
Partridges is one of the few family run food shops in Central London and still is supplied by some of the original suppliers since 1972. It was opened by Richard Shepherd in May 1972 at 132 Sloane Street. In May 1979 he was elected to Parliament and in May 1981 his brother John entered the business. In 1984 Partridges expanded into the adjoining premises at 132-134 Sloane Street and in 2004 it relocated to 2-5 Duke of York Square on the King’s Road.
In 1998 Partridges opened a second shop at 17-21 Gloucester Road – a sort of Partridges local. Although smaller than the mother ship Gloucester Road has most of the product range with a particular emphasis on American items. It also trades until 11pm seven days a week, one hour later than Duke of York Square.
Although still following the original ideals set up by Richard Shepherd in 1972 'above all to be the best' Partridges has diversified into other areas.
The Sloane Square store has a wine bar and café, a Saturday food market outside the shop and a growing export business for its own label products and a greater emphasis on organic and environmentally friendly products.
In January 1994 Partridges was granted the Royal Warrant as Grocers to Her Majesty the Queen and in 2008 John Shepherd (below) took great pleasure in becoming the President of the Royal Warrant Holders Association.
http://www.partridges.co.uk/thestore?sessionid=13357376458581ba9babeccb157288698417bb1c64
Dawn Sky Near The Coast Of England
Fortnum & Mason, London
About Fortnum & Mason
Founded on the same site in 1707, Fortnum Mason is a unique and beautiful store. Fortnum’s is renowned as purveyors of fine foods, hampers, teas and wine. It has five restaurants, from an award-winning wine bar to the funkiest ice cream parlour. Food may be first at Fortnum’s, but lift your eyes to the spectacular atrium, and let your feet (or the lifts!) lead to the delights aloft. From the serious fun of the Cookshop to the tranquil femininity of the Second Floor and the leathery comfort of Men’s Accessories, Fortnum’s is a theatrical oasis in the middle of Mayfair.
http://www.visitlondon.com/attractions/detail/170955-fortnum-and-mason
Bonjour Brioche On Queen East, Toronto
Half of the panorama of the Bonjour Brioche cake counter.
WHEN it comes to trendy neighborhoods, Toronto's east end has traditionally lagged behind more westerly hot spots such as Queen Street West or College Street's Little Italy. Now, however, Queen Street East is the new Queen Street West, with the formerly industrial stretch known as Leslieville emerging as Toronto's hippest place to dine, drink, shop and live.
East of the Don River, this neighborhood of crumbling Victorian storefronts was deemed gritty enough to stand in for Depression-era New York in the recent film ''Cinderella Man.'' Yet even as residents speculate about which chain will arrive first -- Starbucks? Gap? -- Leslieville is the latest frontier for restaurateurs seeking cheaper rents and a hipper clientele.
...
Brunch is practically a competitive sport in Toronto, and Queen Street East is one of its premier arenas. The area benefits from the overflow from Bonjour Brioche, No. 812, (416) 406-1250, a few blocks west of Leslieville, where weekend lines for French toast ($5.85) and warm croissants ($1.15) drive some patrons to venture farther east.
SURFACING: TORONTO; Goodbye Gritty, Hello Trendy By SUSAN CATTO (NYT)
http://query.nytimes.com/gst/fullpage.html?res=9B00E5DA123FF932A05754C0A9639C8B63&sec=travel
UBS Towers - 1
UBS Private Equity Feeder Fund Nr. 10 GmbH & Co. KG and UBS Global Asset Management (Deutschland) GmbH Towers.
Ludwig-Erhard-Anlage, The Fountain, Frankfurt
Ludwig-Erhard-Anlage - the Fountain in front of the hotel.
Friedrich-Ebert-Anlage At Night, Frankfurt
The street lights shaped the triangular garden and the traffic became the chase lights on the block.http://maps.google.ca/maps?client=firefox-a&rls=org.mozilla:en-US:official&hl=en&tab=wl
The Italian Chamber Of Commerce In Germany eV, Frankfurt
| Italienische Handelskammer für Deutschland e.V. |
| (The Italian Chamber of Commerce in Germany eV) A view from the window. http://translate.google.ca/translate?hl=en&sl=de&u=http://www.itkam.org/DE/&ei=hbqUT5nTAeav6AHazdmrBA&sa=X&oi=translate&ct=result&resnum=1&ved=0CCgQ7gEwAA&prev=/search%3Fq%3DItalienische%2BHandelskammer%2Bf%25C3%25BCr%2BDeutschland%2Be.V.%26hl%3Den%26client%3Dfirefox-a%26hs%3DdFp%26rls%3Dorg.mozilla:en-US:official%26channel%3Ds%26prmd%3Dimvns |
Intercontinental Hotel Elevator Lobby Decor, Dusseldorf
The transparent elevators framed the wall decor montage on each floor.InterContinental Dusseldorf stands alongside the world’s top fashion houses on the “Kö” , Germany’s most sophisticated mile. Less than half kilometres (500 feet) away are the K20 and K21 art museums and the Altstadt (Old Town). Favoured by business travellers as well as international trendsetters, the hotel is only minutes from the banking quarter and Messe Düsseldorf Trade Fair Venue.
http://www.intercontinental.com/intercontinental/en/gb/locations/dusseldorf
German Museum of Architecture, Frankfurt
Lobby column with tea pots.The German Museum of Architecture (DAM) is seen as one of the best addresses in Europe for information about architecture and its history. The Cologne-based architect, Oswald Mathias Ungers, designed the DAM as a ‘house in a house’, creating the largest exhibit and a symbol of constructional art. The twin villa was rigorously gutted in 1912 and surrounded by a glass hall, giving a transparent architecture. With a strict structure and consistently kept in white, nothing distracts from the sight of the objects. 24 large-scale models from the Stone Age to the present enable visitors to the permanent exhibition, ‘From the Prehistoric Hut to the Skyscraper’, to find out more about the history of construction and settlement.
The focus is on several large temporary exhibitions, which the DAM dedicates every year to modern and contemporary architecture in Germany and abroad. Conferences, symposiums, photo exhibitions and lectures complete the programme. With a collection of 180,000 architectural plans and drawings, as well as 600 models, the DAM owns a treasure trove of exhibition pieces. Engravings, sketches, drawings and scale models offer material for exhibitions on tendencies and periods in the 20th century from Erich Mendelsohn to Frank O. Gehry, from Mies van der Rohe to the Archigram architectural group. Our reference library, which has approximately 25,000 books and magazines, is open to visitors who would like to learn more about architecture.
Deutsches Architekturmuseum
Schaumainkai (Museumsufer) 43
60596 Frankfurt am Main
http://www.frankfurt.de/sixcms/detail.php?id=5021811&_ffmpar[_id_inhalt]=177771
Starbucks On Dundas Street After The Parade
Starbucks on Dundas Street, after the Santa's Parade (last Christmas), it was packed with customer trying to get some warmth.
CNE Arch On Dufferin Street, Toronto
Across the emptied parking lot, the CNE arch is the west main entrance and the glass domebuilding.
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