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I was here today!! Loved it ^__^ Had seen a small exhibit at the Art Gallery of Ontario a while ago which made me realize I actually LIKED Native American sculptures and art which got me interested and landed me here! Some of my favourite pieces are below:
I watched this movie 'Black Narcissus' about 7 or so months ago on TCM and when I watched the documentary on cinematographer Jack Cardiff yesterday I got reminded of how outstanding his work truly was in this movie. This movie is dark and beautiful and sure to leave a long lasting visual impact. Plus the story is imagined to be in Darjeeling, India where I grew up which had initially perked my interest - I do not agree with most aspects of the movie but I do respect the ability of the cinematographer and the set designer.
The Cinematography of Black Narcissus by Jack Cardiff won the 1948 Academy Awards for Best Color Cinematography
ProductionOf the three principal Indian roles, only the Young General was played by an ethnic Indian; the roles of Kanchi and the Old General were performed by white actors in makeup. The role of Kanchi was a change indeed for 'the demure Miss Simmons.' Kanchi, 17, is described by Rumer Godden as ' a basket of fruit, piled high and luscious and ready to eat. Though she looks shyly down, there is something steady and unabashed about her; the fruit is there to be eaten, she does not mean it to rot.' On landing the part Simmons told her mother she had been given a part in which she had to have 'oomph'. 'The Indian extras were cast from workers at the docks in Rotherhithe.
The film was made primarily at Pinewood Studios, but some scenes were shot in Leonardslee Gardens, West Sussex, the home of an Indian army retiree which had appropriate trees and plants for the Indian setting. The film makes extensive use of matte paintings and large scale landscape paintings to suggest the mountainous environment of the Himalayas, as well as some scale models for motion shots of the convent. Powell said later, 'Our mountains were painted on glass. We decided to do the whole thing in the studio and that's the way we managed to maintain colour control to the very end. Sometimes in a film its theme or its colour are more important than the plot.'
For the costumes, Junge, the art director, had three main colour schemes. The nuns were always in the white habits that he designed from a medley of medieval types. These white robes of heavy material stressed the nuns' other-worldliness amid the exotic native surroundings. The chief native characters were robed in brilliant colours, particularly the General and his young nephew, in jewels and rich silks. Other native characters brought into the film merely as 'atmosphere' were clad in more sombre colours, with the usual native dress of the Nepalese, Bhutanese and Tibetan peoples toned down to prevent overloading the eye with brilliance.
For more images from the film Black Narcissus: http://evanerichards.com/2010/935
For video/ pictures/ to buy movie> http://www.criterion.com/films/632-black-narcissus
Just finished watching Cameraman: The Life and Work of Jack Cardiff (on TCM Classics). It is a 2010 documentary film that explores the work of deceased cinematographer Jack Cardiff. It reviews his work and, with the input of many of his contemporaries, examines his legacy as one the most influential film makers of his generation and details how he became master of the Technicolor process.
DO CHECK THE NEXT POST for more on his work on 'Black Narcissus'.
A Film I wanted to watch! May be later. I am interested in the Gestalt Therapy & some of his other theories as well.
Paul Goodman (September 9, 1911 – August 2, 1972) was an American sociologist, poet, writer, anarchist, and public intellectual. Goodman is now mainly remembered as the author of Growing Up Absurd (1960) and an activist on the pacifist Left in the 1960s and an inspiration to that era's student movement. He is less remembered as a co-founder of Gestalt Therapy in the 1940s and '50s.
Another one of my picks from the Art Gallery of Ontario
Laura Muntz Lyall. Interesting Story
Interesting Story (http://www.ago.net/agoid2538)
1898
oil on canvas
81.3 x 100.3 cm
Gift of the Government of the Province of Ontario, 1972
&
Laura Muntz Lyall. Oriental Poppies.
Oriental Poppies (http://www.ago.net/agoid3037)
around 1915
oil on canvas
96.8 x 72.1 cm
Gift from the Reuben and Kate Leonard Canadian Fund, 1926
> Laura Muntz Lyall [Canadian Impressionist Painter, 1860-1930]http://www.myhamilton.ca/articles/laura-muntz-lyall-1860-1930
Was at the Art Gallery of Ontario on Thursday and this one was one of my favourite!
The Tiff by Florence Carlyle
Florence Carlyle
born Galt, Canada West (now Ontario), 1864; died Crowborough, England, 1923
The Tiff
around 1902
oil on canvas
183.8 x 134.6 cm
Gift of the Government of Province of Ontario, 1972
Visit: http://www.ago.net/home
Art Gallery of Ontario
Musée des beaux-arts de l’Ontario
317 Dundas Street West
Toronto Ontario Canada M5T 1G4
Anita and Me is a British comedy-drama film released in 2002 based on the book Anita and Me by Meera Syal.
Meena, a 12-year-old living in a mining village in the English Midlands in 1972, is the daughter of Indian parents who've come to England to give her a better life. This idyllic existence is upset by the arrival in the village of Anita Rutter and her dysfunctional family. Anita is 14, blonde and beautiful - exactly what Meena thinks she wants to be. She becomes part of Anita's world, but events do not run smoothly. Meena's growing up - and that brings plenty of changes. Written by Phil Reynolds
Pre-paid express post envelopes from CanadaPost ~One of the best creations ever!
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Olympia & York (also spelled as Olympia and York, abbreviated as O&Y) was once a major international property development firm based in Canada. The firm built major financial office complexes like Canary Wharf in London, the World Financial Center in New York City and First Canadian Place in Toronto. It went bankrupt in the early 1990s and was recreated to eventually become Olympia & York Properties.
Portfolio
A list of notable O&Y current and previous ownership properties:
Olympia & York Properties Corporation owns 18 properties in 6 Canadian cities.
Pg. 268
"What was most striking about the Reichmanns' dealings in Olympia & York's embryonic stage was not that they invariably lived up to their end of a bargain but that they did not always hold their clients to the same standard. Often, *their word was not only their bond but an all-purpose warranty. Once Sirlin (Morley Sirlin - O&Y's early architect) was reviewing a plan for Delta Electronics, a local retail chain, with its president who insisted that he had been quoted a price that included a fieldstone lobby. Sirlinm who had designed a conventional lobby, telephoned Paul Reichmann. "I don't remmeber it that way," Reichmann replied, "but if he says I said he could have stone, then give him stone." Similarly, Wos (Frank Wos- O&Y's first construction supervisor) once was dispatched to make repairs to a long-completed building that had been flooded through no fault of Olympia & York's. "I didn't like it because I knew it was caused by the tenant's bad maintenance," Wos recalled. "I told Albert it was not our responsibility. He said, 'No, it's not, but it is my money. So go back and fix it.'"
*"Their edge was their integrity," he said. "They put themselves on the line and they lived on the line." "The Reichmanns very early on developed a lot of business just on that basis. If they shook on a deal, that was it. Their word was their bond."
Starting October 13, visitors to Toronto’s Gardiner Museum will be transported to another time and place through the evocative exhibition, The Tsars’ Cabinet.
The Tsars’ Cabinet presents more than 200 examples of decorative arts, including objects with Fabergé mounts, gilded dinner services, imperial porcelain eggs, and historic court photographs that document the extravagance and sumptuousness of life in palaces and yachts during the Romanov era.
The exhibition follows the history of the tsars and their family, including Peter the Great, Catherine the Great and Nicholas II, the last Tsar of Russia. The Tsars’ Cabinet also features intimate Romanov family photographs from the Toronto-based Di Rocco Wieler Private Collection and personal artifacts once owned by Grand Duchess Olga, the younger sister of Tsar Nicholas II, who spent her final years living in Toronto.
Most of the objects in the exhibition were specifically designed for and used by the tsars and members of the Russian imperial family. The pieces include magnificent examples of works from the Imperial Porcelain Factory, the Imperial Glassworks, and the private firms of Fabergé and Ovichinnikov. Many of the objects are extremely rare and offer one of the best opportunities to see outstanding imperial Russian art outside of Russia.
The Tsars’ Cabinet was developed from the exceptional private collection of Kathleen Durdin, and organized by the Muscarelle Museum of Art at the College of William and Mary in Williamsburg, Virginia, in collaboration with International Arts + Artists, Washington D.C.
The Gardiner Museum is the first stop of an international tour.
http://www.gardinermuseum.on.ca/exhibitions/the-tsars-cabinet
courtesy of: http://www.artsandartists.org/exhibitions/thetsars'cabinetinstallations.html
A painting by Louis Comfort Tiffany depicting a market outside of the walls of Tangier. 1873
Gallery: Smithsonian American Art Museum
Picture of Old 1940s Tangier posted in http://www.topix.com/album/detail/tangier-va/7IEO81Q7R39EDRG8
Jade Symbolism in China
Revered for its hardness and texture, jade symbolizes the cosmos, wealth, political power, security, good health and strength. In China, jade cicadas have been placed on the tongue of the dead to speed resurrection; jade pigs symbolize prosperity, jade disks represent heaven and a piece of jade enclosed within a square signifies the earth.
Confucian scholars compared the 11 virtues of jade as models for human behavior. Confucius himself equated the stone with intelligence, truth, loyalty, justice, purity and humanity, and he used the stone to symbolize the idea of junzi, the noble or superior man. Taoist alchemists mixed up elixirs with powdered jade that they hoped would make them immortal.
The emperors communicated with the gods through jade disks; and Chinese poets called the skin of beautiful woman "fragrant jade" and the part of her body which men love so much to enter, her "jade gate." A jade donut has traditionally been given as a gift to newborns. Jade gifts were commonly given as bribes to corrupt Chinese officials. In athletic events second and third place contestants were given trophies of gold and ivory, while the winners were awarded jade.
Jade is prescribed as a medicine and credited with having miraculous powers and the ability to ward off evil and bad luck. A villager in Xinjiang told the Los Angeles Times, “I believe it will cure everything. I have heard when it touches your skin, it sucks out the poisons.”
Qing period Jade cabbage
The Chinese have revered jade since Neolithic times. Archeological data shows that the ancient Chinese were using nephrite jade to make ornaments and weapons between 7000 and 8000 years ago. Archaeologists have unearthed Neolithic jade tools along the Yellow River. Starting around 1600 B.C., Shang dynasty royals began sleeping on jade pillows and signing edicts with jade chops. [Source: Fred Ward, National Geographic, September 1987; Timothy Green, Smithsonian magazine, 1984]
According to an ancient Chinese proverb: "You can put a price on gold, but jade is priceless." The word for jade is used to describe beautiful and pure women. Many people believe it has medicinal and even magical powers. A chip of jade worn around the wrist can soothe a frightened child, improve circulation or absorb bad energy, the Chinese say. According to an age-old belief, jade provides a link between the physical and spiritual worlds. Some of those beliefs are bolstered by the tendency of some jade to change color when worn on the body.
The Chinese word "yu which we translate as "jade" actually refers to any rock that is carved. Some 30 or 40 different kinds of mineral in China are called yu. Nephrite is known as "lao-yu" (“old jade”) or "bai-you" (“white jade”) and jadeite is known as "fei-cui-yu" (“kingfisher jade). John Ng, a jade specialist and author of Jade and You, told Smithsonian magazine, " The Chinese or Japanese have no hesitation in buying good pieces to give their families or friends for good luck. To the Asian, giving jade conveys a special feeling."
According to the Chinese creation myth, after man was created he wandered the earth, helpless and vulnerable to attacks from wild beasts. The storm god took pity on him and forged a rainbow into jade axes and tossed them to the earth for man to discover and protect himself with. According to legend only emperors were allowed to possess carved jade. There are stories of quests for particularly prized pieces resulting in the deaths of 10,000 soldiers. The Chinese character for king has the same root as the character for jade.
Some scholars have suggested that Chinese civilization was built around jade. Known as the "Stone of Heaven," it was more valuable than gold or gems in imperial China and was considered a bridge between heaven and earth. Prized for both its beauty and symbolic value, jade has traditionally been worn as talisman by Chinese and shaped into a variety of objects. Jade was also prized by the Olmec and Mayan civilizations in America and by the Maori in New Zealand.
Jade comes in two forms: nephrite and jadeite, both of which are prized for their hardness, firmness and ability to be carved and the luster they generate that creates an appearance of transparency. Nephrite and jadeite are two chemically different and distinct materials. Both are technically rocks not gems, since they are mineral aggregates rather than crystals. Natural stones passed off as jade include chrysoprase, jasper, serpentine and soapstone.
Source: http://factsanddetails.com/china.php?itemid=259&catid=7&subcatid=40
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Fine Chinese Mutton-Fat Jade Carved Rabbit:
Cecil Beaton in New York
Almost anyone would have hankered to have a personal portrait shot by Cecil Beaton. He made his subjects, many of them distinguished or celebrated to begin with, seem impeccably elegant and disarmingly good-looking, seldom employing any of the irony or social commentary that other photographers often used.
Now comes a coffee-table book, accompanying an exhibition at the Museum of the City of New York, that contains some of the finest photographs Beaton took during his many sojourns in New York, as well as sketches, designs and caricatures that this aesthetically versatile artist drew for the movies, theater, opera and fashion. It is a pleasure to leaf through the thick pages of CECIL BEATON: The New York Years (Museum of the City of New York/Skira/Rizzoli, $65) and see Greta Garbo at her mysterious peak and Marilyn Monroe at her most luscious. Brando, Astaire, Warhol, Capote, Callas, Coco, Liz — people recognizable by a single name — flocked to Beaton or were lobbied by him.
Like Capote, Beaton was not well-born but became a high-society favorite, and he paid his patrons back with opulent portraits — the ones of Mrs. Cornelius Vanderbilt and Lee Radziwill and her daughter, Anna Christina, are dazzling. The book also reminds us that it was Beaton who designed the lavish Edwardian gowns for both the play and the film “My Fair Lady,” the belle époque excess of “Gigi” and the lushly feathered tutus for Balanchine’s “Swan Lake.”
As the concise text by Donald Albrecht, the museum’s curator of architecture and design, points out, Beaton, educated at Harrow and Cambridge, turned himself into a dandy like Oscar Wilde, with a highly cultivated Old World style and manner and an exaggerated accent. In 1928, at age 24, he sailed into New York Harbor, and a playful, acrobatic self-portrait taken on the Brooklyn Bridge a year or so later suggests why he charmed everyone he met. Everyone, of course, meant the wealthy and famous, since Beaton, as Albrecht says, had “a snobbish obsession with class and status.”
“I only photograph those I know and admire,” he said, in an unguarded statement.
Ambitious and a canny networker, but possessed of a penetrating eye for stylishness, he impressed tastemakers. His photographs were soon gracing Vogue and Vanity Fair — in time helping to generate the glamour that Depression-era New York needed, just as it needed the lift of a flamboyant Busby Berkeley movie. An anti-Semitic joke that he included in the margins of an illustration a year before World War II lost him the Vogue account, but he regained his stature with a famous photograph of a young girl with a bandaged head clutching a doll and sitting up in a hospital bed in the days of the London blitz. Today it seems highly romanticized, possibly even staged, in the manner of a Norman Rockwell painting, but it landed on the cover of Life and became a powerful symbol of what Britain was enduring.
Finally made it to the exhibit!!!
Struggling Cities from Japanese Urban Projects in the 1960s
by Naohiko Hino, Architect and Supervisor of the exhibition
What is a city? There can be no single answer to this question. For over 5,000 years cities have developed all over the world. In each, a unique material culture and lifestyle has formed to reflect local conditions and history. For example, there was a fortress of a city surrounded with walls in preparation for foreign invasion, a market of a city where various people met on trade routes, a city developed by industry, and a city where all the power of the government was concentrated. Thus, cities have been built in various ways.
In the 20th Century, influenced by modernization, cities changed themselves by rather stylized methods. A mesh of modern urban planning covered cities. As if to replace their local culture, cities were rationalized to fit the modern social system, planned according to an ideal based on an archetypal European city.
In the mid-20th Century, only 25 percent of the world's population lived in cities, in 50 years this figure rose to 50 percent. In light of the fact that it took 5,000 years for the urban population grew in the latter-20th century.
This rapid urbanization caused drastic change to cities and forced governments and cities to adapt to new conditions. Modern urban planning is less effective in larger-scale cities because of the difficulty of maintaining organic consistency while overcoming urban problems caused by modernization. Megacities are at the forefront of this problem.
In the 1960s Tokyo became a megacity. The population reached 20 million and continued growing rapidly. Newspapers were filled with articles about the problems caused by modernization: traffic congestion, pollution, housing shortages and sinking ground. In order to find a way out of these critical situations and to renovate the city, Japan mobilized industrial productivity during a high-growth period of its economy. In response to this increase in momentum, architects announced quite ambitious urban projects through mass media such as TV programs, newspapers and magazines. The project aroused the interests of a public caught in the waning mood of the times, a people that still believed modernization's promise of a brilliant future.
Representative examples are Kenzo Tange's "A Plan for Tokyo - 1960", projects proposed by the Metabolists, a group that included the four architects Kiyonori Kikutake, Masato Ohtaka, Fumihiko Maki and Kisho Kurokawa, and Arata Isozaki's "Cities in the Air". Although they were announced in tandem, in their details these projects have different meanings. Tange made a rational and systematic response to the problems. The Metabolists used fear of crisis as a springboard for proposing progressive images of future cities. Isozaki thought that an essential problem existed in the fact that cities came to refuse urban planning itself. The differences between these projects emphasize the changing consensus from the modern to the contemporary age. The times steadily moved toward skepticism about modernism.
While none of these projects were realized in Japan, globally many urban plans by architects were implemented and modern cities emerged such as Brasilia by Locio Costa, the capital cities of Nigeria and Macedonia by Kenzo Tange, and Chandigarh by Le Corbusier. In most cases the architect's intentions were not fully realized. Part of a given city would be built to plan only to be surrounded by chaotic areas. As such it's ambitious city planning was unstable and failed to keep its consistency. This reality reveals the essential difficulty in modern urban planning, which Isozaki pointed out; it's extremely difficult to set visions for idealized cities and share the visions with people, and then realized them consistently.
Rather than difficult, urban planning may simply be unnecessary. Tokyo serves as a good example. Thinking back to the critical atmosphere of the 1960s, it's significant that today few of its citizens are aware of Tokyo as the largest megacity in the world. They merely feel inconvenience with that huge Tokyo. There is no vision of an ideal shape or consistency for Tokyo, it looks like an impromptu patchwork. The reality of Tokyo shows that expanded megacities can be functional.
So far as these megacities are concerned, why does ideal vision or consistency matter?
In some sense, cities resemble living things. Figuratively speaking, Tokyo is a self-indulgent creature tending towards schizophrenia. Why did this happen? It's hard to tell where Tokyo's unique characteristics end and where general characteristics of megacities begin. As stated above, other megacities continue to grow according to their own characteristic identities. We can at least recognize that like Tokyo, many megacities have a patchy structure in which old cities overlap new ones, and planned areas are adjacent to unplanned.These patchy structures exhibit a flexibility suggesting that development aimed at meeting practical needs is more efficient thatn building cities to strictly rational plans. It may sound strange, but it seems to be a natural fact that megacities themselves are irrational.
It's not easy to plan new city blocks to have true organic relationships which existing urban context. If new blocks are only planned to be in harmony which the rest of the city, cities as a whole would fall into things of the past. To keep cities active, it's necessary to have projects that can continually revitalize the context of a city. In this regard, Tokyo has few good examples to show. Even if we recognize Tokyo as a self-networking system with multiple variables, we are still searching for a way to lead and support the system. Facing the reality that many megacities are shifting to patchwork-like structures, it's clearly nonsense to consider cities as extensions of tree structures. A new vision for cities is needed, one which can connect unrelated things and create a new organism. This is a big and challenging problem for us.
Our understanding of architecture and cities has been depressed by Globalism and Neo-Liberalism. We need a vision that can release us from this depression and allow us to take the next step. We need to build momentum in order to develop cities with identify out from under of these banners of universalism.
Nov 28, 2011 - Dec 12, 2011
Allen Lambert Galleria, Brookfield Place - 181 Bay Street, Toronto
http://www.brookfieldplacenewsandevents.com/events/
PhotoSensitive is a not-for-profit organization that has been highlighting social issues through black-and-white photography for over 20 years. Past projects have covered issues as diverse as homelessness, AIDS, the environment, health, First Nations literacy and the Indian Ocean tsunami, to name but a few. With The Fuel of Life, PhotoSensitive, in partnership with the Ontario Sustainable Energy Association, turns its lens onto the issue of energy. As David Suzuki says, “Meeting humanity’s energy needs without dangerously interfering with the global climate system is one of the great challenges of the 21st century.” Climate change is one of the key issues of the modern day and energy in its creation and consumption, plays a huge role in this. There could not be a better time for PhotoSensitive to be focusing on this hot topic. Over 100 hundred photos cover different aspects of energy; production, consumption, innovation, conservation, distribution and human energy. There is also a section of photos by students from schools, colleges and universities across Canada. For the first time, PhotoSensitive is including a large multimedia component with 10 videos exploring diverse aspects of energy.
Monday, November 28 to Saturday, December 12, 2011
http://www.photosensitive.com/blog/the-fuel-of-life-opens-in-toronto/650
My most memorable photograph from yesterday's book >
Suit by Digby Morton. Vogue (British Edition), September 1941. This picture pretty much summarizes why I've loved the Second World War fashion. Actually it instantly brought to mind what my mum said when we were watching a documentary of the WWII a long time ago - that women in those days even when there was disaster and rubble all around they still wore their high heels and were always perfectly dressed. I truly admire them.
Started reading today ... VOGUE FASHION! One of the best books on fashion! Loved it. Highly recommended! Very neat, tidy and to the point.
The Oriental Village in the upper northwest of Langkawi Island, near Pantai Kok, is the entrance for the cable-car ride, which takes visitors all the way up to Mount Mat Cincang, Langkawi’s second highest peak. Entering the village and passing through the pleasant oriental garden and souvenir shops, visitors make their payment at a counter before stepping onto an escalator which brings them to the cable-car pedestal.
Once in, the cable-car ascends; you’ll begin to notice the temperature dropping and a windy breeze begin flowing into the cabin through ventilation slits at the top. As it gets cooler, the landscape below begins to appear smaller, and at after climbing at a 42° angle for a few hundred feet, you can start snapping pictures of the rainforest below. Look out at the side for a view of the Telaga Tujuh Waterfalls, which cascades down a grey rock face.
After around 600 metres, the cable car reaches the first station, where you disembark to either; take another cable car up to the peak, or lull around the observatory deck and admire the magnificent surroundings. Most will not spend too long here, as the view from the peak is even more amazing. After a short queue, you can grab another cable car and ride up another wire cable which doesn’t rise too sharply, though the initial jolt of the car leaving the second station can feel quite unnerving.
As the car settles to a decent speed after the brief spurt from the station, passengers will be treated to an even higher view of the rainforest and hills below. The car here is at its coolest and in too short a time, you’ll reach the final station which is where most of the excitement is. Passengers leaving the cab will be greeted by a menagerie of stalls selling souvenirs, toys, snacks and drinks.
You’ll want to climb a set of staircases that cuts through a thin forest to reach the observatory deck above. Once on the top, you can finally enjoy the magnificent view of the surrounding horizon; the island’s landscape, skyline and seas beyond. At the side is a steel bridge suspended across Mount Mat Cincang and a neighbouring mountain. Walking across this bridge is a fantastic experience and offers a different viewpoint of the island and sea towards the north.
After immersing yourself in the views, it’ll be time to go, and the entire process of cable-car ascent is repeated in a descending route. Along the way, you can pick up some souvenirs at the final or base station before carrying your adventures elsewhere in the magnificent island of Langkawi.
Opening Hours: 10am - 8pm
Address: Jalan Telaga Tujuh Teluk Burau, Langkawi, Kedah 07000
Tel: (604) 959 4225
Read more: Langkawi Cable Car - Langkawi Attractions http://www.langkawi-info.com/attractions/cable-car.htm#ixzz1e4bFyvev
Posted by Derek Flack / November 10, 2011
The first thought that came to mind when I arrived at INabstracto for the launch of John Martins-Mantiega's latest book, Métro: Design in Motion, was why hasn't anybody given the TTC such a lovely and thorough treatment? Spread over 450 pages, Mantiega's new book is more that just a love letter to the Montreal subway and the remarkable people who made it possible — it's a tribute to modern design and the pragmatic spaces we often take for granted. I'd love to read — or perhaps even write — something similar about the Toronto subway, even if the story isn't as compelling or Canadian in its design history.
Needless to say, this isn't an easy task. It took over three years for Martins-Mantiega to write Metro. Part of this has to do with the amount of research and documentation that went into the book, but it also has to with funding. It's a challenge to publish books of this nature, and the journey wasn't always a smooth one — but here's the book, and it's fantastic.
So too are the photographs on display. As much as I enjoy viewing (and posting) archival photographs, there's something about seeing larger versions in person that really get me enthusiastic. But perhaps even more cool than the photographs is the model subway train and orange seat in the window of INabstraco. Seeing them displayed this way really drives home the degree to which they're design objects, something that's all too easy to forget.
"That little train is probably the most important piece of industrial design that Canada ever produced," Martins-Manteiga declared at last night's launch. That might be overstating it, but it was still a remarkable accomplishment, particularly given the timelines the designers had to work with. 20 of the original stations were completed in just four years to coincide with Expo 67.
At the media preview for the new TTC streetcars I attended earlier today, it was revealed that full incorporation of the vehicles isn't expected until 2018. And that's just vehicles — no stations. That gives a bit of perspective into just how quickly the Montreal system came together. It's also interesting to note that Toronto's new streetcars will be built by Bombardier, which blossomed into the large-scale company it is today on account of their construction of Montreal's subway cars.
It may not be the Toronto subway book I'm hoping for, but Metro: Design in Motion is well worth the read for design buffs and transit history fans. And even if you don't fall into either of these categories, having a look at the exhibit is still highly recommended.
Metro: Design in Motion will be up at INabstracto until November 27th. The book can be purchased there or at Swipe Books.
Sunnyside Amusement Park (demolished), Toronto
Sunnyside in 1931
Sunnyside Amusement Park was a popular amusement park in Toronto, Ontario, Canada that ran from 1922 to 1955, demolished in 1955 to facilitate the building of the Metro Toronto Gardiner Expressway project. It was located on the Lake Ontario waterfront at the foot of Roncesvalles Avenue, west of downtown Toronto.
The name 'Sunnyside' was the name of a local farm owned by John George Howard, which was situated just to the north, on the location of the current St. Joseph's Medical Centre. Sunnyside Avenue runs north-south from that location north to Howard Park Avenue today. John Howard is also famous as the original landowner of the nearby High Park.
Prior to the construction of the park, the shoreline was a narrow stretch immediately to the south of the 1850s era rail lines. There was enough area for a restaurant and a small fenced off area was provided for changing into swimwear. To the east, the club-house of the Parkdale Canoe Club jutted out into the lake.
A plan was developed in 1913 by the new Toronto Harbour Commission to improve the shore lands from the foot of Bathurst Street to the Humber River. The plan, which included four miles (6 km) of breakwater, infilling of land, and the construction of the Lake Shore Boulevard, cost $13 million, and was paid for by the federal government.
A boardwalk along the south side of Lake Shore Boulevard was built, from the Humber River east to Wilson Park Avenue, 24 feet (7.3 m) in width using white pine planks. This corresponded to the length of shoreline that was extended out into the lake. This boardwalk became the site of annual Easter Parades until 1953. It was rebuilt in 1934 as a make-work project and was paved using asphalt in the 1960s.
The Amusement Park lands themselves were completely created from sand dredged from the bottom of the bay and top soil from a farm in Pickering, Ontario. The original shoreline was extended into the lake by approximately 100 metres, from the foot of Wilson Park Avenue west to the Humber River, a distance of about 1 kilometre. Only a small length of the original shoreline and beach exists today, located between the Boulevard Club and the Canadian Legion building at the intersection of Dowling Avenue and Lake Shore Boulevard.
One of the first new buildings was the Sunnyside Pavilion, a curved structure providing a restaurant with views of the lake. It was located just to the east of Parkside Drive at the shoreline. Following this, the Sunnyside Bathing Pavilion and Dean's Sunnyside Pleasure Boats buildings were constructed. Soon after, concessions were requested and granted to operate amusements on the lands.
Sunnyside Amusement Park opened in 1922. At the time, there was an existing amusement park on Toronto Island at Hanlan's Point. It only operated a few more years until 1927 when a baseball stadium at the foot of Bathurst Street was built, replacing the stadium on the Island. Another amusement park, the Scarborough Beach Amusement Park was built in Scarborough, Ontario, to the east of Toronto.
Sunnyside Pavilion and Tea Gardens, August 3, 1921
Sunnyside Pavilion
Sunnyside Pavilion provided two restaurants and a tea garden facing the lakeshore. It was curved into a crescent with the tea garden positioned within the semicircle. It was designed by the same architects and was in the same style as the Bathing Pavilion, immediately to the west.
It was built in 1917 on the south side of Lakeshore Road. When built, its south side was on the lakeshore. As infill proceeded it ended up about 50 metres from shore, on the north side of the new Lake Shore Boulevard. In 1920, the building was enlarged and a new south entrance was built facing the lake. The restaurant had the Blue Room for 400 diners/175 dancing couples, and the Rose Room for a further 300 diners/150 couples. Dancing followed supper, with music provided by the Joe DeCourcy live orchestra.
In 1936, the Pavilion was renovated and became known as the Club Esquire supper club, with stage shows and dancing.
In 1941, the building was converted into the Top Hat night club. It was demolished in 1956 to make way for the new westbound lanes of Lake Shore Boulevard.
The area today (For more details on this topic, see Sunnyside, Toronto)
The boardwalk was removed and replaced with a boardwalk made of recycled plastic planks. A children's playground was built just east of the Ryder Pool. A recreation trail, part of the Martin Goodman Trail, was built south of Lake Shore Boulevard through the area for cyclists and in-line skaters.
The Cell theory, first developed in 1839 by Matthias Jakob Schleiden and Theodor Schwann, states that all organisms are composed of one or more cells, that all cells come from preexisting cells, that vital functions of an organism occur within cells, and that all cells contain the hereditary information necessary for regulating cell functions and for transmitting information to the next generation of cells.
The generally accepted parts of modern cell theory include:
The cell is the functional basic unit of life. It was discovered by Robert Hooke and is the functional unit of all known living organisms. It is the smallest unit of life that is classified as a living thing, and is often called the building block of life.
The following is a glossary of animal cell terms:
cell membrane - the thin layer of protein and fat that surrounds the cell. The cell membrane is semipermeable, allowing some substances to pass into the cell and blocking others.
centrosome - (also called the "microtubule organizing center") a small body located near the nucleus - it has a dense center and radiating tubules. The centrosomes is where microtubules are made. During cell division (mitosis), the centrosome divides and the two parts move to opposite sides of the dividing cell. The centriole is the dense center of the centrosome.
cytoplasm - the jellylike material outside the cell nucleus in which the organelles are located.
Golgi body - (also called the Golgi apparatus or golgi complex) a flattened, layered, sac-like organelle that looks like a stack of pancakes and is located near the nucleus. It produces the membranes that surround the lysosomes. The Golgi body packages proteins and carbohydrates into membrane-bound vesicles for "export" from the cell.
lysosome - (also called cell vesicles) round organelles surrounded by a membrane and containing digestive enzymes. This is where the digestion of cell nutrients takes place.
mitochondrion - spherical to rod-shaped organelles with a double membrane. The inner membrane is infolded many times, forming a series of projections (called cristae). The mitochondrion converts the energy stored in glucose into ATP (adenosine triphosphate) for the cell.
nuclear membrane - the membrane that surrounds the nucleus.
nucleolus - an organelle within the nucleus - it is where ribosomal RNA is produced. Some cells have more than one nucleolus.
nucleus - spherical body containing many organelles, including the nucleolus. The nucleus controls many of the functions of the cell (by controlling protein synthesis) and contains DNA (in chromosomes). The nucleus is surrounded by the nuclear membrane.
ribosome - small organelles composed of RNA-rich cytoplasmic granules that are sites of protein synthesis.
rough endoplasmic reticulum - (rough ER) a vast system of interconnected, membranous, infolded and convoluted sacks that are located in the cell's cytoplasm (the ER is continuous with the outer nuclear membrane). Rough ER is covered with ribosomes that give it a rough appearance. Rough ER transports materials through the cell and produces proteins in sacks called cisternae (which are sent to the Golgi body, or inserted into the cell membrane).
smooth endoplasmic reticulum - (smooth ER) a vast system of interconnected, membranous, infolded and convoluted tubes that are located in the cell's cytoplasm (the ER is continuous with the outer nuclear membrane). The space within the ER is called the ER lumen. Smooth ER transports materials through the cell. It contains enzymes and produces and digests lipids (fats) and membrane proteins; smooth ER buds off from rough ER, moving the newly-made proteins and lipids to the Golgi body, lysosomes, and membranes.
vacuole - fluid-filled, membrane-surrounded cavities inside a cell. The vacuole fills with food being digested and waste material that is on its way out of the cell.
Source: www.enchantedlearning.com
Finished reading!
"My aim in writing [this book] is to offer a richer vision of human ability and creativity and of the benefits to us all of connecting properly with our indivisual talents and passions. This book is about issues that are of fundamental importancein our lives and in the lives of our children, our students, and the people we work with. I use the term the Element to describe the place where the things we love to do and the things we are good at come together. I believe it is essential that each of us find his or her Element, not simply because it will make us more fulfilled but because, as the world evolves, the very future of our communities and institutions will depend on it.
The world is changing faster than ever in our history. Our best hope for the future is to develop a new paradigm of human capacity to meet a new era of human existance. We need to evolve a new appreciation of the importance of nurturing human talent along with an understanding of how talent expresses itself differently in every individual. We need to create environments- in our schools, in our workplace, and in our public offices- every person is inspired to grow creatively" (above taken from the INTRODUCTION chapter; pg. xiii)
The Element has two main features, and there are two conditions for being in it. The features are aptitude and passion. The conditions are attitude and opportunity. The sequence goes something like this: I get it; I love it; I want it; Where is it? (Robinson, pg.22) These ephiphanies utterly [change] lives, giving them direction and purpose and sweeping them up in a way that nothing else had; they tend to involve some level of revelation, a way of dividing the world into before and after (Robinson, pg. 8)
How we lost one of our greatest architectural treasures
By Jamie Bradburn
Visitors to Chorley Park in northeast Rosedale may notice a cul-de-sac off Douglas Drive that seems out of place with the surrounding greenery and the serenity of local residents enjoying a rest on a bench. Beside this road is a plaque commemorating the tumultuous history of the building that once occupied much of the grounds. The half-century saga of Chorley Park saw the main building go from a magnificent manor for government dignitaries to a crumbling ruin deemed too expensive to maintain. Along the way the site was embroiled in government scandals, war efforts, schemes to find a lasting function, and the city's unending and ultimately successful effort to buy the property for its current use.
Chorley Park, residence of Lieutenant Governor of Ontario, 1923. Archives of Ontario
The opening decade of the 20th century saw the Ontario government search for land to build a residence for the Lieutenant-Governor of the province, who had resided in Government House at King and Simcoe. A site was purchased on Bloor Street East around 1909 but was sold when officials felt the area would be overrun with commercial development (the land is now occupied by the Manufacturer's Life Building). The decision to buy 14 acres in a semi-secluded area was greeted with jeers from the press and city council. The Globe printed a critical editorial in its April 27, 1911 edition:
By the shortest route the distance between Chorley Park and the Queen's Park is more than two miles and a half, and the former stands in a part of the city that is seamed with deep and wide ravines. The locality is admirably adapted for private residences. But Government House is not a private residence; it is in reality a very public institution, and as such it should be located on a spot as easily accessible as unavoidable obstacles will permit.
Chorley Park, 1930. City of Toronto Archives, Fonds 1244, Item 10086
Despite the city's efforts to swap donated property at the northwest corner of Davenport Road and Bathurst Street for the Chorley Park site (which would have become parkland), the province began construction later in the year. Architect F.R. Heakes' design was modelled on chateaus in the Loire Valley and took four years to complete at a cost of more than four times the initial budget of $215,000. The expenses required to maintain the property soon became the subject of complaints at Queen's Park, especially from the United Farmers of Ontario and the Liberals.
One politician not enamoured of Chorley Park was Mitchell Hepburn, who made its closure a Liberal campaign plank in the 1934 provincial election. As Premier, Hepburn vowed to maintain funding (about $25,000/year) only as long as Lieutenant-Governor Herbert A. Bruce remained in office. When Bruce resigned in November 1937, Hepburn immediately ordered Chorley Park's closure. He quickly rejected Conservative leader Leopold Macaulay's offer to set up a non-partisan committee to study options for the property. In May 1938, Hepburn offered the property to the Hospital for Sick Children but Toronto mayor Ralph Day refused to abolish restrictions limiting the area to residential use. The following month, the province auctioned off much of the furnishings, including beds previously used by visiting royals such as the Duke of Windsor and place settings used by British prime ministers. Sick Kids accepted the property in early July but did little with it other than fix a leaky roof. When plans arose for a visit by King George VI in 1939, Hepburn refused to provide money "to rehabilitate any architectural monstrosity like Casa Loma or Chorley Hall." Editorial pages had a field day attacking Hepburn for allowing the King and Queen to stay in a railway car instead of more opulent surroundings, with The Globe and Mail going as far as "it will be a long day before the people recover from the disgrace thrust upon them." Mayor Day later noted that the closure of Chorley Park may have decreased the length of time the royal couple spent in Toronto.
In December 1940 the property was transferred to the military for use as a hospital and convalescent home for soldiers. The Red Cross utilized the main hall to prepare packages for British POWs. After World War II ended, the military maintained the hospital for another decade and used the building as a recruitment and training centre during the Korean War. In April 1955, the Royal Canadian Mounted Police acquired use of Chorley Park for administrative staff. Temporary buildings were also constructed to house reserve units of the army medical corps. Both groups appear to have departed the following year, with the Mounties determining that renovations would prove too costly. The property's next incarnation was as a temporary home under University of Toronto supervision for refugee students from Sopron, Hungary, who had fled their homeland in the wake of the Hungarian Revolution of 1956.
The next three years saw seemingly endless negotiations between the city and the federal government over the transfer of the rapidly deteriorating property. The city hoped for a similar deal to that struck for Sunnybrook Hospital, where the property would be sold to Toronto for the grand total of $1. The Parks Department devised a plan to demolish all of the buildings and possibly build a war memorial. A deal was finally reached in November 1959 when the city acquired the property for $100,000. Despite efforts from local arts agencies that led to proposals including an art gallery, cultural centre, and ballet school, most city councillors echoed alderman Fred Beavis, who wanted to "blow it up." Repairs were estimated at $250,000, money which a Canada Council-sponsored committee led by architect Eric Arthur argued could be better used by city council to preserve St. Lawrence Hall. After a year of debate, a 6-4 Parks Committee vote in November 1960 allowed demolition to begin. Pieces of the building wound up as restaurant decor-chimney pieces were integrated into Les Cavaliers at Church and Granby Streets, while gas lamps found a home at the Tom Jones Steak House when it opened in 1966.
Photo by Jamie Bradburn
Photo by Jamie Bradburn
All that remains is a bridge and driveway that led to the house. That little else was left feels like a show of spite from the city when they finally won their 50-year battle to give northeast Rosedale a park.
Originally appeared on Torontoist on August 9, 2008
Lets go eat PINEAPPLE BUNs in Chinatown!!!!!!!!
A pineapple bun is a kind of sweet pastry popular in Hong Kong, Macau, some other areas in southern China, and in various Chinese communities around the world. They can also be found in bakeries in Taiwan or Toronto. It is known in Cantonese as bo lo baau, in which "bo lo" means "pineapple", and "baau" refers to a kind of bun-like item in Chinese cuisine. It is commonly found in Chinese bakeries, and is mentioned quite frequently on TV, radio and films in Hong Kong.
For more details: http://tiff.net/gracekelly
It now costs much less to visit the Royal Ontario Museum. Beginning October 27, we significantly reduced admission prices because we believe everyone belongs at the ROM. We’ll still be able to create remarkable exhibitions and events, and support our world renowned curators and research programs, because now more people will be able to visit. By visiting the ROM, you’re helping to sustain one of Ontario’s essential educational and cultural destinations.
We know it’s a difficult economic time, especially for families, and our new, lower admission costs respond to this. We’ve also expanded our student ticket category from 15 to 17 years old, to 15 to 25 years old, with student ID.
In order to offer significant price reductions to all of our visitors, every day of the week, the two-hour free period on Wednesdays has been discontinued. In keeping with the ROM’s commitment to access, we’re greatly expanding ROMCAN – the Museum’s access initiative to support disadvantaged communities throughout the Province – to deliver 75,000 free tickets annually.
|
Ticket Types | General Admission | Maya + General Admission |
|---|---|---|
| Adult | $15 (previously $24) | $25 (previously $31) |
| Senior (65+ years) | $13.50 (previously $21) | $22.50 (previously $28) |
| Student (15 - 25 years, with student ID) | $13.50 (previously $21) | $22.50 (previously $28) |
| Child (4 - 14 years) | $12 (previously $16) | $17 previously $19.50) |
| Infant (3 years & under) | Free | Free |
| Members | Free | Free |
| Ticket Types | General Admission | |
|---|---|---|
| Adult | $9 (previously $12) | Additional surcharge applies to see Maya: Secrets of their Ancient World |
| Senior | $8 (previously $10.50) | |
| Student | $8 (previously $10.50) | |
| Child | $6 (previously $8) |
ROM Friday Nights are presented by SunLife Financial.
The power of visualization
Data is not useful until it becomes information, and that's because data is hard for human beings to digest.
This is even more true if it's news that contradicts what we've already decided to believe. Can you imagine the incredible mindshift that Mercator's map of the world caused in the people who saw it? One day you believed something, and then a few minutes later, something else.
We repeatedly underestimate how important a story is to help us make sense of the world.
Jess Bachman wants to help you turn the data about the US budget (the largest measured expenditure in the history of mankind, I'm betting) into information that actually changes the way you think.
Hence Death and Taxes, which we're publishing today. The new version belongs on the wall of every classroom, every public official's office, and perhaps in the home of every person who pays taxes.
It is not possible to spend less than ten minutes looking at this, and more probably, you'll be engaged for much longer. And it's definitely not possible to walk away from it unchanged. That's a lot to ask for a single sheet of paper, but that's the power of visualizing data and turning it into information.
Text from Seth Godin's BLOG. Click here
世界初就航NH7871便 香港行き初フライト
ANA All Nippon Airways Boeing 787-881 Dreamliner JA801A
Boeing 787 Special charter flight Narita - Hong Kong
Oct 26. 2011
TODAY!!
LANDING IN HONG KONG!
TOMORROW in Japan time> First Official Flight in
19hrs 42mins
Mosaic Mural Celebrating Business at Brookfield Place launched by the Business Archives of Canada (Click here for full article)
The Mosaic Mural encompasses an entire wall in the south lobby of the Bay-Wellington Tower at Brookfield Place. It was designed by renowned graphic artist Louis Fishauf, and includes the use of 3D graphic panels called Lenticular.
Development of the National Business Archives has been generously supported by visionary member organizations including Brookfield Asset Management, CN, Deloitte and TD Bank Financial Group.
The Archives "have a very important role to play in documenting a history of what has gone on before, so that all people will have something to look at and realize what a great contribution business has made to the Canadian economy," said David McLean, Chairman, Canadian National Railway - Archives Founding Member and sponsor of the Mosaic Mural art installation.
The National Business Archives of Canada is a destination for the business community and public to experience the role of Canadian business in the development and prosperity of our country. With a footprint in Brookfield Place, the Archives will initially exist as a virtual centre and digital knowledgebase of artifacts and historical resources, with a business centre, library and exhibit gallery planned for the near future.
(the pictures below are from the existing virtual centre; that I visited this weekend - Sir Joseph Flavelle happens to be one of my favourite Torontonians/Son of Peterborough)
The Lethbridge Viaduct, commonly known as the High Level Bridge, is the longest and highest steel trestle bridge in North America. It was constructed between 1907–1909 at Lethbridge, Alberta, Canada at a cost of $1,334,525.
Specifications
This massive steel trestle over the Oldman River was designed by the Canadian Pacific Railway's bridge department in Montreal. The field work was directed by CPR's Assistant Chief Engineer John Edward Schwitzer. The steel work was manufactured by the Canadian Bridge Company of Walkerville, Ontario. A 100 man gang worked on the erection of the steel. Although there were some initial problems with settlement, the bridge has proved to be an enduring engineering work and is still in use today.
It was built as part of a major diversion of the Crowsnest Pass route between Lethbridge and Fort Macleod. The river crossing was previously over a wooden trestle measuring 894 m (2,933 ft) long and 20 m (66 ft) high; an impressive structure in its own right.
Above is a picture of the High Level bridge I took the last time I was in Lethbridge! Sorry not the best picture but atleast I have one of my own.
I love transmission poles! I had taken this pic and posted on my facebook page, as it seems, exactly this month, 4 years ago! (I remember this was at Richmond Hill Centre while waiting for the bus.) I was reading the book 'HYDRO', as mentioned in yesterday's post, and found the following Babcock & Wilcox magazine ad quote from the 1950s on pg. 35:
Across rivers and chasms, over mountains, through forests, out into deserts- the slim wires run - bringing lightm, power and life. Into every corner of the country, electricity has sent its probing, creative fingers- developing farms, mines, industry and cities.
Electricity has been ... and will continue to be ... man's indispensable aid in breaking through the physical frontiers of the world. But now, with the full advent of the science of electronics- electricity begins to open the frontiers of the mind
The Busan to Geoje fixed link project was an ambitious scheme to reduce journey times between Korea's south coast city of Busan and the island of Geoje - a tourist hot-spot and home to the country's biggest shipbuilding yards.
This world class project provides an 8.2km highway link between the southern city of Busan and the island of Geoje in South Korea. The overall link comprises two major cable stayed bridges, with main spans of 230m and 475m respectively, and a 3.4km long immersed tunnel. The tunnel, which carries traffic at a depth of up to 48m below sea level to avoid large container ships, is one of the deepest in the world.
Halcrow TEC JV were appointed Technical Advisers to Daewoo Engineering & Construction Co. Ltd, who led the consortium to design, construct and operate this vital US$1100m transport link, completed in 2010.
Halcrow–TEC JV provided advice to Daewoo on many aspects of the design and construction of the link, together with advice on contracts and contract strategy (including design contracts) and project organization.
The link slashes journey times from three and a half hours to just 40 minutes opening up the region to a wealth of previously untapped business and tourism opportunities thus boosting the economy.
http://www.halcrow.com/Our-projects/Project-details/Busan-Geoje-Fixed-Link-Korea/
BUSAN-GEOJE bridge under construction
What a coincidence! I finished reading 'The Pig and the Python' this morning and picked a new book to read, TORONTO No Mean City, as I stepped out for work. And as I was reading I discovered this! Today, 23 September 2011, 224 years ago the purchase for Toronto was made! (pg. 10; Chapter 2- 'As it was in the beginning...')
This week, the City of Toronto's Executive Committee approved a report from the City Manager to close "museums with the least attendance, and revenues compared to costs." Another proposal asks the City Manager to report on further extensive cuts to culture programs.
These proposals indicate a misunderstanding of what museums are. In any city, museums are about identity, linking the past to the present. In Toronto, the world's most multicultural city, museums are even more crucial to social cohesion.
Toronto's historic museums - Montgomery's Inn, Spadina House, McKenzie House, Colborne Lodge, Market Gallery, Gibson House, Zion Schoolhouse, Scarborough Historic Museum and Fort York - are the repository of our collective heritage. Destroy them and you destroy the DNA of who we are and how we got here. Each of these sites, whether they be in downtown Toronto, Scarborough, North York or Etobicoke, reflect not only our past, but are also neighbourhood hubs for sharing and learning about our modern diverse communities.
Clearly there is room for improving the attendance and the financial performance of these museums. However, closures are not the answer. The museum closings will be before City Council on Monday September 26th. I urge you to write to the Mayor and members of City Council to raise your voice in opposition to this proposal. For contact information for the Mayor and Councillors.
http://app.toronto.ca/im/council/councillors.jsp
Also, there is a Facebook group you can join to support our City's museums:
http://www.facebook.com/pages/History-is-Not-Gravy-Save-Torontos-Historic-Sites/267553499943022
Toronto's Canadian Air and Space Museum Evicted By Crown Corporation Parc Downsview Park
http://www.huffingtonpost.ca/2011/09/20/canadian-air-and-space-museum-shut-down_n_972830.html
TORONTO - The Canadian Air and Space Museum — a repository of Canadian aviation history in north Toronto — has been shut down and will apparently be replaced by hockey rinks.
Museum chairman Ian McDougall says the landlord, Parc Downsview Park, was in the process of changing the locks on Tuesday afternoon.
McDougall says the museum was behind on its rent by about $120,000, but had begun generating more revenue and was in a position to begin making payments.
McDougall says the museum was behind on its rent by about $120,000, but had begun generating more revenue and was in a position to begin making payments.
McDougall says the landlord didn't accept partial payment and ordered all back rent to be paid immediately or the museum would be closed.
Parc Downsview Park, a Crown Corporation that reports to Public Works and Government Services Minister Rona Ambrose, could not be reached for comment.
McDougall says he doesn't know what will happen to the museum's displays, which include a full-size replica of the Avro Arrow and photos and artifacts documenting the history of de Havilland Canada.
"We have the only full-scale replica of the Avro Arrow, which took about 10 years for people to build," McDougall said. "The museum space is the original factory from which Tiger Moths, Beavers, Otters, Twin Otters and Mosquito bombers emerged."
McDougall said he finds it surprising that such an important part of Canada's aviation and industrial history would be taken and converted into hockey rinks.
"No one's told me that there's a shortage of hockey rinks in Canada — that's new to me," he said.
Coun. Maria Augimeri, who represents the Downsview area on Toronto city council, said Tuesday that she was shocked by the closure and appealed to Ottawa to help the museum.
"It shows that the federal government is so fixated on the bottom line it's even willing to throw the Avro Arrow to the curb for collection," Augimeri said.
SAVE the MUSEUM @ http://casmuseum.org/
Dwarika’s Storyhttp://www.dwarikas.com/heritage/dwarikas-story.html
The history of the Dwarika’s hotel is intertwined with the life and times of its founder, Dwarika Das Shrestha. Dwarika Das Shrestha was an extraordinary human being – a true visionary who was acutely aware of his own identity, the changing world around him and his responsibility towards it. His story is one of inspiration borne out of struggle and torment, the relentless pursuit of an aesthetic ideal, and one man’s determination to make a difference.
Early beginnings
Being born into a relatively affluent Newar family, Dwarika Das Shrestha was sent to school in India at the tender age of six. With less than one percent of the Nepali population being literate, in the early 1950s, as Nepal took its first steps towards democracy, it was ill equipped to face the challenges of modernisation. It stood at a position where it could neither fully embrace the dramatic changes that modernity brought, nor fully comprehend the value and potential of its ancient cultural heritage.
Dwarika Das Shrestha completed his education with a degree in law and commerce in the early 1950s, and returned to Nepal with the dream of helping Nepal regain its past glory. His first business was the establishment of the first hotel in Nepal, Paras Hotel, in 1952, at a time when Nepal was yet to establish itself as a tourist destination. The hotel’s primary patrons were Indian and Nepali pilgrims who came to visit the Pashupati Temple. Back then, charging religious pilgrims for shelter was considered sacrilegious and earned Dwarika Das the wrath of his family.
In the late 1950s, Dwarika Das Shrestha bought the land upon which The Dwarika’s Hotel is now located and built on it a small family home, incorporating into the design some of the ancient windows he had collected. The first window that he used can be seen even today in the Fusion Bar. This was a revolution in building style and many people discouraged him from using the old window frames, seeing it as a reflection of poverty rather than an appreciation of cultural wealth. But Dwarika Das stood his ground; by then he had already started his collection of wood work and was beginning to understand the true value of Nepal’s rich cultural heritage, and the role it could play in building a prosperous Nepal.
An Unusual Passion Emerges
This vision was born in Basantapur on a cold morning in 1952. Change was entering Nepal, and all around, century-old mud, brick, and wood houses were making way for the concrete structures of modernity. Dwarika Das Shrestha was jogging past the ruins of an old building in front of the ancient palatial complex of Kathmandu’s Newar kings, when he saw, huddled in front of a small fire, two carpenters sawing off the intricate carvings on an old wooden pillar and using it to keep the fire going.
The reduction of his heritage into firewood stopped him in his tracks. The weight of his heritage fell upon his shoulders and knew he had to act. The carpenters explained that they were extracting the “good wood” from the carved pillar to make a door frame; the rest was good only as firewood. Shocked, he bought the ancient old wooden pillars from the carpenters. This impulsive decision turned into a calling that was to define Dwarika Das Shrestha’s life and initiate the revival of Nepal’s pride in its Newari cultural heritage.
The magnitude of that impulse in 1952 was not even fully understood by Dwarika Das Shrestha himself. Yet, over the years, he persevered with this passion and continued to collect wood works. Whenever an old building was brought down, he would buy as much of the carved windows, doors and pillars as he could afford. As his collection grew, he reflected:
"There [his home] they lay wounded for years, but I saw them every day. They communicated with me. They compelled me to visit monuments and temples in an attempt to understand them."
Dwarika Das would later give his shares in Paras Hotel to his brothers, and join the government service. This, however, did not stop him from dreaming and continuing to collect wooden masterpieces. As his collection grew, he was able to understand these works of art with a greater degree of appreciation. He realised that these wood works were not individual artistic endeavours but a product of a larger cultural tradition. These works were not made in isolation but made in collaboration and communion with a variety of different craftsmen. Dwarika Das came to see that in order to preserve his heritage, just collecting these pieces would not be sufficient. To some degree, a renaissance of the cultural context within which these works were produced was necessary, which included most essentially, the revival of traditional skills. The guiding philosophy of the Dwarika’s Hotel comes from this realisation.
Restoration Workshop
As his collection grew, Dwarika Das Shrestha knew that he had to find a way to finance such an expensive collection and ensure the wood works were properly restored, preserved and displayed. In 1964, he constructed a small apartment above the family cowshed using some of the pieces from his collection. The rental income allowed him to continue expanding his collection, but more importantly, it gave him the resources to hire three master carvers who still recalled the ancient knowledge and techniques of traditional Newari wood carving. With the master carvers, he started a heritage workshop to restore his collection of wood work to their former glory.
By the 1960s, few of the traditional wood carving families of the valley still continued their ancient profession, and thus the knowledge that his master carvers possessed was in danger of being lost. He hired young apprentices to work and learn under the three senior carvers and ensure their knowledge was passed down to a new generation of craftsmen. The workshop continues until today and over the years, scores of master carvers have emerged from its grounds.
As he was establishing the heritage workshop, he rented out rooms in his home and channelled this income into the restoration process. Because of his keen interest in his heritage, the workshop became a place to study the iconography, rituals and lore of the valley. Through this, Dwarika Das and his carvers learnt how the wood carvings and art works reflected the beliefs and cultural norms of a sophisticated civilisation.
Dwarika Das Shrestha’s interest in heritage extended beyond his collection of wood works and extended into all facets of traditional Newari art. He re-introduced the production of Dachi apas, tapered glazed bricks, which was a traditional practice that had died out in the valley. As he worked with his craftsmen, Dwarika Das realised that the old system, through which this artistic tradition had continued for centuries, was no longer in place. The days when emperors and kings were the patrons of the art and commissioned such works were long over. Dwarika Das also realised that the only way that the artistic traditions of yesteryear could be revived would be if they could be economically viable.
Breaking New Ground
His ability to see a role for the past in the present and to act upon an idea is what made Dwarika Das Shrestha a real visionary and an inspiring individual. With the help of his wife, Ambica Shrestha, he started exploring entrepreneurial avenues to assist in the development of Nepal’s tourism and finance his passion for conservation. They knew that many people would be interested in coming to Nepal, to tour its heritage sites, and to experience its natural beauty. Towards this end, in 1969, Dwarika Das Shrestha went on to establish one of the first travel agencies in Nepal, Kathmandu Travels and Tours.
Seeking to break the monopoly that Indian travel agents had over tours to Nepal, Dwarika Das Shrestha spent six months in Japan trying to establish himself in the market. Although he was unsuccessful, Dwarika Das was not a person who gave up easily. He then established his travel agency in Delhi and secured tours to Nepal through it. His persistence paid off and soon Kathmandu Tours and Travels was a successful business. The first seeds for The Dwarika’s hotel grew out of this success during the coronation ceremony of King Birendra in 1972.
During the coronation period, all the hotels in Nepal were booked to capacity, and there were not enough hotel rooms for all the official visitors to Nepal. To accommodate their own guests, the Shrestha family moved into a rented house and converted their own home, along with the apartments, into a make-shift guest house. The overwhelming feedback they received from guests inspired them to build a hotel in the same authentic style.
The Dwarika’s Hotel was registered in 1977. The idea behind the hotel was to revive the architectural splendour of the valley. All the terracotta work was made in the valley, using local clay and skills. The couple also incorporated elements of Nepal’s diverse cultural heritage, including those from beyond the valley, when designing the rooms. The furniture was crafted by families of traditional carpenters, and the linen, textiles and embroideries were hand woven and used Nepali patterns. In all purposes, Dwarika Das Shrestha took the best of Nepali culture and presented it in a way that had not been done before. In explaining his vision, he once stated:
"My project is to recreate a 15th-17th century environment where tourist and Nepali alike would have a sensation of the original. The hotel as a commercial enterprise is merely a vehicle to finance and carry my dream forward."
The Dwarika’s Hotel was awarded the prestigious 1980 Pacific Area Travel Association’s (PATA) Heritage Award, and Dwarika Das himself was recognised for his remarkable contribution to heritage conservation. The following year, the central Lumbini building was built, utilising pieces that had been restored in the heritage workshop. The entire building was built in the Newari architectural style but combined modern comforts with traditional aesthetics. With ten rooms, the hotel was an instant success with tourists who had a genuine interest in Nepal’s artistic customs.
In 1990, Dwarika Das Shrestha completed the Ram Palace, a sixteen room wing with the same stylistic elements he had used to make the Lumbini building. The hotel now had thirty rooms and he noted that people in Nepal were beginning to appreciate the value of their heritage. Sadly, Dwarika Das Shrestha passed away in 1992 before he could complete his vision for the hotel, but his legacy and dream still lives on.
Dwarika’s Today
Continuing his vision and utilising the sketches through which he had conceived the hotel, his wife and daughter, Sangita Shrestha Einhaus, completed the front building (where the reception is now housed) in 1998. In order to complete the building’s façade, they worked closely with a local potter named Hirakaji for close to a year, trying to replicate the horizontally carved designs with terracotta. Using a mold of the carvings from the horizontal reliefs on the door frame that is in front of the Lumbini building, they revived traditional terracotta designs that were used in the valley around the 15th century. These terracotta designs were more economical than wood, but created a similar aesthetic feel to a building’s façade. The revival of this tradition has proven to be highly popular, with such designs now being replicated throughout the valley.
The hotel is still managed by the Shrestha family - Ambica, Sangita and Dwarika Das’ grandson, Rene Vijay Shrestha Einhaus - and now possesses one of the biggest private woodwork collections in the world. However, the family no longer buys old wood works unless they are significantly damaged and require restoration at the heritage workshop in the hotel. Where possible, the hotel instead encourages people to incorporate the pieces into their homes and appreciate their cultural heritage. The influence of Dwarika Das Shrestha’s vision can be observed to clearly in the old cities of Patan and Bhaktapur, where public and private initiatives are gradually restoring the city to its past glory. The Dwarika’s Hotel retains Dwarika Das Shrestha’s guiding philosophy and remains a beacon on the importance of heritage conservation in Nepal.
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· for more reviews go to: http://www.goodreads.com/book/show/19400.The_Decline_and_Fall_of_the_Roman_Empire
http://www.archives.gov.on.ca/
The Archives of Ontario (Archives publiques de l'Ontario in French) is the provincial archives for the province of Ontario, Canada. Founded in 1903, the archives is located in Toronto.
The Bureau of Archives, as it was originally known, was first located at the Ontario Legislature. The Archives moved to the Canadiana Building on the University of Toronto campus in 1951, at which time it was known as the Department of Archives. Relocated to 77 Grenville Street in 1972 its name was also changed to the Archives of Ontario. The reading room at the Grenville building closed on March 26, 2009.
The official groundbreaking ceremony for the new Archives of Ontario building on the York University grounds, which also houses the York University Research Tower, was on April 30, 2007. The groundbreaking was attended by former Minister of Government Services Gerry Phillips and former York University President and Vice-Chancellor Lorna Marsden. The building was opened to the public on April 2, 2009 and is expected to be the site of the Archives for at least the next thirty-five years.
In addition to the records of the Ontario government, the Archives also acquires records of private individuals and organizations that reflect Ontario's history. Notable private records include Eaton's fonds, Conn Smythe fonds and Moriyama and Teshima Architects Ltd. fonds.
The head of the Archives has been known as the Archivist of Ontario since 1923. Eleven people have held this position.
Good One! hahahahaha really good one! Kinda like me :p
Thank you ~> http://xkcd.com/949/
A webcomic of romance, sarcasm, math, and language.
http://www.khanacademy.org/The Khan Academy is an organization on a mission. We're a not-for-profit with the goal of changing education for the better by providing a free world-class education to anyone anywhere.
The Khan Academy was created in 2006 by MIT graduate educator Salman Khan. With the stated mission of "providing a high quality education to anyone, anywhere", the website supplies a free online collection of more than 2,400 micro lectures via video tutorials stored on YouTube teaching mathematics, history, finance, physics, chemistry, biology, astronomy, economics and computer science.
Below is a breakdown of the topics! Hope you find something you like:
Brain Teasers
Calculus
Computer Science
Credit Crisis
Videos on the causes and effects of the credit crisis/crunch
< just a sneak peek of the topic below~
Developmental Math
Developmental Math 2
Differential Equations
Finance
History
IIT JEE Questions
Paulson Bailout
Pre-algebra
Precalculus
Probability
Statistics
Trigonometry
ck12.org Algebra 1 Examples
watched "Karsh is History" on PBS today..
Yousuf Karsh, (December 23, 1908 – July 13, 2002) was a Canadian photographer of Armenian heritage, and one of the most famous and accomplished potrait photographers of all time.
Library and Archives Canada holds his complete collection, including negatives, prints and documents.
Portrait of Architect Frank LLoyd Wright by YOUSUF KARSH (1947)
There is a brief moment when all there is in a man's mind and soul and spirit is reflected through his eyes, his hands, his attitude. This is the moment to record. -Yousuf Karsh
Post-war Toronto was creative and dynamic. It was a hotbed of industrial and artistic activity. Toronto had attitude, it was brash and confident. It not only reinvented art and architecture but re-engineered it.
It all came together like one beautiful storm, brewing an intoxicating wind of change, a system that would remake and retool Canadian industry and establish Canada's manufacturing infracture, thereby creating bot a middle class and an artistic class that would redesign the city, realising some of the very best and most uncompromising examples of art and architecture this country has ever seen.
The end of the war was seen as a new beginning. We built the Victory Soya Mills on the Toronto waterfront, a colossal structure of concrete silos with "VICTORY" written in bright red sans-serif across its superstructure to annpounce Canada's triumph in Europe and reiterate Canada's modern aesthetic heritage all in one bold stroke.
In the days after the war, young men and women in Canada, with dreams in their veins pubped up by victory, believed anything was possible. Immigrants disembarking in Halifax and Montreal had left behind the devastation of the Old World and were determined to build a new one, one which would lead to lives and new careers.
And into the midst of this came architect Peter Dickinson, fresh off the boat in Halifax and building up a storm in a manner most Dickinson. John C. Parkin and Macklin L. Hancock, newly graduated from Harvard, were full of piss and vinegar, looking to roll up their sleeves and execute the never-before-imagined.
...
From the igloo to concrete silos to prairie grain elevators to Canadian Pacific's Empress liner series to wartime housing - Canada's aesthetic is simple, clean and functional. Modern is our national form and our inherent design language.
Toronto was a city like no other. We were Hogtown, and loving it! We had a style and a forward, get-out-of-my-way attitude. At the same time, we were a city of outstanding cultural depth and vision. Ours was a modern city that carried weight and gravity in art, design and architecture. We believed in our young, we nurtured them and we believed the future was bright.
Toronto was [at] the most, a cultural and industrial revolution, an artistic explosion. It was breathtaking. Toronto. We are the citizens of no mean city.
*taken from the Introduction pages of Mean City: From Architecture to Design: How Toronto Went Boom by John Martins Manteiga
Just coming out of mourning for Jack Layton and I believe this should be a starting off point for all Torontonians who have been inspired to work for this city. I think I am back in the game. This is me pledging my involvement in City Politics after my 2 year hibernation!!! I am totally psyched! I love Toronto. Toronto IS my city and I hope to see you rise again.
Went home this weekend and this 'NY Times' insert from last week's Sunday Star was lying around. THINK ABOUT IT.
Article link: http://www.nytimes.com/2011/08/14/opinion/sunday/the-elusive-big-idea.html?_r=2&pagewanted=all
Ideas just aren’t what they used to be. Once upon a time, they could ignite fires of debate, stimulate other thoughts, incite revolutions and fundamentally change the ways we look at and think about the world.
They could penetrate the general culture and make celebrities out of thinkers — notably Albert Einstein, but also Reinhold Niebuhr, Daniel Bell, Betty Friedan, Carl Sagan and Stephen Jay Gould, to name a few. The ideas themselves could even be made famous: for instance, for “the end of ideology,” “the medium is the message,” “the feminine mystique,” “the Big Bang theory,” “the end of history.” A big idea could capture the cover of Time — “Is God Dead?” — and intellectuals like Norman Mailer, William F. Buckley Jr. and Gore Vidal would even occasionally be invited to the couches of late-night talk shows. How long ago that was.
If our ideas seem smaller nowadays, it’s not because we are dumber than our forebears but because we just don’t care as much about ideas as they did. In effect, we are living in an increasingly post-idea world — a world in which big, thought-provoking ideas that can’t instantly be monetized are of so little intrinsic value that fewer people are generating them and fewer outlets are disseminating them, the Internet notwithstanding. Bold ideas are almost passé.
It is no secret, especially here in America, that we live in a post-Enlightenment age in which rationality, science, evidence, logical argument and debate have lost the battle in many sectors, and perhaps even in society generally, to superstition, faith, opinion and orthodoxy. While we continue to make giant technological advances, we may be the first generation to have turned back the epochal clock — to have gone backward intellectually from advanced modes of thinking into old modes of belief. But post-Enlightenment and post-idea, while related, are not exactly the same.
Post-Enlightenment refers to a style of thinking that no longer deploys the techniques of rational thought. Post-idea refers to thinking that is no longer done, regardless of the style.
The post-idea world has been a long time coming, and many factors have contributed to it. There is the retreat in universities from the real world, and an encouragement of and reward for the narrowest specialization rather than for daring — for tending potted plants rather than planting forests.
There is the eclipse of the public intellectual in the general media by the pundit who substitutes outrageousness for thoughtfulness, and the concomitant decline of the essay in general-interest magazines. And there is the rise of an increasingly visual culture, especially among the young — a form in which ideas are more difficult to express.
But these factors, which began decades ago, were more likely harbingers of an approaching post-idea world than the chief causes of it. The real cause may be information itself. It may seem counterintuitive that at a time when we know more than we have ever known, we think about it less.
We live in the much vaunted Age of Information. Courtesy of the Internet, we seem to have immediate access to anything that anyone could ever want to know. We are certainly the most informed generation in history, at least quantitatively. There are trillions upon trillions of bytes out there in the ether — so much to gather and to think about.
And that’s just the point. In the past, we collected information not simply to know things. That was only the beginning. We also collected information to convert it into something larger than facts and ultimately more useful — into ideas that made sense of the information. We sought not just to apprehend the world but to truly comprehend it, which is the primary function of ideas. Great ideas explain the world and one another to us.
Marx pointed out the relationship between the means of production and our social and political systems. Freud taught us to explore our minds as a way of understanding our emotions and behaviors. Einstein rewrote physics. More recently, McLuhan theorized about the nature of modern communication and its effect on modern life. These ideas enabled us to get our minds around our existence and attempt to answer the big, daunting questions of our lives.
But if information was once grist for ideas, over the last decade it has become competition for them. We are like the farmer who has too much wheat to make flour. We are inundated with so much information that we wouldn’t have time to process it even if we wanted to, and most of us don’t want to.
The collection itself is exhausting: what each of our friends is doing at that particular moment and then the next moment and the next one; who Jennifer Aniston is dating right now; which video is going viral on YouTube this hour; what Princess Letizia or Kate Middleton is wearing that day. In effect, we are living within the nimbus of an informational Gresham’s law in which trivial information pushes out significant information, but it is also an ideational Gresham’s law in which information, trivial or not, pushes out ideas.
We prefer knowing to thinking because knowing has more immediate value. It keeps us in the loop, keeps us connected to our friends and our cohort. Ideas are too airy, too impractical, too much work for too little reward. Few talk ideas. Everyone talks information, usually personal information. Where are you going? What are you doing? Whom are you seeing? These are today’s big questions.
It is certainly no accident that the post-idea world has sprung up alongside the social networking world. Even though there are sites and blogs dedicated to ideas, Twitter, Facebook, Myspace, Flickr, etc., the most popular sites on the Web, are basically information exchanges, designed to feed the insatiable information hunger, though this is hardly the kind of information that generates ideas. It is largely useless except insofar as it makes the possessor of the information feel, well, informed. Of course, one could argue that these sites are no different than conversation was for previous generations, and that conversation seldom generated big ideas either, and one would be right.
BUT the analogy isn’t perfect. For one thing, social networking sites are the primary form of communication among young people, and they are supplanting print, which is where ideas have typically gestated. For another, social networking sites engender habits of mind that are inimical to the kind of deliberate discourse that gives rise to ideas. Instead of theories, hypotheses and grand arguments, we get instant 140-character tweets about eating a sandwich or watching a TV show. While social networking may enlarge one’s circle and even introduce one to strangers, this is not the same thing as enlarging one’s intellectual universe. Indeed, the gab of social networking tends to shrink one’s universe to oneself and one’s friends, while thoughts organized in words, whether online or on the page, enlarge one’s focus.
To paraphrase the famous dictum, often attributed to Yogi Berra, that you can’t think and hit at the same time, you can’t think and tweet at the same time either, not because it is impossible to multitask but because tweeting, which is largely a burst of either brief, unsupported opinions or brief descriptions of your own prosaic activities, is a form of distraction or anti-thinking.
The implications of a society that no longer thinks big are enormous. Ideas aren’t just intellectual playthings. They have practical effects.
An artist friend of mine recently lamented that he felt the art world was adrift because there were no longer great critics like Harold Rosenberg and Clement Greenberg to provide theories of art that could fructify the art and energize it. Another friend made a similar argument about politics. While the parties debate how much to cut the budget, he wondered where were the John Rawlses and Robert Nozicks who could elevate our politics.
One could certainly make the same argument about economics, where John Maynard Keynes remains the center of debate nearly 80 years after propounding his theory of government pump priming. This isn’t to say that the successors of Rosenberg, Rawls and Keynes don’t exist, only that if they do, they are not likely to get traction in a culture that has so little use for ideas, especially big, exciting, dangerous ones, and that’s true whether the ideas come from academics or others who are not part of elite organizations and who challenge the conventional wisdom. All thinkers are victims of information glut, and the ideas of today’s thinkers are also victims of that glut.
But it is especially true of big thinkers in the social sciences like the cognitive psychologist Steven Pinker, who has theorized on everything from the source of language to the role of genetics in human nature, or the biologist Richard Dawkins, who has had big and controversial ideas on everything from selfishness to God, or the psychologist Jonathan Haidt, who has been analyzing different moral systems and drawing fascinating conclusions about the relationship of morality to political beliefs. But because they are scientists and empiricists rather than generalists in the humanities, the place from which ideas were customarily popularized, they suffer a double whammy: not only the whammy against ideas generally but the whammy against science, which is typically regarded in the media as mystifying at best, incomprehensible at worst. A generation ago, these men would have made their way into popular magazines and onto television screens. Now they are crowded out by informational effluvium.
No doubt there will be those who say that the big ideas have migrated to the marketplace, but there is a vast difference between profit-making inventions and intellectually challenging thoughts. Entrepreneurs have plenty of ideas, and some, like Steven P. Jobs of Apple, have come up with some brilliant ideas in the “inventional” sense of the word.
Still, while these ideas may change the way we live, they rarely transform the way we think. They are material, not ideational. It is thinkers who are in short supply, and the situation probably isn’t going to change anytime soon.
We have become information narcissists, so uninterested in anything outside ourselves and our friendship circles or in any tidbit we cannot share with those friends that if a Marx or a Nietzsche were suddenly to appear, blasting his ideas, no one would pay the slightest attention, certainly not the general media, which have learned to service our narcissism.
What the future portends is more and more information — Everests of it. There won’t be anything we won’t know. But there will be no one thinking about it.
Think about that.
Dezeen was launched at the end of November 2006 and has grown rapidly to become one of the most popular and influential architecture and design blogs on the internet. We now get over two million visits a month, and traffic is doubling every year.
Dezeen was included in Time magazine’s Design 100 list of the most influential forces in global design (below), and in Design Week magazine’s Hot 50 list of key figures in design.
Copyright: all our content is protected by copyright law.
Data protection: Dezeen handles data in accordance with the Data Protection Act 1998.
The Dezeen story: Dezeen was started as a simple blog in 2006 by Marcus Fairs, author of Twenty-First Century Design (published October 2006 and republished in June 2009) and Green Design (published March 2009) and former founding editor of icon magazine.
In 2007 he was joined by Rupinder Bhogal and together they set up Dezeen Limited, which they now run as co-directors. They launched the recruitment site Dezeenjobs in 2008, followed by Dezeen Watch Store in 2010.
http://www.dezeenjobs.com/ ; well since I may not ever work as an Architect thought someone else might be looking. They have some pretty good posting here. Below is only photo clipping. You will not be able to access it here. You will have to go to the 'dezeenjobs' website; it is only a snap shot for those interested.
Like TiVos and Game Boys, iPods have rapidly gained popularity, but is an entire generation shutting itself off from the rest of the world? Maybe it's a cultural revolution, on the level of Douglas Coupland’s Generation X. Maybe it's the iGeneration. On the cutting edge of this phenomenon, Jason Logan has created a series of poignant illustrations and captions chronicling his observations of this revolutionary culture.
You can usually find Jason Logan 's illustrations in the Globe and Mail's Life section; generally last page and that is how I discovered him.
Brookfield Place is a landmark address deeply rooted in the commercial, cultural and social fabric of Toronto. Home to some of the world’s most prestigious financial and legal firms, and the corporate headquarters of many preeminent Canadian corporations, the 2.6 million square foot complex fosters business and commerce of global significance. Brookfield Place also stands as a prized example of Toronto’s cultural development and community spirit. Its public spaces have received international acclaim for their architectural excellence, including the award winning Allen Lambert Galleria, a favourite backdrop for some of North America’s most prominent exhibitions and special events. Visited by millions of people each year, Brookfield Place is also home to the Hockey Hall of Fame and some of Toronto’s most popular dining, shopping and lifestyle destinations.
http://brookfieldplacenewsandevents.com/
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