text:
Thanks for the photos. *I like these buildings a lot more then I thought I would. * I think if they used highly reflective "mirror" glass, it would have ruined it, but the clear glass makes it fit in better.
The view on Perry West construction in January of 2002.
173 Perry Street building in January of 2002.
See construction pictures of Perry West (here in June of 2001).
Thanks for the photos. *I like these buildings a lot more then I thought I would. * I think if they used highly reflective "mirror" glass, it would have ruined it, but the clear glass makes it fit in better.
Could have been better.
The view of the Perry West condominiums from the West Side Highway in March of 2002.
The view of the Empire State Building and Perry West from Battery Park in March of 2002.
New York Water Taxi and Perry West condominiums.
Those are some great looking apartments.
Nicole Kidman has unloaded her Pacific Palisades home for a price just shy of $11 million - which should come in handy to help pay for her splashy West Village apartment.
"She's been to the Perry St. building quite a bit lately with her decorators," says our spy. Kidman bought the apartment earlier this year for around $8 million.
The former Mrs. Cruise purchased the duplex in the unfinished 4,000-square-foot raw space building architect Richard Meier had originally planned for himself.
One of her high-profile neighbors will be Calvin Klein, who paid a reported $14 million for his 8,000-square-foot triplex. Martha Stewart also has an apartment there, but has put it on the market for about $8 million.
When completed, the 15-story building with two towers will include a restaurant, spa, gym, and full security.
The actress was given sole ownership of the L.A. property as part of her 2001 divorce settlement with actor Tom Cruise. The couple purchased the home in 1990 for about $4.7 million shortly before they were married.
NY Times...
Along West Street, A Residential Makeover
By ALAN S. OSER
JOGGERS may have been the first to know or to suspect. Roy Liebenthal, a 39-year-old restaurateur, was a jogger along West Street on the lower West Side in the 1980's. Even then, he says, as he ran past dilapidated piers and small commercial and industrial buildings he foresaw a glorious future for residential development on the eastern side of the street.
Glorious may be too extravagant a term to apply to the pockets of residential growth that now dot a long stretch of the eastern edge of West Street. But there is no denying growth itself.
Buildings are increasingly emerging that offer buyers and renters exceptional views directly across West Street over the city's waterfront piers and the Hudson River to the New Jersey shore.
Conversions of loft buildings, and more recently new construction, are occurring not merely south of Canal Street as a reflection of the growth of Battery Park City and city financial incentives, but also in the long stretch roughly from Canal Street to 14th Street.
The first major pocket of gut conversions and new construction emerged in the 90's with the Rockrose Development Corporation's buildings in the meat market district around Gansevoort Street. New pockets have since sprung up in the West Village as residential growth expands from Greenwich Village. More projects are in prospect farther south in the western reaches of the Hudson Square and TriBeCa neighborhoods. Typically, the front entrances are on side streets, and one side of the building abuts West Street.
The stretch more or less coincides with construction work at Hudson River Park, which will provide walking-distance recreational attractions for West Village residents when the reconstruction of three riverfront piers is completed in the spring. The Hudson River Park Trust has already completed a bikeway and walkway along the length of the park, from the Battery to 59th Street.
In the Village area, the walkway runs along the west side of West Street. The trust also maintains the landscaped median on West Street that eases pedestrian street crossing on the busy, and wide, avenue.
"The West Side Highway has become Hudson River Boulevard," said Mr. Liebenthal. He himself bought unfinished loft space in the building at 495 West Street, between Jane Street and West 12th Street in the West Village, three years ago. He has a direct view of the Hudson River and the New Jersey shore from his fourth-floor window.
"You see cruise ships; you see jet skiing; you see powerboat races, kayakers, swimmers, airplanes, helicopters," he said. "It's just a beautiful moving picture."
In August, construction started on a $200 million project in the Hudson Square neighborhood toward the southern end of West Street, covering a 62,500-square-foot block bounded by Washington and West Streets on the east and west, and Morton and Leroy Streets on the north and south. There will be 283 housing units in three buildings. The project is named Morton Square.
One building will be a 14-story condominium on Morton Street. Another is to be a six-story structure on Morton Street with six town houses at the base and loft apartments above. The third will be a seven-story rental on Washington Street. Completion is scheduled for the spring of 2004. Since the side streets and inland avenues have a more residential character than West Street, all the entrances to these buildings will be on Morton Street or Washington Street. But one leg of the 147-unit L-shaped condominium will border West Street and provide 52 apartments with head-on river views. About 12,000 square feet of commercial space will be provided at street level, a third of it on West Street. The developer is the J. D. Carlisle Development Corporation. Costas Kondylis & Partners is the architect.
Many of the tenants who currently live on West Street are in a Rockrose project in the area from Gansevoort to West 12th Street between Washington and West Streets. These blocks were completed in the 90's with 900 apartments, which include 800 rentals in the buildings known as West Coast apartments.
"I rented an apartment trying to get as close to the river in the West Village as I could," said Andrew Stern, 31, who took a West Coast apartment on Horatio Street in October. He has a view of the river from his fifth-floor studio. He said he uses the bicycle and walking path along West Street to go north to the Chelsea Piers sports complex on the river in western Chelsea for recreation and to go south to pick up his car at the Pier 40 garage near West Houston Street. "It's very convenient," he said.
This year two new buildings sprang up in the West Village that enhance the residential look of West Street. These are glassy 15-story condominium towers that the developer Richard Born and his partner, the architect Richard Meier, built at 173 and 176 Perry Street, facing each other at the western edge of Perry. Mr. Meier, the architect for such well-known buildings as the Getty Center in Los Angeles and the Museum of Contemporary Art in Barcelona, was also the architect for Westbeth, the 384-unit artists' housing development on the block between Bethune and Bank Streets and West and Washington Streets. Built in 1970, it was the first new residential project in the modern era to reach as far as West Street.
THE Perry Street condominium's raw space was sold out through the Sunshine Group over a six-month period in the latter part of last year, Mr. Born said. Toward the end of the sales period, prices reached $2,000 a square foot, he said, comparable to what buyers might pay for finished space on Park Avenue. The average price was $1,480 a square foot.
Four buyers relinquished their contracts to the sponsor during the sales period at a profit as high as 50 percent, Mr. Born said. By last summer, sales had closed on all 28 residential floors. There were 22 buyers, some of them taking more than one floor to create duplexes or triplexes.
Most new owners are currently building out their space or making plans to do so, brokers say. Occupancy is expected to start early next year. A few buyers are trying to resell, the brokers said, among them Martha Stewart, who closed on a $6-million 3,000-square-foot duplex penthouse in September. Other celebrity buyers include Calvin Klein, Nicole Kidman and William Joy, the founder of Sun Microsystems.
"We could have built a short, squat building as of right, of which there are dozens in the area, and walked away and made a profit," Mr. Born said. "But we had a vision of something special, looking out on the river, making the most of the light and a 360-degree view." It was expensive to do this. There are more square feet of glass curtain wall in the building than of interior floor area. The curtain wall alone cost more than $100 a square foot, Mr. Born said.
One consequence of the extraordinary level that prices reached in the Perry Street condominium is that land prices for nearby property suitable for development have risen as well. Just south of the Perry Street site, bidding reportedly reached $250 a developable square foot for such a parcel 12,000 square feet on West Street occupied by Pathfinder Press. "They were looking for $300 a foot," or $23.4 million, to build 78,000 gross square feet of building area, said Charles Blaichman, a co-developer of the Perry Street condominium. "That hasn't been paid anywhere. I think out-of-towners jacked up the price."
Unsuccessful bidders reported that a sales contract was signed for $20 million, or more than $250 for each square foot that can be built, with an unidentified buyer, but parties to the sale declined to discuss it.
The value of the Pathfinder Press property reflects in part the fact that demolition and new construction of a sizable building could begin fairly promptly, without zoning or other complications, developers say. This is rarely the case along West Street. Modest commercial and industrial establishments of yesterday operate on some blocks, and they will not disappear overnight.
(Part 2)
For the most part, existing zoning is inconsistent, allowing only light manufacturing or commercial activity on some blocks and residential construction as well on others. Residential builders frequently must seek variances from the Board of Standards and Appeals in order to build. In the meat market district, Rockrose spent five years getting variances for the four of its nine buildings that needed them.
Currently, the developer Stephen Touhey is trying for a variance to build 175,000 square feet of new commercial and residential space on land with West Street frontage off West 13th Street, the site of the former Nebraska Meat Market at 848 Washington Street. At a hearing last November, the application provoked substantial local opposition. Designed by the Paris-based architect Jean Nouvel, the plan called for 34 residential spaces as well as commercial and office space in three buildings. One was to be a 32-story residential tower with a gray corrugated-steel facade intended to reflect the district's industrial tradition.
Subsequently, Mr. Touhey said, he considered building an as-of-right hotel. But that approach has been rejected, and now he plans to be back before the board next month with a revised version of the original plan. In this version an eight-story mixed-use building close to the active meatpacking buildings has been eliminated, leaving the project with no residential component on Washington Street. The interior of the tower has been altered to provide additional square footage by eliminating some double-height ceilings.
But the revision may not end opposition. A number of residents and community groups oppose all new high-rise development in the district. Last week the Albany-based Preservation League of New York, at a press conference joined by the Greenwich Village Society for Historic Preservation, announced inclusion of the Gansevoort Market area on its annual listing of seven of the most threatened historic places in the state.
Other projects with West Street frontages are in varying stages of planning. At one site, Africa Israel Investments Ltd., a development firm based in Yahud, a town outside of Tel Aviv, owns two connected parcels at West Street and Laight Street, three blocks south of Canal Street at the western fringe of TriBeCa.
Asi Cymbal, the American representative of the company, said the intention is to build a 69-unit condominium in two buildings, one of 13 stories at West and Laight and the other of six stories at Washington and Vestry Streets, connected by an internal corridor. There would be first-floor commercial space and below-ground parking. The architect is Ismael Leyva of Manhattan, with Tsao & McKown, also of Manhattan, as the design architect.
Not far away, the Jack Parker Company has leased a 36,000-square-foot site from Ponte Equities, the investment arm of the younger generation of the Ponte restaurant family, at West, Watts and Washington Streets. Jack Parker has not disclosed its plans either, but the company has a long history of development and construction both in the city and in Westchester. A parking lot and garage occupy its site now, and a variance or zoning change would be needed for residential development.
At Morton Square, the Carlisle Development Corporation was granted a variance after a 14-month process. Representatives of West Village Houses, a middle-income project across the street, protested that the development would lead to displacement of renters in the vicinity through a rise in property values and rents. That argument did not prevail, but the developer did reduce the height of the condominium from 17 stories to 14 and provided a setback at the eighth floor, a recommendation of the Department of City Planning. Sales are to begin in February.
EVEN if zoning allows residential construction, the difficulties of site assemblage impede new development. The owner of many crucially situated underdeveloped parcels in the West Village, the estate of William Gottlieb, has been unwilling to sell any property, developers say. The properties are now controlled by Molly Bender, Mr. Gottlieb's sister. Efforts to reach Ms. Bender by telephone failed.
The Department of City Planning recognized the pressures of growth four years ago in a rezoning action affecting western Chelsea. As part of a broader rezoning, mixed residential and commercial zones were extended along 23rd Street from 10th Avenue to 11th Avenue. Previously, no residential development had been allowed as far west as 11th Avenue.
Now the department is close to reaching the public-review stage for a comprehensive plan for growth in Hudson Square, defined as the area generally bounded by Canal Street and Morton and Barrow Streets and by the Avenue of the Americas and West Street. It is a mixed-use area with recent commercial as well as residential growth. The plan will attempt to accommodate both growth and preservation, said Richard Barth, executive director of the department.
In the meat market district, where the city-owned Gansevoort Market houses about a dozen meat wholesalers and there has been commercial and industrial as well as residential construction, the department has been content to let growth evolve under the existing manufacturing zoning. The number of meat-related businesses has diminished over two decades, the planners say, but those that remain still constitute a major presence. Many of them service high-end restaurants and food purveyors.
Much recent renovation or new construction has been as-of-right and heavily commercial, with an emphasis on retailing. The largest recent new-construction project is an unusual concoction at 415 West 13th Street 60,000 square feet of space on eight floors rising inconspicuously from the rear of the preserved facade of a three-story building. Only from a distance can the glazed black-brick facade of the set-back tower be seen. "There's a market there for companies in the fashion and media industries," said Bruce D. Sinder, president of Sinvin Realty, the agent for the property. The architect was Selldorf Architects of Manhattan.
Elsewhere near West Street, zoning change is under consideration. "We would like development to proceed pursuant to a plan, not by Board of Standards and Appeals variance," Mr. Barth said. "We're looking at the area from 15th or 16th Street to about 23rd Street. The challenge is, how do you allow residential growth without undermining the arts district that has emerged in that area." Art galleries have multiplied in the area west of 10th Avenue roughly between 16th and 25th Streets.
Robert P. Balachandran faces a different challenge. Mr. Balachandran is president of the Hudson River Park Trust, created by state legislation in 1998 to design, construct and maintain a 550-acre five-mile park along the Hudson from Battery Park to 59th Street. The "parkland" includes 13 public piers and 400 acres of land under water.
"Our challenge is to complete a $400 million capital-construction program," Mr. Balachandran said. Half that money has already been appropriated by the state, and as it is spent, it will add to the recreational facilities available in the area.
In the spring, a segment of the park is to open from Horatio Street to Clarkson Street, a distance of six-tenths of a mile. Three rebuilt piers Nos. 45, 46 and 51 will offer a children's playground, a playing field with artificial turf, a half-acre lawn with natural grass and a continuous waterfront esplanade. In the upland area between West Street and the piers, a width of 200 feet in some places, there are to be gardens, benches, lawns and a comfort station.
The park was merely a hope for the future when residential development along West Street got under way in the 90's. The first new-construction project was 495 West Street, nine loft apartments in a 11-story building between Jane and West 12th Street. The developer was Cary Tamarkin.
The project sold out in 1997 at an average price of about $700 a square foot, Mr. Tamarkin said. "It was the record on West Street at the time," he said. "Now the question is whether the Richard Meier project was an aberration at the prices it achieved. I'm not sure that that was a repeatable formula."
West Street is relatively distant from mass transportation, and traffic noise is often intense, Marlene Hartstein, a sales broker with Ashforth Warburg, noted. "But there are people who like less congested areas," she said. "If they have cars or they like to walk along the river, it's an ideal location."
These are advantages that impressed Joe Castaldo, owner of the Style Council, a textile design studio, who was an early buyer in the Meier-designed Perry Street condominium. Mr. Castaldo had aspirations as a developer himself a few years ago, and with a partner, Tom Cody, he had purchased a vacant garage on Perry Street next to the property Mr. Born and Mr. Meier bought.
Mr. Castaldo's plan had been to rebuild the garage building for residential use and then keep one floor for his own apartment. But on the very day he closed, he said, his neighbors' project was announced in the press.
So he has put the vacant garage back on the sales market and also bought the 1,800-square-foot ninth floor in the north tower of the Meier buildings for his own residence. "It's a very open space, like a loft, with gorgeous views," he said. "It's like being on a boat." *
Looking south on West Street toward pair of new buildings designed by Richard Meier on Perry Street.
By BRADEN KEIL
February 13, 2003 -- MARTHA Stewart may be close to unloading her West Village apartment - and the buyer looks like New York Mets owner Fred Wilpon. Sources say the CEO of the cellar-dwelling team is bidding on the Domestic Diva's duplex at 173-176 Perry St.
One of the best-known unfinished (and unoccupied) apartments in New York City, Stewart's 4,000-square-foot raw duplex in the Richard Meier-designed building may have been an impulse buy, according to one report. A broker familiar with the apartment said Martha wanted to sell not because of her legal problems but because the place was too small.
"It's very narrow," said the broker, noting that once stairs are installed, the living space would be cut down to 3,000 square feet. Most believe the apartment will fetch somewhere around $6 million.
Actress Nicole Kidman plunked down more than $8 million for her 4,000-square-foot condo in the West Village building, whose residents also include Calvin Klein, Rita Schrager (ex-wife of hotelier Ian), chef Jean-Georges Vongerichten and other high-profile types.
The sleek, 15-story, 28-unit building with two towers will feature a Jean-Georges-operated restaurant, a spa and gym, a 24-hour concierge and beefed-up security.
Klein bought the 12,000-square-foot triplex penthouse in the south tower - one floor above Kidman - for $14 million back in 2000, before developers Richard Born and Ira Drukier had even broken ground. Stewart's place, which is in the north tower, on eye level with Klein's penthouse, has spectacular views of both the Hudson River and the Manhattan skyline.
Any reason as to why these buildings have attracted so many celebrities?
Perhaps only celebrity can afford an apartment in the $8 to 14 million range.
I guess b/c it's a prominent location, downtown, entire wall windows.
Plus it's crazy prices are for RAW SPACE. *So all the picky celebs could say they spent a fortune than brought in some famous designer to furnish it and spend another couple mil.
Ahhh... I'm doing something wrong.
June 19, 2003
Blond Ambition on Red Brick
By HERBERT MUSCHAMP
LATELY, Richard Meier has been reclaiming the rare quality that he started out with. I mean the quality of radiance: the Apollonian virtues of clarity, order, simplicity and light.
Since 1997, when he finally finished work on the Getty Center in Los Angeles, Mr. Meier has been brightening up his repertory with exquisite structures on a smaller scale. The architect's aesthetic approach has not changed. The times have. So has the historical context. A formal vocabulary that once seemed constrained by the dogmas of the International Style now stands for freedom from the woolier rhetoric of the postmodern 1980's.
Nowhere does this shift come into clearer focus than at 173 and 176 Perry Street, two residential buildings Mr. Meier recently completed on the far west side of Greenwich Village. The glass towers, which face each other across the narrow village street, are as handsome to look at as the Hudson River views they overlook from their floor-to-ceiling windows. They catch the light reflected from the water like a pair of frozen fountains.
Early this year, even on cold winter days, sidewalk superintendents could be seen stomping about outside the buildings, as if there were something thrillingly novel about construction in New York. Perhaps some of them were scouting out vantage points for peeping at the boldface names who have signed up to move into the glamorous cages. Most, I suspect, were feasting their eyes on architecture, a genuine novelty to behold rising at any construction site in a town where the art of building still counts in some circles as delinquent behavior.
We like architects more than architecture here. In the last few years, several residential high-rises by star designers have gone up in Manhattan. There is little to say about them apart from reciting their names. On Perry Street, by contrast, Mr. Meier has fashioned work for the historical imagination to feed on. Apart from their intrinsic formal qualities, the buildings reveal how a city goes about constructing a context of time.
From the West Side Highway, the towers create a neo-Classical impression. A modern glass version of an 18th-century European gateway: that's the initial effect. But the symmetrical image is deceptive. In plan, the south tower is more than double the size of its uptown twin. This imbalance recalls the two pairs of asymmetrically sited residential high-rises designed by Mies van der Rohe for Lake Shore Drive in Chicago. So does the waterfront location.
The Perry Street towers are 15 stories tall, with one apartment per floor. Mr. Meier's spare geometric forms knit these perpendiculars into a harmonious composition. The result is two sets of stacked urban stages, each with excellent sightlines: a multiplex for exhibitionists and the voyeurs who adore them.
The structure is concrete, with curtain walls of glass and painted metal. The division is expressed on the exterior by fire stairs enclosed within gray concrete cores. In glass buildings, floor slabs perform the expressive function formerly taken by walls. Viewed through the glass curtain wall, the empty volumes between floors and ceilings become formal elements. So do the curtains, blinds and lighting installed by tenants.
The lightness of the floor slabs and structural columns is further refined by the pristine delicacy of the exterior's white metal frames. Shadow boxes, mullions and railings appear to stretch the glass skin taut against the envelope formed by the slabs. Balconies with tinted blue glass side panels extend the platforms beyond the skin. The south facades mirror each other across Perry Street, uniting the double block.
It strikes me that the towers are a pair of Hitchcock blondes. The white metal framework of their facades is so crisp and pure that the towers could be two twins dressed for First Communion. But inside, fireworks: two towers full of racy Rear Windows. I do believe that's Miss Torso up there, practicing jazz dance right now. Soon to be joined by Nicole Kidman, Calvin Klein, Jean-Georges Vongerichten and I forget the rest. How will they handle window treatments? The world anxiously awaits.
Or, to state the matter more clinically, the subtext of these buildings is the friction between what Beatriz Colomina, a senior professor at Princeton's School of Architecture, has called privacy and publicity: the conflicting desires for refuge and exposure. This is a dominant theme throughout contemporary architecture today. Mr. Meier's buildings may lack the emotional risk-taking we encounter in work by Frank Gehry or Wolf Prix. But their formal understatement heightens the underlying tension between a viewer's inner and outer worlds.
Glass, metal, natural light, white surfaces, orthogonal geometry, solid and void: this basic vocabulary can be found in any number of 20th-century "machine age" buildings. Mr. Meier's formal vocabulary does not, in itself, account for the bold impression the buildings make. Nor can it be explained by some imaginary pendulum shift in public taste from "history" back to "modernity." No one with any taste ever fell for that ahistorical piece of postmodern spin.
On Perry Street, we witness the complex display of actual history at work. We witness conflict, that is to say: the formation of urban context through the contest of ideas.
One of those contests got under way not far from here more than 40 years ago with the 1961 publication of Jane Jacobs's book "The Death and Life of Great American Cities." The book was one of 20th-century architecture's most traumatic events. Its impact is still felt in cities across the land.
Greenwich Village was the crucible for some the book's most influential ideas. Ms. Jacobs's vision of the ideal city was inspired by her own block of nearby Hudson Street. West Village Houses, a low-rise complex designed by Perkins & Will in the 1970's a few blocks south, was New York City's first attempt to apply her ideas to planning.
Ms. Jacobs's book was an attack on modern city planning, not on modern architecture per se. Its impact on architecture was devastating nonetheless. One of the modern movement's central tenets was that architecture and planning were indivisible. This fusion allowed modernists to regard their cause as progressive in social as well as artistic terms. It fell to Ms. Jacobs to expose the limits of this claim.
The Radiant City, Le Corbusier's 1925 vision of a city of high-rise towers separated from each other by open parkland, was the central target of her critique. After World War II, this plan became a standard template for urban renewal projects around the country. Its application enabled American architects to perpetuate the self-image of social conscience.
As Ms. Jacobs saw it, modern city plans were not true social undertakings. They were works of art writ large. The Radiant City was a piece of graphic design or sculpture, an aesthetic exercise with little basis in the practical realities of urban life. "A city cannot be a work of art," Ms. Jacobs insisted: this was her book's single italicized idea.
In hindsight, it's clear that the crisis provoked by Ms. Jacobs went far deeper than a conflict over the merits and defects of modern architecture. It involved the crumbling of historicism: the 19th-century belief that each epoch should produce its own distinctive style. Modern architects may have rejected the use of period styles, but they clung to the basic historicist creed. An industrial society should have buildings to match.
By the early 1960's, this idea was in retreat. The historical inevitability of modernism, if not modern architecture per se, was no longer credible. A modern society could live happily without being herded into towers in a park.
Ms. Jacobs had a sound point to make: society and art represent different systems of meaning and value. Still, one of architecture's major functions is to negotiate changing relationships between the two. If the concept of "place" has any meaning, it lies in the vigor with which social and artistic values confront one another in urban space.
Art, moreover, is one of the best techniques we have for apprehending urban complexity. De Kooning, Tinguely, Rauschenberg, Warhol, Twyla Tharp and Spike Lee have variously shown us what kind of artworks the modern city wants to be, or already is. For more than three decades, contemporary artists have held up mirrors to the pluralism of urban life. Yet if we look back at New York's architectural record during the same period, it is fair to conclude that the skyline has suffered more from the absence of art than from the presence of it.
Ms. Jacobs can't be faulted for this. Like Le Corbusier, she was a polemicist who knew how to score points that needed to be made at a particular time. Forty years ago, when she was scoring points against art, she can't have been hoping for the tyranny of petit bourgeois taste that holds New York building and planning in its philistine grip. But look what we ended up with: a city where architecture is routinely denigrated as weird, elitist or avant-garde.
Some may dismiss the Perry Street buildings for not being weird or cutting-edge enough. Compared with Mr. Gehry, Rem Koolhaas or Zaha Hadid, Mr. Meier is indeed a conservative architect. One of the most valuable functions performed by the Perry Street buildings, in fact, is to reinforce the conservative edge of contemporary architecture's range. Beyond that line lie postmodernism, contextualism and New Urbanism. Since these movements presented themselves as anti-architecture, what was the point in conferring architectural status upon them?
By now, it should be obvious that these "isms" have been anti-urban, too. They have obstructed efforts in New York and other American cities to face the challenges of globalization and its impact on urban centers. Last year, for example, New Urbanists almost succeeded in foisting a retro theme park on ground zero. The process of planning the future of the World Trade Center site was irreparably damaged by the energy wasted in that preposterous effort.
A Hegelian might say that Mr. Meier's new buildings are the synthesis of Le Corbusier and Ms. Jacobs. The Radiant City has been scaled down to two towers facing each other across a traditional city street. This assessment would not, however, account for the unique quality of radiance Mr. Meier has achieved in this design. For that, we have to look at the architect's unique relationship to urban history.
WHAT distinguishes Mr. Meier from previous generations of modernists is a shift in ideology. Le Corbusier and Mies van der Rohe were historicists. They believed that the machine age demanded expression in a particular formal vocabulary. So did second-generation modernists like Gordon Bunshaft, the architect of the Lever House on Park Avenue.
Richard Meier is a formalist. His work reflects the ideology that prevailed in the 1950's and 60's, when the Museum of Modern Art was the supreme arbiter of urbane taste. Mr. Meier may harbor historicist sympathies for all I know. Many architects couldn't get up in the morning if they weren't convinced that their way is the best way for their time. As a formalist, however, Mr. Meier seeks less to express history than to transcend it: to attain a level of geometric abstraction high above the fray.
Mr. Meier makes sculptures in addition to buildings. A group of them will be on display this fall at the High Museum of Art in Atlanta, designed by Mr. Meier, as part of an anniversary observation. I would like to see it, to test a theory: the primary function of these artworks is to deceive Mr. Meier into thinking that his buildings are not artworks, too.
Earlier generations of modernists rarely gave themselves permission to reach for the degree of abstraction Mr. Meier has maintained throughout his career. Mr. Meier's trademark white metal panels, for instance, are a far cry from Le Corbusier's raw concrete walls. Le Corbusier developed the potential of new materials and methods. Mr. Meier exploits the capacity of glass to dissolve materiality altogether. On Perry Street, the Corbusian brise-soleil, a concrete sunscreen device for use in tropical climes, has been etherealized into flat metal filigree on the western facades.
Formalism led to a bizarre blurring of the categories of art and architecture. With artists like Frank Stella, Donald Judd, Tony Smith, Sol LeWitt and Dan Flavin, painting and sculpture became almost indistinguishable from design. With architects like Mr. Meier, Peter Eisenman, Mr. Gehry and Harry Cobb, buildings took on the identity of abstract sculpture. Increasingly, the distinctions between the fields came to depend on context: the environments in which objects are presented for our contemplation.
We know that the Perry Street buildings are architecture because they are located on a street and are scaled accordingly. But if we look through the glass walls into the spaces behind them, a very different kind of environment is revealed. It is industrial loft space, the neutral but aesthetically charged environment that became standard for art galleries by the early 1970's. Rather than modernist hymns to machine technology, the towers represent the apotheosis of what the art critic Brian Doherty called "the white cube." That is where their radiance comes from.
As Mr. Doherty pointed out in a seminal Artforum essay in 1976, the aestheticized void of the gallery was a major part of the artistic experience. Surely that's one of the major reasons for the success of the Dia Foundation's new installations in Beacon, N.Y. Warhol's "shadow" paintings, for example, are a function of the industrial space required to show them.
Loft spaces are platforms. They take the place of traditional pedestals. Artworks add to the atmosphere, but a pile of old tires would do nearly as well. Without the platform, the white walls, the track lighting and the volume enclosed within them, the atmosphere can't move in.
In the contemporary city, loft space has acquired a new set of meanings. The reuse of old factories by artists, galleries and the industries that support them epitomizes the current conversion of entire cities from manufacturing to cultural production. Mr. Meier's buildings are monuments to this transformation. The space has become the art. The people inside it, too. Call this workers' housing for a city of culture workers. A place where an overabundance of energy goes into the construction of the self.
Interactive Feature: Richard Meier
Copyright 2003 The New York Times Company


text:
Gorgeous George: The Outrageous Bad-Boy Wrestler Who Created American Pop Culture
This is the first-ever biography of the legendary wrestler Gorgeous George, filled with incredible never-before-told stories. George directly influenced the likes of Muhammad Ali, who took his bragging and boasting from George; James Brown, who began to wear sequined capes onstage after seeing George on TV; John Waters, whose films featured the outrageous drag queen Divine as an homage to George; and too many wrestlers to count. Amid these pop culture discoveries are firsthand accounts of the pro wrestling game from the 1930s to the 1960s.
The ideal American male used to be stoic, quiet, and dignified. But for a young couple struggling to make ends meet, in the desperation born of the lingering Depression and wartime rationing, an idea was hatched that changed the face of American popular culture, an idea so bold, so over-the-top and absurd, that it was perfect. That idea transformed journeyman wrestler George Wagner from a dark-haired, clean-cut good guy to a peroxide-blond braggart who blatantly cheated every chance he got. Crowds were stunned—they had never seen anything like this before—and they came from miles around to witness it for themselves.
Suddenly George—guided by Betty, his pistol of a wife—was a draw. With his golden tresses grown long and styled in a marcel, George went from handsome to . . . well . . . gorgeous overnight, the small, dank wrestling venues giving way to major arenas. As if the hair wasn't enough, his robes—unmanly things of silk, lace, and chiffon in pale pinks, sunny yellows, and rich mauves—were but a prelude to the act: the regal entrance, the tailcoat-clad valet spraying the mat with perfume, the haughty looks and sneers for the "peasants" who paid to watch this outrageously prissy hulk prance around the ring. How they loved to see his glorious mane mussed up by his manly opponents. And how they loved that alluringly alliterative name . . . Gorgeous George . . . the self-proclaimed Toast of the Coast, the Sensation of the Nation!
All this was timed to the arrival of that new invention everyone was talking about—television. In its early days, professional wrestling and its larger-than-life characters dominated prime-time broadcasts—none more so than Gorgeous George, who sold as many sets as Uncle Miltie.
Fans came in droves—to boo him, to stick him with hatpins, to ogle his gowns, and to rejoice in his comeuppance. He was the man they loved to hate, and his provocative, gender-bending act took him to the top of the entertainment world. America would never be the same again.
The following ISBNs are associated with this title:
Look for similar items by category:

subset: commoncrawl


text:
It's something we've been talking about in the newsroom, but seems more and more apparent — GOP Assembly candidate Dr. Matthew Lin has a really good chance of taking out Dem Ed Chau of Montebello in the 49th Assembly District.
As Simone Wilson points out in a piece published in Thursday's LA Weekly it could be as simple as Lin's track record as an open mind on the San Marino City Council. Then again, it could be something else entirely:
Lin isn't exactly demure about his nearly 40 years as an orthopedic
surgeon, or the praise he gets. "People tell me, 'We don't need more
personal-injury lawyers in Sacramento. … We need a healer, we need a
doctor,'" he says.
Weina Xiong, a young Chinese immigrant who recently began
volunteering for Lin's campaign, agrees: "Doctor is much better than


text:
(Pocket-lint) - It's not only the Fujifilm X-E1 compact system camera that's been leaked ahead of Photokina 2012 - the biannual photographic trade show in Cologne, Germany: now images of a high-end compact camera have also surfaced online.
Take a close look at the images and it's possible to make out what appears to be "XF1" on the top of the camera. Though the low-resolution snaps aren't 100 per cent legible, so that could also be "XP1" but, for our money, that latter title would be all too similar to the top-spec X-Pro1 compact system camera.
The design is in line with other X-series cameras, however, so we're confident this will be the baby of Fujifilm's X-series range.
A mode dial, full manual controls and what appears to be a manual zoom ring also feature.
Take a closer look at the manual zoom ring markings and here's where things get rather interesting: It appears to show stepped markings from 25-100mm. Based on the f=6.4-25.6mm markings on the front of the lens barrel this would mean the XF1 is built around a large, 2/3-inch sensor size - not the smaller 1/1.63-inch size that the rumour mill has been suggesting.
That makes the XF1 sound a lot like a stripped-back Fujifilm X10, albeit one that can easily fit into your pocket. Cool stuff.
We expect that Photokina 2012 will be the launch pad for this high-end compact, where we'll bring you full news of our findings.


text:
Here's the latest article from the Polish Culture site at BellaOnline.com.
"Express "cake
A quick and easy cake to make . Great for when you need a home made cake in a hurry.
Please visit polishculture.bellaonline.com for even more great content about Polish Culture. To participate in free, fun online discussions, this site has a community forum all about Polish Culture located here -
I hope to hear from you sometime soon, either in the forum or in response to this email message. I thrive on your feedback!
Have fun passing this message along to family and friends, because we all love free knowledge!
Ewa Sapinska, Polish Culture Editor
One of hundreds of sites at BellaOnline.com
You are currently subscribed to a BellaOnline newsletter, sponsored by
To unsubscribe from this newsletter, click on the link below:


text:
Goldman sees more growth for Netflix
The growing number of devices on which Netflix Inc. subscribers can watch movies and TV shows is making the service more valuable, a Goldman Sachs analyst said. He said the company could increase its profit by raising prices.
Analysts have traditionally connected the limits of Netflix's U.S. subscriber base to the number of households with broadband Internet connections, said analyst Heath Terry. But given that subscribers can connect to Netflix through devices such as tablet computers, smartphones, game consoles like the Xbox and Internet-enabled televisions, as well as PCs, the number of potential customers - and profits - is larger than thought, Terry said.
"Subscribers' families and increasingly their friends, through shared accounts, are consuming more Netflix content, which is increasing the subscription's value in our view," the analyst said.
He said Netflix would able to "capture this value" by charging per individual rather than per household, charging based on the amount of content streamed, raising prices on existing services or adopting some combination of these.
Netflix spokesman Joris Evers said the company does not comment on speculation.
Netflix shares rose $6.94, or 4.2 percent, to close at $173.01 in late afternoon trading.
Netflix has promised not to further raise prices after outraging subscribers in 2011 by increasing prices by as much as 60 percent for those who wanted to stream video and still rent DVDs through the mail. The company's stock peaked near $305 in July 2011, around the same time it announced the price hike. Netflix has since been trying to make amends for the customer backlash the price increase triggered.
Terry predicted that Netflix could grow U.S. subscribers to 52.7 million by 2017. Netflix has about 27 million U.S. subscribers to the streaming service. The Los Gatos, Calif., company's CEO, Reed Hastings, has said he expects to reach 60 million to 90 million subscribers in the U.S.
Netflix also has about 8 million customers signed up for DVD-by-mail rental plans. It is phasing out the disc service.
Terry, who rates the stock "Neutral," raised his earnings estimates on the company. He now expects per-share earnings of $1.12 this year, $3.72 in 2014 and $6.07 in 2015.
Analysts polled by FactSet expect per-share profit of $1.30 this year, $3.19 next year and $5.39 in 2015.


text:
OP police enforce teen seatbelt laws
Young offenders most likely to stay unbuckled, face bigger fines
Overland Park police said they're focusing their attention on seat belts this week and one group in particular that's most likely to go unbuckled.
Police said that teenagers, more than any other group, are least likely to buckle up.
Officers conducted an enforcement patrol outside Shawnee Mission West High School near 87th Street and Antioch Road Wednesday afternoon. Within 30 minutes, police stopped three cars with teenagers inside.
Teenagers who are at least 14 and are riding in a car without a seat belt could get a $60 fine. For adults, the fine is only $10.
Officer Michelle Koos said that the enforcement of seatbelt laws is personal for her.
"One of the kids I went to high school with several years ago died in just that nature," she said. "It was a Johnson County case, and he was not wearing a seat belt, and he came out of the car and the car rolled on top of him."
She said that's an incident she has always carried with her.
Koos said among the most common reasons teenagers give for not wearing a seat belt is that it's uncomfortable, they were only taking a short trip or that they forgot. Koos said she has a safety-related answer for all of those excuses.


text:
The current naturally-aspirated 3.5-liter V8 Honda engines used in Indy cars will be long gone come 2011. In their place will be either six- or four-cylinder mills boosted by one or two turbochargers. The changes will be discussed in a meeting next month at the Indianapolis Motor Speedway, but for now there's some debate as to which type of engine should be used. Erik Berkman, president of Honda Performance Development, said:
"(the debate) is over four (cylinders) or six... But both of them include turbos," Barnhart said... One of them includes twin turbos."
We're assuming that means the decision is between either a twin-turbo four-banger or a single-turbo V6. But who knows? Maybe they're considering a twin-turbo V6. Allegedly, the reason for all the change is to stay relevant with fans and to increase fuel economy. We think Honda is just fishing for some competition. [GreenCarCongress]


text:
(Pocket-lint) - The Kobo Vox eReader is a 7-inch Android tablet looking to offer the same sort of experience as the Kindle Fire in the US. With the Kindle enjoying successes State-side, Kobo is looking to replicate that, and bring reading and wider multimedia capabilities via an affordable tablet device.
We've already looked at the Kobo Touch, which squares up against the regular Kindle, but in the Kobo Vox you have a different proposition. But can Kobo convince us to adopt its tablet in place of the wide-ranging competition? Is there anything unique here that they can't already do?
Sitting at the affordable end of the market, this 7-inch tablet doesn't offer the sort of good looks and svelte design of the Motorola Xoom 2 Media Edition. It's rather fat and heavy for its size, measuring 192.4 x 128.4 x 13.4mm and weighing 402.6g.
It's lighter than Apple's new iPad, but it's a great deal heavier than the E-Ink dedicated reading devices, such as the Kobo Touch or the Kindle, coming in at 130g. Although it would fit into a jacket pocket, it's a bit of a lump when it gets there.
The design is rather basic, with a fairly wide bezel around the display. The back adopts the same "quilted" finish Kobo put on the Touch, which provides a little grip. Often the more-affordable tablets feel cheap in the hand, and while we wouldn't say this is a luxury, it is free from flex and feels substantial enough.
Buttons are kept to a minimum. The only physical buttons are the power/standby and volume controls. The top right-hand corner is where the speaker is located and on the bottom is a Micro-USB connector and 3.5mm headphone jack.
Finally, a microSD card slot sits on the left-hand side.
Charging and syncing is handled by the Micro-USB on the bottom, but it's worth noting that the Vox is temperamental about how it charges. It won't charge from a computer, so you'll need the mains charger to give it juice.
As this is touchscreen device, most of the control and navigation will be done directly on the display. There are three touch controls beneath the display offering back, menu and home, which all work well enough.
The hardware
With the Kobo Vox the emphasis is on reading, so the hardware specifications perhaps aren't as significant as they are on some other devices. What we really mean is that if high-end specs are important, then this isn't the device for you. What is important is that the Kobo Vox can do everything it sets out to.
The 7-inch display has a resolution of 1024 x 600, which is average for this type of device. It offers reasonable brightness, but doesn't give you much visibility outdoors or in bright conditions where reflections become a problem. This means simple reading is difficult compared to an E-Ink device, but that's not all the Kobo Vox offers.
Sitting under the skin is an 800MHz processor and 512MB RAM. You get 8GB of storage, with support for up to 32GB via the SD card. Of course, through Kobo you can keep books in the cloud and retrieve them only when you want them. That said, books take up very little space compared to video or music.
Sitting under the back cover is a 4000mAh battery which will give you around 7 hours of disconnected use. The screen and the Wi-Fi connection will drain this fairly quickly. Put in a few hours of reading and some websurfing and you'll have to think about charging it up again. By tablet terms this is on the low side, with many tablets achieving about 8-10 hours of Wi-Fi use.
There is no 3G connection, so all your data comes and goes through the wired connection on the base, or via Wi-Fi.
Android and the Kobo tweaks
Running Android 2.3 (Gingerbread) there is a lot about the Kobo Vox that is typical of cheaper tablets. It isn't running a version of Android that's particularly well suited to large-screen devices; Android 2.3 is essentially a phone OS, so it doesn't make the best use of space.
It is also important to realise that the Kobo Vox eReader uses the open source Android platform, but doesn't have Google certification. As such you can't add your Google accounts, so you don't get that connected experience you do on bona fide Google Android devices.
You can configure the Vox to connect to an Exchange account for calendar and email retrieval, but if you want to use Google's services, you'll have to use the web versions via the browser. Indeed, the Gmail icon is just a link to the Gmail website.
The other rather significant point that the lack of Google certification brings is the absence of the Google Play store, which means you don't get simple access to all the exciting apps via the most direct route. Instead, you're provided with Get Apps, which is GetJar. There is a range of apps to be found (and you can always sideload apps), but it's worth noting that the Kobo Vox doesn't offer a complete Android experience.
But with that out the way, Kobo has taken steps to customise the experience for you. This isn't just a native Android tablet, but has added apps and widgets to bring Kobo's services to the fore. For example, the lockscreen has a wallpaper that changes to show the cover of the book you're reading and your progress through it. The large "Kobo mosaic" widget offers instant single-tab access to the books you're currently reading – very convenient.
The Vox adopts a traditional homescreen layout of five customisable pages with a favourites bar at the bottom. This bottom bar offers shortcuts to the various elements that make up the Kobo system. You have access to your library, your "reading life" (statistics basically), recommendations and the Kobo store.
These all run through the Kobo app interface, which is similar to its existing Android app, but better designed to make use of the space the Vox has to offer. Navigation is simple, moving from book, to library to store is pretty straight forward, although things are a little slow, thanks to the rather low hardware specs.
Outside of the Kobo offering there are some additional apps. The Merriam-Webster dictionary is in place, along with social apps Twitter and Facebook. You'll also find INQ's social People app pre-installed, which is a nice way of viewing what your Facebook contacts are up to.
Music and video
With a stock Android music and video player, the Kobo Vox will accept and support common file formats for playback. The external speaker is better than we expected, with reasonable volume, perfect for casual video watching, although using headphones would be preferable.
The Kobo Vox would happily playback the video files we offered it, including some 720p HD video, without any problems. It doesn't come with Flash video support out of the box, which means that getting access to things like BBC iPlayer is all the more fiddly, but not impossible.
If you know a little about Android, it's fairly easy to add Adobe Flash Player to the Vox to bring wider support, which is well worth doing. Once done, we had it happily playing BBC iPlayer and ITV Player through the respective websites, which gives this tablet a little more appeal, although the experience isn't as good as it is on more powerful devices.
The big dilemma
Kobo is the book store of choice for WH Smith and is well stocked with competitively priced titles. The advantage that Kobo offers over Amazon's Kindle system is that it's open, using an Adobe DRM-protected EPUB file. This means that if you have a different E-Ink device, like a Sony Reader, you'll be able to read books on that as well as via the Vox and Kobo app on other devices.
The counter argument to this is that Amazon, although a closed system, offers support on all platforms too via its own apps, just as Kobo does. Whichever route you choose to take, you'll easily be able to access the content you buy on a number of devices.
Where the Kobo Vox perhaps wins is that the Kindle Fire, Amazon's comparable device, isn't available in the UK. But as we've just said, Kobo has done a great job in making its content easily accessible on Android devices already, so there's nothing to stop you buying any Android tablet and using the Kobo app. You won't get all the features you get here, like the widgets, but you do get to your books, which is the important bit.
The compromise you have to make with the Kobo Vox is clear: it is good value for money and you get a tablet that has been reasonably well built and offers a wide variety of features. But you get neither the best tablet experience nor the best reading device.
As a tablet it lacks the Google certification and version of Android that would give you the best experience. It also lacks power, so it won't give you the latest, greatest experience that Honeycomb or Ice Cream Sandwich tablets will.
As a reading device, the battery life is short and the glossy backlit display isn't as good to read on as E-Ink, with outdoor use virtually impossible. It will let you read in the dark, however, which E-Ink won't.
If your tablet needs are limited, perhaps a little light browsing or Twitter use, then the Kobo Vox might be just the device for you. But if you can afford to spend a little more, then a better tablet with the Kobo app offers a much improved experience.
If reading is your primary use, then we'd recommend an E-Ink device, which is much more like reading on paper and gives you a lighter device with a much better battery life.


text:
Il Cerchio D'Oro - June 16-26 2013
|Post Reply
Topic Search Topic Options
Special Collaborator
Rock Progressivo Italiano Team
Joined: October 12 2011
Location: Melb, Australia
Status: Offline
Points: 7875
Topic: Il Cerchio D'Oro - June 16-26 2013
Posted: July 03 2013 at 06:45
Formed in 1974, Il Cerchio d'Oro, from Savona, only managed to release three singles a few years into their career before falling apart near the end of that decade. Comprised of members Gino (drums) and Guiseppe Terribile (bass/guitars), Franco Piccollini (keyboards), and later Piuccio Pradal (lead vocals, 12 string guitar) and Roberto Giordana (guitars), they were similar to symphonic styled bands of the time, especially Le Orme, yet the band couldn't manage to get a recording deal during these early years, the sole professional recordings being three singles between 1977 and 1979. The first two tracks `Quattro Mura' and `Futuro Prossimo' were minor gems, the rest more in a commercial/disco style that was popular at the time.
In 1999, Mellow Records issued a self-titled compilation of those singles, unreleased recordings, live tracks and demos from the band that, although inconsistently recorded, provided an interesting glimpse of the different styles the band was attempting while finding their own sound. A further compilation from Black Widow Records in 2005 `La Quandratura del Cerchio' offered more of the same, with the addition of rehearsal tape recordings of covers by fellow Italian bands such as the New Trolls, Le Orme and The Trip.
2008 finally saw the band return with it's first proper debut album, `Il Viaggio di Colombo', a fine example of how good the comeback albums from vintage Italian bands can be. Not only have they returned to the live stage, they've since followed it up with the recent release of another grand effort, `Dedalo E Icaro'.
Thanks to the offer from Black Widow Records, the band was made available to interview, and this took place through email from the 16th June 2013 - 26th June 2013.
First of all, congratulations on your superb new album `Dedalo E Icaro', as well as your official `debut' from a few years ago `Il Viaggio di Colombo'! You carry on the tradition of grand, sophisticated and exciting Italian progressive music, and you should be very proud of them both. How does it feel having made a comeback, about thirty years after the band was initially active?
First of all...thanks for appreciating our work, we are very glad for this and it's very important for us! After almost 30 years, an artistic comeback is something special! When `Il Viaggio di Colombo' was published we were all very excited; "making" music was (and is) not our job and during all these years everything has changed in recording music! It was not easy playing all the parts, making vocals and instrumental arrangements and following the mixing; fortunately our friend Enzo Albertazzi, passionate sound engineer, has been great and professional. But when the first positive reviews about our album started to come, all the troubles and fears vanished! For `Dedalo e Icaro' the situation was a little different, the way to realize `Dedalo e Icaro' was long, due to different problems, but we were more relaxed! In any case the emotion related to the coming out of our new album is so big and we hope that "prog" people will appreciate our work.
The late 70's and 80's were a time when the mainstream music public, record companies and fashionable music media were not interested in prog rock. How difficult was it for you and other bands trying to play progressive rock style music?
The situation was tragic! In fact, Il Cerchio d'Oro, after two singles with on side A a track a little influenced by disco music, was disbanded in 1980! Actually, changing sound (hard rock) and name (Black Out) with 4 original members and two new guitar players, released a single in 1981 having a contract with Golden Record, the later label that issued the records for Il Cerchio d'Oro. This single nowadays has a big value for record collectors. We think it is an interesting hard rock single. After this, for some members, it was time to stop playing music, for others, with no intention to compose and to play a kind of music far from their preferred sound, it was time to form "Cavern" a Beatles tribute band (maybe one of the first, in 1982) a band active for these decades...till last year (2012), now taking a break.
Although some of you remained active in music during those years with other projects, was a reunion of the proper Il Cerchio dOro band ever discussed during this time? When did you know the time was right, and who initially suggested perhaps getting back together in the first place?
When Il Cerchio d'Oro stopped its activity, there were no fights, simply we had the perception that the "game was over". Friendship remained the same, just separated from common musical interests. There was no planning about a reunion. In 2005, at Gino and Giuseppe's 50th birthday, during the celebration, we tried to play something all together...nothing serious, but it was the first spark that made us think about a possible reunion...We convinced Franco and Piuccio that it was time for us to create and play the music we've always loved. In fact more or less a year later, considering that a CD in 1999 (featuring old material) and a vinyl LP in 2005 `La Quadratura del Cerchio' (published almost for our pleasure) were well appreciated, the spark became a fire and the complete band (except Giorgio Pagnacco) started to prepare our first real album: Il Viaggio di Colombo.
Did you ever have any doubts as to whether it was worth the time and effort to reform?
Who doesn't ever have doubts? We had no fear to waste time: we play for our pleasure, not for job and this situation helped us find good ideas, simple but effective melodies, suggestive lyrics thanks to our historical lyricist Pino Paolino. Again, a real pleasure to play (and in certain cases re-discover) instruments with the purpose to realize a new work all together. Obviously there was the hope to realize something interesting for genre lovers, but the main purpose was making an entire album, our way. In any case in the last years the interest for good Italian "prog" was and still is high. When we contacted Black Widow Records, the great Italian Label, so sensitive towards Italian rock-prog music, and they were well impressed about the first trailer of the album...all the remaining doubts were wiped-out...and the expectations arrived! We always have to thank Black Widow Records, because it respects the choices of our band and never imposes a style or "forces" a particular solution. Many other Italian musician are followed, edited, published and distributed by this label: it's a big work made by men with a great passion.
During the early 90's there were numerous Italian bands releasing albums in the Neo-prog style, that are mostly influenced by 70's/80's British bands like Genesis, IQ and Marillion. Did you consider perhaps changing your sound and writing/recording music in that style at that same time? If you know of any particular albums from this period that you enjoy, can you please tell us which ones?
As already written, the above three of us (Gino, Giuseppe and Roberto) were part of Cavern. We had no idea to reform il Cerchio d'Oro...so we had no way to consider a change in composing/playing something in neo-prog style! However we don't know any Italian prog albums of the nineties...even if some of us are also record collectors, but the artists we collected are related to the 70's or even to the 60's.
The band has two early compilation releases, `La Quadratura del Cerchio' and a self titled CD, that are a mix of unreleased pieces, rare singles, live performances and demo recordings. The sound quality varies from track to track, and can be challenging to listen to, although they do give an idea as to the sort of different styles the band was experimenting with during that lost period. Now that the band is active again, would you consider re-recording these tracks and releasing them again as new arrangements, maybe for something between proper new albums?
Those albums are a bit curious; they were released just to remind us and our friends the music, the experiments and the atmosphere of when we were 20. The quality (except tracks from the singles) was very low and realized with no purpose to make an album; despite this, many people have been caught by these characteristics and the recording was appreciated by the "prog" people. We don't have in our target to re-record those tracks, we prefer to create new music, new stories...obviously with our style that is almost the same of those years. In any case...everything is possible, never say never.....
Your first `proper album in 2008, the concept work `Il Viaggio di Colombo is a superb modern Italian progressive concept album. I am the proud owner of a vinyl copy of this one and I really cherish it, a very special album to me that I still play frequently! What was it that inspired you personally about the story of Christopher Colombo that made you want to dedicate a whole album to his legacy?
Cristoforo Colombo was born (maybe) in Genoa, that is very close to Savona, our town and here the young Colombo lived some years with his family (maybe) in the alleys of the local harbor. In any case this famous "sailor" is still present in the background story of our small city and in its culture. So it was not difficult for us to imagine a story of sea, sailors, conquests, related to Cristoforo Colombo, as a link between two worlds, the old and the new one...and why not...a musical bridge, from the old ways to make prog towards the new generation.....
I love the slightly rough guitar sound on that album, it really gives the album a special unique sound, a bit of grit! But how happy were you as a band with that album, and if you could go back, would there be anything you would do differently about it?
Well, a very difficult question. When we play live some songs from that album, we introduce some changes in the arrangements, sometime a more aggressive rhythm, sometime a sweeter melody, but basically we offer the same atmosphere. If we should record that album now, probably we would use more attention to the sung parts, we would try to offer better arrangements, quality, and also better recording and upgrades. `Il Viaggio di Colombo' was made after a very long period of inactivity (more than 25 years for Franco and Piuccio) and in these years we have all tuned our capacity to express ourselves through instruments or voice. But that album is so sincere and "true"...and those are the qualities that made it so interesting and unique.
May 2013 has now brought us another gift with your splendid new album `Dedalo E Icaro'. This time around the band sounds even more polished and melodic! The music is so uplifting and grand, the band also sounds very joyous and relaxed on this one! How do you feel about this latest work?
`Dedalo e Icaro' was born from a different necessity: `Il Viaggio di Colombo' was created with the will to express a big part of ideas and emotions collected in 25 years and more...`Dedalo e Icaro' has been realized with the aim to continue our way, our sound, our music. We have understood that our ideas and our style have been appreciated and so we were more relaxed in playing music. As said before, in these last 4/5 years we have refined our approach to our instruments and we have removed a lot of "rust" from fingers and vocal chords. What you say is the confirmation that we have reached the goal! (And we really love it, obviously).
What a wonderful tale the story of Dedalus and Icarus is! What made you want to write a concept album about it?
Yes, you're right! The mythological legend of Dedalus and Icarus is charming, but it was not easy for us to decide about it. We liked referring to a famous epic, suggestive, strong, heroic tale and Greek mythological stories are the best inspiration for this. Icaro was almost a perfect character...but incomplete. It was necessary for us to re-discover all the legend and doing so, we realized that the dualism father and son, Dedalo and Icaro, was the perfect matching to tell and to explain contrasts, frustrations, a will to escape, challenge, experience and recklessness, youth and maturity...everything is linked to our music and to us. Every component of this band is father and son too and so we have all been involved in this story. It's a tragedy, for sure, but the message is great: we must escape, we must challenge destiny, we must imagine new ways to reach the goals (as Colombo did...) but we must use heart and head properly mixed.....
You seem to have some special guests helping out on the new album Pino Sinnone (The Trip), Giorgio "Fico" Piazza (P.F.M), Ettore Vigo and Martin Grice (Delirium)! How did you make these contacts, and how do you feel about their contributions? Perhaps members of Cerchio D'Oro might get to play on new albums from them in the future?!
Since the early days of our story we have had many friends among musicians, especially in Liguria (we come from Savona). Pino Sinnone is from Turin but The Trip were often in Liguria (Joe Vescovi , the leader is from Savona too) Delirium are from Genoa and we have in common the same label (Black Widow) also we have done some concerts together with them. Giorgio Fico Piazza lives near Milan, we met him a few years ago, but a special feeling was soon born between us... he loves our way of writing and playing music. So when we spoke to them about our new album and asked them if they would contribute, they accepted at once. We are very proud of their presence and the great performances are the demonstration that they like our music. In the future who knows...A little curiosity: in the first track of new album, you can hear the Mandolin: it has been played by Athos Enrile, our friend, great passionate of music, famous blogger and co-founder of the web magazine MAT 2020, dedicated in a special way to "prog" lovers.
The last decade has also seen several other vintage Italian progressive bands release new albums after a long break - Alphataurus, Museo Rosenbach, Delirium among many others. Do you have any particular favorite comeback Italian albums from the last ten years or so?
We love the 3 groups you have mentioned, they have recently done beautiful albums , but if we should speak about one album, we'd say `Il Fiume' of Le Orme even if it's not so recent; it dates from 1996, but we can say that it is the first comeback of the Italian prog bands.
How important is it to you to sing in Italian on your records? When you were preparing the first comeback album, at any time did you consider using English lyrics, or would you ever in the future? Many Italian progressive devotees (myself included) feel one of the most defining elements of the RPI genre are the Italian lyrics and vocals.
We are an Italian band that play Italian music, as you say; it's important to maintain this characteristic. Singing in English could lessen our work. We have 3 singers in the band...2 of them have no problems in singing in English but we think that singing in Italian is important considering the sound of the group, even if abroad Italian is not understood. Anyway the translations in English of the lyrics are featured on both our latest albums.
I, and I'm sure many fans, would love to watch some films of the band playing live, perhaps even the entire `Colombo' and `Icarus' albums! Do you have any plans for live albums or concert DVDs?
In 2009 , after the release of `Il Viaggio di Colombo we played live the entire album and it was also filmed in amateur way. Anyway you can see 3 video tracks on the new cd enclosed as bonus: the first one : Leri, Oggi Ancora Niente (from `Colombo' 2009) the second is a medley of `Il sole Nascerà / Sguardo Verso Il Cielo (New Trolls/Le Orme covers, 2009) and the third `Impressioni di Settembre' (a PFM cover with special guest original bassist Fico Piazza 2012). The quality is low but it's a small witness.
What's next for the band? I know it's just been released, but I hope `Dedalo e Icaro' wont be your last release, and that we'll see more works from the band in the future?
We have recently taken part in the Riviera Prog Festival (F.I.M.), 2 days of great prog band concerts (The Trip, Delirium, Latte e Miele, Garybaldi, Biglietto per L'Inferno and many others) and we'll do some other concerts next summer. As regards another new album...who could say? We hope to go on and to make another one...thank you for your support...anyway, in `Colombo' the main element was the water...in `Dedalo e Icaro' the main one is the air...we have at least a couple of possibilities about the next album theme...
What a scoop! Thank you for your time!
Don't mention it! Our pleasure!
Interview conducted by Michael H (Prog Archives RPI team member Aussie-Byrd-Brother).
Some listening:
Early singles:
Quattro Mura (1977):
Sognando La Meta (2008), from the album `Il Viaggio di Colombo:
Il Silenzio Rumuroso Del Mare, a wonderful live performance:
My review of `Dedalo e Icaro - http://www.progarchives.com/Review.asp?id=990958
Progarchives band page http://www.progarchives.com/artist.asp?id=4125
Il Cerchio DOro Facebook https://www.facebook.com/icdoro
Black Widow Records http://www.blackwidow.it/
Interview posted 7th July 2013.
Edited by Aussie-Byrd-Brother - July 03 2013 at 06:54
Special Collaborator
Errors & Omissions Team
Joined: October 22 2005
Location: Russia
Status: Offline
Points: 6366
|Posted: July 03 2013 at 12:49
Excellent job, Michael!
You prepared well to the interview and asked good questions. The band showed their best in return, I can't imagine better answers.
Who are you and who am I to say we know the reason why... (D. Gilmour)
Forum Senior Member
Joined: July 30 2012
Location: HiFi Headmania
Status: Offline
Points: 6662
|Posted: July 03 2013 at 13:01
.....sorry sorry I can't stop clapping!
Amazing job, Micheal. PA is so lucky to have you. I'm honored to have been able to get a nice understanding
of II CERCHIO D'ORO through you. Wow. That Columbus concept album sounds adventurous and I'd like to hear ICARO as well. Great Q&A man. Anyway, I can't believe they were hiatus for as long as they were, but still came back after 30 plus years! God bless those birthday parties. ;)
Thanks again for a great read. Learned a lot.
Metal-man out....
Raving and drooling I leaned on his neck with a screeeeeeeamm! ;)
Forum Senior Member
Joined: July 30 2012
Location: HiFi Headmania
Status: Offline
Points: 6662
|Posted: July 03 2013 at 13:09
Also. I really like that il viaggio di Colombo track link you have here. Beautiful eclectic 70's sounding prog.
Melltron sounds amazing 2minutes in. So emotional and beautiful. Great guitar as well.
Thanks again.
Raving and drooling I leaned on his neck with a screeeeeeeamm! ;)
Forum Senior Member
Joined: August 11 2012
Location: Toadstool
Status: Offline
Points: 1765
|Posted: July 03 2013 at 15:44
Well Done Michael! You really did your homework on this. Very insightful questions.
Makes me want to move their album up to the top of my wish list!
Special Collaborator
Honorary Collaborator
Joined: February 03 2007
Location: .
Status: Offline
Points: 16908
|Posted: July 03 2013 at 22:27
Great job Michael.
Special Collaborator
Honorary Collaborator
Joined: March 15 2007
Location: .
Status: Offline
Points: 1551
|Posted: July 05 2013 at 14:24
Awesome work with many details around the group, thanks and congrats!
When the power of love overcomes the love of power,the world will know peace...
listen to www.justincaseradio.com , the first ever Greek Progressive Rock radio
Special Collaborator
Rock Progressivo Italiano!
Joined: December 19 2007
Location: California
Status: Offline
Points: 3383
|Posted: July 10 2013 at 11:31
Wonderful work, Michael! And thanks to the band for the collaboration.
"I have seen the broken sky turn blue."
My Gnosis Ratings
Forum Senior Member
Joined: February 14 2014
Status: Offline
Points: 187
|Posted: June 07 2014 at 07:18
I liked their 2013 album and never knew they had such a long history. The interview is very well done.
Special Collaborator
Rock Progressivo Italiano Team
Joined: October 12 2011
Location: Melb, Australia
Status: Offline
Points: 7875
|Posted: June 07 2014 at 09:19
Thank you Altarius! I couldn't have asked for better answers from the band, who were very helpful and genuine!
Forum Senior Member
VIP member
Joined: August 29 2011
Location: Troy
Status: Offline
Points: 7207
|Posted: June 07 2014 at 09:43
Hey Kangoo, many talents in your pocket !
Special Collaborator
Rock Progressivo Italiano Team
Joined: October 12 2011
Location: Melb, Australia
Status: Offline
Points: 7875
|Posted: June 07 2014 at 10:08
Thank you, my fine feathered friend!
Forum Senior Member
Joined: October 03 2008
Location: Canada
Status: Offline
Points: 1082
|Posted: January 17 2018 at 11:35
Edited by noni - January 17 2018 at 11:35
Forum Senior Member
Joined: October 03 2008
Location: Canada
Status: Offline
Points: 1082
|Posted: January 17 2018 at 11:38
^ For some reason cannot re-size or add text to this image above...
Anyway, just got this yesterday and not too bad.. Have their other 2 albums....
Forum Senior Member
Joined: October 19 2011
Location: Texas
Status: Offline
Points: 2006
|Posted: January 17 2018 at 13:25
Wow, what a great interview! Can't wait till postman delivers their new album. I'm sure I will reread the interview after several listens.
|Post Reply
|Forum Jump
|Forum Permissions
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot delete your posts in this forum
You cannot edit your posts in this forum
You cannot create polls in this forum
You cannot vote in polls in this forum


text:
Skip Navigation
I represent to you that I have read this entire application and that all the above information hereon is true and correct. I further represent that my rental and credit records are in good standing with no judgments or liens against me. If any of the above information is false, I hereby agree that my entire deposit be forfeited to you. I understand that this application is subject to your approval, and if my application is not accepted, my deposit will be returned in full. I understand that my credit check fee is nonrefundable. If my application is accepted or accepted with conditions, a criminal background search will be conducted on each occupant including all persons 18 years of age or older, Inland Residential Real Estate Services LLC and its agent, reserves the right to reject the application of any individual who had received deferred adjudication or conviction of a misdemeanor. In addition, if the criminal background search reveals a deferred adjudication or conviction of felony, my application will be rejected. I also understand that this is not a lease and should my application be accepted, I agree to sign your lease form currently in use. If for any reason whatsoever you are unable to make the apartment which is the subject of this application available at the beginning of the lease term, I hereby waive any and all rights to seek to recover any damages whatsoever against you, including without limitation, actual, punitive, or consequential damages.
For full functionality of this site it is necessary to
X-Version: general_v13.8


text:
Best Hotels near Ephesus
Here are some tips which will help you to choose where to stay:
Selcuk: An agricultural town 2 miles from the ancient city of Ephesus. Selcuk has small boutique hotels, Selcuk town is nice and very close to Ephesus but the hotels are not in high standards.
Recommended hotels to stay in Selcuk:
Kusadasi : Recommended for travellers who enjoy modern four- and five-star resort hotels, there are many choices for travellers in Kusadasi. Kusadasi is located 15 miles away from ancient city of Ephesus. Our recommendation is to stay in Kusadasi and do the tour of Ephesus out of Kusadasi.Kusadasi has several beaches, nice restaurants and good hotels that you may enjoy.
Recommended hotels to stay in Kusadasi:
Sirince Village :located approximately 8 miles from the ancient city of Ephesus. It is a touristy village which is becoming crowded with especially Turkish tourists coming from the big Turkish cities. Can be a good choice but going there is a liitle bit difficult.
Recommended hotels to stay in Sirince:
Izmir : The 3rd largest city of Turkey. Having a traffic problem during weekdays. Staying in Izmir is not recommended, since Izmir city does not offer much for the travellers.
Recommended hotels to stay in Izmir :


text:
Threat of balloon mortgage payments eased for Sandy victims
Finance giants Fannie Mae and Freddie Mac have agreed to make it easier for homeowners to avoid large lump mortgage payments that accrued during grace periods after superstorm Sandy, officials said Thursday.
The agencies are allowing Sandy victims to apply for streamlined loan modifications to prevent balloon payments, lower monthly bills and avoid foreclosure.
"I applaud Fannie Mae, Freddie Mac and the Federal Housing Finance Agency for acting swiftly and unveiling this new program to protect Sandy victims from sudden mortgage payment spikes," Gov. Andrew M. Cuomo, who had asked the agencies to modify their policies, said on Thursday.
After the storm, most banks told flooded homeowners they could skip mortgage payments for up to six months without penalty. But under Fannie and Freddie's policies, those homeowners could be subject to immediate balloon mortgage payments of more than $6,000 when that grace period ends, state officials said.
The agency that regulates Fannie and Freddie -- the Federal Housing Finance Agency -- announced the streamlined modification program in March, allowing borrowers to amend loans without providing detailed documentation of their financial hardship.
The program was scheduled to begin in July for distressed borrowers nationwide. It is now available immediately for Sandy victims who signed up for forbearances and were current on payments before the storm.
State Superintendent of Financial Services Benjamin Lawsky urged Fannie and Freddie to issue clear instructions to mortgage servicers to implement the program quickly.
Spokesmen for the agencies said they were committed to giving flood victims a variety of alternatives to catch up on payments as they rebuild their homes.
"We appreciate the opportunity to work with Gov. Cuomo and Superintendent Lawsky to help ensure Hurricane Sandy victims with Freddie Mac mortgages can access all of the best options available for mortgage relief," Freddie Mac spokesman Brad German said.


text: Monty Python and the Holy Grail is a 1975 British comedy film written and performed by the comedy group of Monty Python, and directed by Gilliam and Jones. It was conceived during the hiatus between the third and fourth series of their popular BBC television programme Monty Python's Flying Circus. In contrast to the group's first film, And Now for Something Completely Different, a compilation of sketches from the first two television series, Holy Grail was composed of new material, and is ... more on Wikipedia


text:
March I will RESTART. The best version of me has Balance. When I was in life coaching class we talked about our personal balance wheel. Your wheel is where you spend your time and effort each day- Family, Career, Health, Spiritual, Financial, Social, etc… You can't give 100% to everything, you will be depleted. Over time your priorities or areas of focus will shift depending on which parts of your wheel need more attention. Do a quick Google on "Life Balance Wheel" and you will get more information than you will need.
I did a quick swag for my March RESTART balance wheel. Each piece of the pie has key actions I will accomplish this month. It is exciting to have a map like this to reference on my journey. Maintaining balance will be key for me.
I joined the gym at my work, I start Yoga for the first time tomorrow at 5:15 am. I will take Yoga class every Friday this month.
If you want to kick up your workouts another buddy of mine Blond Ponytail also has free workouts in March!!
As the month progresses I will check in on how I am doing, what is working, what I learn, struggles, etc. I would love your comments and thoughts as well.
1- Any tips for my first Yoga class tomorrow?? HELP!!
2- What are your focusing on in 2018? How is it going?
3- Anything you plan to RESTART in March?
Go Rediscover the BEST version of YOU!! You will like what you discover.
-Tall Mom


text:
Kinetics Database Resources
Rate Our Products and Services
Other Databases
NIST Standard Reference Data Program
NDRL-NIST Solution Kinetics Database
NIST Computational Chemistry Comparison and Benchmark Database
The NIST Reference on Constants, Units, and Uncertainty
Administrative Links
Title: Addition of CF3 radicals. Part 3 - Effect of substituents located on the reaction centre upon the entropy and energy of activation
Journal: Trans. Faraday Soc.
Volume: 61
Page(s): 1722 - 1734
Year: 1965
Reference type: Journal article
Squib: 1965OWE/PEA1722-1734
C2Cl4 + ·CF3 → Adduct
View full bibliographic record.
Rate constant values calculated from the Arrhenius expression:


text:
BOISE, Idaho (April 14, 2011) – The pet insurance company announces its first round of winners in a year-long contest created to recognize and reward the passion, innovation and talents of veterinarians across the U.S.
When Carol Matthews discovered a severely injured dog lying in a ditch late one night, the first person she called was her long-time veterinarian, Dr. Tammy Craig of TLC Veterinary Care in Hastings, NE.
Although technically off-the-clock, Dr. Craig worked into the wee hours of the night to treat the severely malnourished Great Pyrenees that was thought to have been thrown from the back of a vehicle. The dog now lives with Matthews, and has been named Annabelle.
Matthews said when she first heard about the pet insurance company's "My Vet's the Best" contest she knew right away she had to nominate her veterinarian.
"Dr. Craig will do whatever she can to exhaust every avenue of treatment for a beloved pet," Matthews said. "She extends this same consideration to strays."
Upon hearing she won the title of "Best Vet" and a $500 prize to help with the cost of treating strays or for clients who can't afford treatment, Dr. Craig was overwhelmed with gratitude.
"I'm at a loss for words. What an honor," Dr. Craig said. "I feel sometimes that pets are there for us unconditionally and I feel we need to be there for them in the same way. We help whoever we can in any way we can."
Matthews said aside from house pets and strays, Dr. Craig also helps any animals the wildlife rescue brings to her.
"I've never known her to turn away an animal in need," Matthews said. "Sometimes she does lose money, but she continues to give people [and animals] opportunities."
Pets Best Insurance will choose a winner each quarter through December 31, 2011. For more information about Pets Best Insurance visit www.petsbest.com.
For contest rules or to nominate your vet, visit http://www.petsbest.com/vetpromo.
About Pets Best Insurance
Boise, Idaho-based Pets Best Insurance provides pet insurance plans that reimburse pet owners for a straightforward 80 percent of veterinary services after a deductible, with no benefit schedules or fee restrictions. Pets Best Insurance plans do not include age restrictions and allow the pet owner to choose their veterinarian. Any pet has guaranteed acceptance for accident-only polices, ensuring that even seriously ill pets can be insured against unexpected costs from accidental injury. The Pets Best Insurance team is a group of pet lovers who strive to deliver quality customer service and value. Insurance plans offered and administered by Pets Best are underwritten by Aetna Insurance Company of Connecticut (AICC). This material describes Pets Best Insurance plans in general terms. Eligible expenses and coverage may vary, depending on your plan selection. All pet insurance plans have limitations and exclusions. Information is believed to be accurate as of the production date; however, it is subject to change. For more information, visit Pets Best Insurance at Petsbest.com or phone 877-PetsBest (738-7237).


text:
New to iBreathe? We welcome you to introduce yourself here. Please read the rules and get a feeling for the way the forums run before posting.
There are currently 1 users browsing this forum. (0 members & 1 guests)
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


text:
2138 160th Street
Hansell, IA 50441
ph: 641-456-2836
TownsEnd Winery is open! Come enjoy Franklin County's first winery and be one of the first to taste the wines. Depending on the time of year, there are typically 12-15 types of wine either in production or bottled. The winery features a variety of estate grown American grape and fruit wines. Each wine has been delicately handcrafted for your pleasure.
The winery features a spacious tasting room with wine bar and various custom wine related gifts. Outdoor seating will also be available on the expansive back patio for enjoying those perfect summer and fall days. Visitors can enjoy not only the wines, but the picturesque views of the vineyard, farmland surrounding the winery, and our own "field of dreams" in the neighboring park.
In order to allow the winery to build a large stock and variety of our own wines, we will close our tasting room between January 2nd and April 15th. If would like a tasting during that time period, just call ahead and we will fit you in if possible. Our ability to schedule your tasting depends on the wines we have in stock and our ability to offer you a wide variety of handcrafted wines.
If you would like to be added to our list of guests for private tastings, please write or phone us using the information provide at the bottom of this page.
2138 160th Street
Hansell, IA 50441
ph: 641-456-2836


text:
Eve Aqua Smart Water Controller
The Eve Aqua Smart Water Controller turns your outdoor tap into an intelligent water outlet that you can automatically activate or shut off via your iPhone, Siri or the onboard button. Set schedules to automate your irrigation system. Plus, see how much water you're using. Eve Aqua leverages the power of HomeKit and connects directly to your iPhone or iPad using Bluetooth low-energy technology.
Effortlessly activate your sprinkler via Siri, the Eve app or the onboard button
Auto shut-off prevents garden flooding and frees you from clock watching
Set schedules to water automatically at regular times
Estimated consumption for tracking water usage
Child lock helps keep kids from wasting water
Sun-resistant materials offer Australian-certified UV protection
HomeKit-enabled for easy use and advanced security
Hassle-free setup
No bridge or gateway required* — connects directly to iPhone using Bluetooth low-energy technology
What's in the Box
Eve Aqua Smart Water Controller
Hose connector
Quick start guide
Tech Specs
Other Features: Batteries Required, HomeKit Compatible, Waterproof, Wireless
Internet Access: Some Features Require Internet Access
Connections: Wireless
Bluetooth Compatibility: Bluetooth 4.0
Power Source: Battery
Batteries: AA
Height: 12.3 cm/4.84 in.
Width: 9.5 cm/3.74 in.
Depth: 7.87 cm/3.1 in.
Weight: 355 g/12.52 oz.
System Requirements
Operating System: iPhone, iPad or iPod touch with iOS 11.4 or later
Manufacturer Information
Part Number
UPC or EAN No.: 4260195391970
Note: Apple's One-Year Limited Warranty does not apply to products that are not Apple-branded, even if packaged or sold with Apple products. Non-Apple-branded products may have the benefit of a manufacturer's warranty provided by the product manufacturer — please see your product box and literature for details. Benefits under the manufacturer's warranty are in addition to rights provided by consumer law. For details, click here.
Manufacturer Note
*For automation and remote access, it's necessary to have a HomePod, Apple TV with tvOS 11 or iPad set up as a home hub.
iPhone Models
- iPhone 12 Pro
- iPhone 12 Pro Max
- iPhone 12 mini
- iPhone 12
- iPhone 11 Pro
- iPhone 11 Pro Max
- iPhone 11
- iPhone SE (2nd generation)
- iPhone XS
- iPhone XS Max
- iPhone XR
- iPhone X
- iPhone 8
- iPhone 8 Plus
- iPhone 7
- iPhone 7 Plus
- iPhone 6s
- iPhone 6s Plus
- iPhone SE (1st generation)
iPad Models
- iPad Pro 12.9-inch (4th generation)
- iPad Pro 12.9-inch (3rd generation)
- iPad Pro 12.9-inch (2nd generation)
- iPad Pro 12.9-inch (1st generation)
- iPad Pro 11-inch (2nd generation)
- iPad Pro 11-inch (1st generation)
- iPad Pro 10.5-inch
- iPad Pro 9.7-inch
- iPad Air (4th generation)
- iPad Air (3rd generation)
- iPad Air 2
- iPad (8th generation)
- iPad (7th generation)
- iPad (6th generation)
- iPad mini (5th generation)
- iPad (5th generation)
- iPad mini 4
Apple Watch Models
- Apple Watch Series 6
- Apple Watch SE
- Apple Watch Series 5
- Apple Watch Series 4
- Apple Watch Series 3
Apple TV Models
HomePod Models
- HomePod
- HomePod mini
iPod Models
Compatibility: Requires iOS 13.1 or later.
Eve for HomeKit
Eve works with all HomeKit-enabled accessories. See your home at a glance. Customize your ecosystem down to the finest detail. Activate scenes in a snap. And easily create automations using timers and rules. With Eve, you're at the forefront of connected home control – and guided – every step of the way.
Get a quick overview of everything that's happening in your conne cted home. Quickly access your favorite scenes to instantly control multiple accessories as one. And dive into room or type details with a simple tap.
Personalize your home according to your exact preferences. Choose among the many pre-defined rooms or add your own. And organize all your HomeKit-enabled accessories in a way that feels natural.
Easily create advanced scenes to control multiple accessories with a single command. And set timers to synchronize your home with your daily routine. Better yet, add powerful rules to set scenes based on accessory values or your location, and have your home work for you – automatically.
The Eve family of HomeKit-enabled accessories puts your home at your fingertips. Control your lights, appliances, radiators and other connected comforts – with your iPhone or just your voice. Easily create automations for carefree convenience around the clock. And gather data on temperature, air quality, humidity, energy consumption and more.
With Eve, meet your truly connected home:
NEW! Eve Room
Indoor Air Quality Monitor
• Track indoor air quality (VOC), temperature, and humidity
• See measurements directly on the high-contrast e-ink display
• Review past conditions by hours, days, months, and years
• Built-in USB-rechargeable battery lasts 6 weeks or more
• Automation and remote access courtesy of your home hub
NEW! Eve Aqua
Smart Water Controller
• Activate your sprinkler via Siri, the app, or onboard button
• Let it shut off automatically
• Automate with schedules
• Track water consumption
• Remote access courtesy of your home hub
NEW! Eve Flare
Portable Smart LED Lamp
• Control your ambience via Siri or the app
• Explore ready-made colors and create your own
• Automate with timers
• 6 hours of illumination, wireless charging, and IP65 water resistance
• Automation and remote access courtesy of your home hub
Meet the whole Eve family of HomeKit-enabled accessories at evehome.com …


text:
See All Categories
Learn More
This is the notice board.
You've heard about Dry Aged beef before, but maybe you've never had the chance to try it in Korea, or anywhere for that matter. Now, for a limited time, you can buy US Prime Dry Aged Beef in Korea - Ribeye and Striploin - at a fraction of the cost that you would pay at a high end steakhouse. Featured in 5 Star Hotels and ultra-exclusive restaurants, dry aged beef is a premium product with exceptional flavor.Our Creekstone Prime 100% Angus Beef is kept in custom dry aging cabinets where temperature, humidity and air circulation are carefully controlled for designated times. During this natural process, the beef's enzymes break down, making the meat supremely tender, with a unique taste and robust flavor that is simply delicious.With our meticulous aging methods and hand-cut portioning and careful packaging, every step of the process is precise and assures high quality steaks you are sure to love.
This dry aged beef available here in Korea makes for Bigger and better steaks than you'll find at Goo Steak, Isabella's, or the Butcher's Cut, take advantage of this great deal today!
Creekstone Prime Grain FedRibeye Steaks
Creekstone Prime Grain FedStriploin Steaks
Take advantage of this one-time opportunity to tasteand savor the unique flavor of Premium Dry Aged Beef in Korea from the USA.
To order, send an email with the type of beef and any thickness preferences to:email@example.com
Password : Hidden comment
/ byte
Password :
Corporate Name (Company Name) : (주)하이스트릿 CEO (Name) : 황영기Business Registration No.: [106-86-75574] E-commerce Permit 2011-서울용산-00205 [Mail-order Business Registration Number] Phone : 02-2201-3033 Fax : 02-2201-0940Address : 140893 서울시 용산구 한남동 737-24 2층Personal Information Manager: HSM manager (email@example.com) Contact firstname.lastname@example.com for more information.
Copyright © 2011 High Street Market. All rights reserved.
This window will automatically close when payment is processed.
Do not close this window until processing completes.