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First Prize in International competition for the construction of a Velodrome in Medellín. With Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite
Medellín (Colombia) / 2012 (on hold)
The Medellin Velodrome synthesizes two seemingly incompatible spatial conditions: an insular, formally specific sports infrastructure; and a permeable, open public space. It transforms the typology of the sport facility in order to integrate it into the existing Park of the Wheels precinct, distributing the technical and economic investment along it. A modular roof structure, independent from the geometry of the track, dissolves the perimeter of the building, creating spaces that trigger relationships between the specific activities of the velodrome and the informal, leisurely uses of the park.
Each of the roof's modules creates a variety of environmental conditions and provide technical support to the park. Those covering the velodrome offer the necessary infrastructure for its regular functioning, including ventilation chimneys, acoustic isolation, electric systems, etc. Those in the perimeter of the building and scattered throughout the park offer bicycle clinics, support systems for scenic lighting, generators activated by pedals, and sprinklers for lowering the temperature. This infrastructure augments the occasional use of the velodrome with a diversity of everyday uses, which privilege the civic appropriation of the project, transforming it into a strategic development for the city of Medellín.
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Competition: Ignacio G. Galán, Fake Industries, Estudio Mazzanti, Farzin Lotfi-Jam and Bryce Suite.
Design development and construction: Ignacio G. Galán, Fake Industries, Estudio Mazzanti.
Collaborators: BOMA, structural engineers; BAT, textile engineers and more.
2nd Prize in International Competition for the restoration and reconfiguration of Beti Jai, a disused pelota venue in the center of Madrid. With SOF-T / TallerDe2 (Arantza Ozaeta and Alvaro Martín Fidalgo)
Madrid (2018)
"3000 sqm of extra court space" considers spatial and technological strategies to transform the Beti Jai into an inclusive and accessible urban space, expanding its specialized function as a sports court in order to welcome diverse bodies and the different constituencies of Barrio de Chamberi—an extremely dense area in the center of Madrid. With this intervention, the 19th century landmark building dialogs with a state-of-the-art technologies and constructions systems with their corresponding sensitivities and aesthetics.
Ignacio G. Galán [igg – office for architecture] + SOF-T / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo).
Collaborators: Jorge Chico Jiménez, Alberto Sánchez Sánchez, Paula Rodriguez Vara and Pablo Saiz Del Río.
Research for a collective housing and production complex. With Neeraj Bhatia [The Open Workshop], Antonio Mora, Charles Hajj, Diego Soto Madriñan, Mikaela Leo, Bella Mang, Cesar López, Clare Hačko, and Aurea Rodriguez.
Hamburg (Germany) / 2017 (competition)
Habitactory seeks to reconcile different scales of time and changing spatial uses with the goal of creating inclusive, affordable, and productive forms of urbanity that account for a range of users and uses. It particularly considers how spaces of production and living can co-exist and benefit from their proximity without over-determining the terms of their relation.
With this goal, the project capitalizes on two recent trends: Firstly, traditional productive spaces are now complimented with a broad array of new ways to work (from DIY start-ups to co-working spaces) which, grouped together, could benefit from sharing equipment and auxiliary programs. Secondly, domestic arrangements are evolving to include new ways of co-living, embracing a growing range of users. Habitactory enhances the possibilities brought about by these trends by hybridizing the perimeter block (a critical domestic space type) and the big box with saw-tooth roof (a characteristic factory type)—wrapping the latter with the former. A series of circuits strategically located in between, tie these programs together—to benefit from similar needs—while providing separation to ensure distance and isolation. The circuit is programmed with shared amenities, allowing adjacent spaces of working and living to expand and contract to find new productive overlaps. The roofscape offers a culmination for the circuits as a point of encounter for the different users of the building.
This project understands built structures as evolving entities that need to respond to different timescales of occupation. On a daily and weekly basis, the production areas are time-shared to be used by the residents of the building, for cultural programs, and commercial destination. Housing is equally understood to evolve through changing relations among units. The circuits account for long-term adaptation, absorbing differential needs of production and housing programs. The coexistence of production and residential spaces and their changing occupations requires not only typological hybridation but flexible strategies for real estate development, diverse relations between operators, and different property models. This project offers those through flexible relations between the program units, which offer diverse production and housing options in response to more rapidly changing technologies and transient modes of habitation.
Single family house in the outskirts of a big city. With SOF-T / TallerDe2 (Arantza Ozaeta and Alvaro Martin Fidalgo)
Madrid (Spain)/ 2017-18 (under construction)
Suburban ideals can be packed quite tightly in order to be combined with the advantages of city life, including access to mass transit and a dense network of services at a walking distance. "A suburban celebration!" builds on a diverse set of suburban imaginations—reaching from repurposed factory spaces to pool parties—and hybridizes their characteristic typologies for this small plot, as a prototype for a new form of development in the fringes of Madrid's urban networks.
The house's particular profile builds on those imaginaries while it provides a more compact response to suburban habitation than the detached houses surrounding the intervention, which systematically maximize the built envelope within the limits provided by the regulations (in an understanding of the house as a real estate operation). Rather than operating through stacking formally similar and programmatically disconnected floors, this house exploits the opportunities of different orientations, programmatic associations, and specific imaginations and allows for more complex patterns of appropriation. With that, it seeks to open the suburbs to the openness, complexities and hybridations characteristic of urban social articulations.
Ignacio G. Galán [igg – office for architecture] + SOF-T / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo).
Collaborators: Ana Herreros, Pablo Sainz del Río, Jorge Sedano.
Refurbishment of an apartment in Madrid. With SOFT architects / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo)
Madrid (Spain) / 2017 (built)
Photo by Miguel de Guzman, imagensubliminal.com
Everyday dynamics involve a plethora of actors and practices that establish unstable relations with architectural frameworks and consistently challenge the conventional understanding of domesticity and the family as the privileged unit of inhabitation. This house considers these contingent relations and expanded boundaries through a flexible typology retrofitted with a series of devices that acknowledge changing patterns of inhabitation while allowing for the materialization of dynamic attachments and affections within architecture.
"My house and other animals" results from an intervention in an old apartment. It transforms its spatial and programmatic structure previously defined as a sequence of small rooms and defines a new organization of interconnected spaces along the apartment's structural bays. A system of interventions mediating the scale of furniture and architecture qualify these bays and facilitate their occupation. They address the needs of a cat, a thirty-something man, his work life and the parties he likes to host. These interventions mediate the attachments structuring ordinary life as well as the expanding forms of sociality involved in this sequence of non-ordinary events hosted in the apartment. They facilitate the required spatial adaptations while allowing for future changes and expected transformations.
Photo by Miguel de Guzman, imagensubliminal.com
Ignacio G. Galán [igg – office for architecture] + SOFT architects / TallerDE2 (Arantza Ozaeta and Alvaro Martin Fidalgo).
Collaborators: Pablo Sainz del Río, Laura Peique, Jorge Sedano.
Curation of an installation on the film studios Cinecittà, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas)
Corderie dell'Arsenale, Venice (Italy) / June 7 - November 23, 2014
The studio complex Cinecittà, known as Italy's "factory of images," manufactures realities for film and television and circulates them as fictions gathering together different constituencies. At the same time, these fictions are housed in a built structure that, though remaining invisible behind them, occupies more than 500.000 sqm within the city of Rome and is submitted to its changing logics throughout history, its legal frameworks and associated processes of land speculation. Access to this enclave is a precious (and restricted) asset, since its activities congregate an influential set of actors playing roles not only in film, but in broader cultural and economic networks.
The installation Cinecittà Occupata borrows its name from the 2012 occupation of the famous roman film studios, by workers in protest against their recent business strategies, which workers saw as dismissing their expertise and turning Cinecittà's interests away from film and toward projects that depend on the entanglement of image production with the entertainment and tourism industries. As squatters, they are the most recent occupants of the studios, "Cinecittà okkupata."
Beyond this polemic, Cinecittá Occupata showcases the studios' different kinds of occupations—considering both the fictional spaces that gather us, and the spaces of fiction production—and reflects on Cinecittà as a laboratory for the scrutiny of post-industrial societies—one that has been continuously negotiated and contested.
See more in www.cinecittaoccupata.com
Photo by Miguel de Guzman, imagensubliminal.com
Design and research: Ignacio G. Galán
Ignacio G. Galán and Jose Ahedo, design and construction; Cyrus Penarroyo, graphic design; Jose Meza, diagrams; Jacob Moore, text editor; Juan Rey, structures; Bat Spain, textiles; Luis Mesejo, web design. With video by Hugo Kenzo, drawings by Thomas Kelley and photographs by Begoña Zubero.
Special thanks to Lucia Allais, Katy Barkan, Sara Martin, Marina Otero, Javier Rubin, Andrea Sabbadini, Azzurra Stilo, Lèa-Catherine Szacka, Fondo Belloni Peressutti, and Cinecittá World.
Supporters: Consejería Cultural Embajada de España en Roma (AECID), AC/E, www.batspain.com, Serge Ferrari, Elise Jaffe+Jeffrey Brown
Book Chapter "Provisional simultaneity"
Published in Space Caviar ed. SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)
The temporary architecture of the Grande Fratello House is one of the spaces bringing together contemporary societies in different and heterogeneous constituencies through media constructed simultaneities—albeit only provisionally.
At the same time a physical structure and a continuously broadcast reality, this interior is a system of temporary stabilization of people, of meanings, and of capitals as well. But it is so in a way that is complemented by its capacity to mobilize, to make also meanings, capitals and people more mobile. Here circulation is managed through architecture, and itself manages architecture. Understanding the operations of these circulating interiors might allow finding new strategies for their occupation—including also their appropriation, scrutiny, and contestation.
This research is part of the research project on the architecture of the Italian film studios Cinecittà, known as the country's factory of images. It was inlucided in the publication of the Biennale Interieur 2014 in Kortrijk (Belgium), curated by Joseph Grima.
SQM: The quantified home (Zurich: Lars Müller Publishers, 2014)
Editors: Space Caviar / Design: Marco Ferrari, Elisa Pasqual
Ignacio G. Galán, "Provisional Simultaneity"
Design objects for circulating interiors, commissioned by AECID. With Jose Ahedo
Rome (Italy) / 2014
"Desk Informants/Interior Intruders" are devices for the personalization of the desk and reflect on the logics of personalization in contemporary circulating regimes.
The objects that build our interiors perform as nodes in networks of information, matter and capital. They no longer constitute the spaces we inhabit as a privileged realm of privacy—as interiors were conventionally understood—, but rather socialize these spaces. The way we interact with them within our daily routines is also part of the same networks, in ways that overcome the logics of fashion and the notion of habitus understood as a series of stabilizing collective symbolic systems and practices that structure ways of doing and being. Contemporary regimes produce constant disjunctures among those systems and practices and are rather articulated around the simultaneous circulation of images and people creating contingent networks rather than stable structures.
Within these regimes, objects populating interiors link personal decisions with geographies of production, individual physiological needs and collectively built paranoia. These objects enact the logics of these different orders, mobilizing around them new postures, physiologies, economic transactions, geographies of production, opinion making and scientific knowledge. Our drinking devices and the amount of water we consume is connected as much to World Health Organization studies as it is to garbage production. Having a cactus in our work space is no longer mere aesthetic decision, since we learnt they absorb harmful radiation from our computers.
Photo by Begoña Zubero.
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Design of a row house in Cuenca
Valdecolmenas (Spain) / 2013 (under development)
Collaborator: Claudia Mainardi
This project explores alternative residential distributions and new imaginaries countering the progressive abandonment of the village of Taboadela, in Cuenca. A number of equally equipped rooms are provided for the temporary inhabitation of the house, and its diversity of non-regular domestic occupations (including extended family reunions and rural tourism rentals among others. The common space within them is organized by furniture elememts and by the very geometry of the plan, which results from past negotiations between family members of larger plot. The rooms appeal to an idealized imaginary of rural domestic warmth for urbanites, while the common space mobilizes rural technologies like glasshouse roofs in order to integrate the house within its context through its climatic performance.
Interior Perspective
Refurbishment and division into two apartments of a house in Madrid (built)
Madrid (Spain) / 2012
Collaborator: Claudia Mainardi
Following contemporary social trends and real state dynamics, the owners of a big apartment in the center of Madrid decided to divide it into two smaller units for the reduced requirements of their two daughters. A different arrangement of rooms around common spaces is proposed for each case, in an exploration of architecture's participation in the configuration of the social dynamics of diverse domesticities. The corridor is explored as a the main technology mediating these dynamics, following the two main narratives associated to it: corridor as the technology of privacy (Evans) or as one leading to different forms of socialization (Jarzombek). In one of the units it becomes a valve that makes access to each room independent from the others and from the living area, while maintaining a considerable width that allows it to become access, study room and kitchen. Inn the other, it disappears to become a common family/play room to which the different bedrooms open. Repeated visits to the house and consequent post occupancy evaluations have revealed how the dynamics internal to each unit (and between them) have taken different forms, both mobilizing the potential of the two distributions, and subverting them as well.
Perspectival floorplan and post-occupancy evaluations
Runner-up in European competition for young architects. With Elena Barroso, Cruz Calleja, Veronica Melendez, Marina Otero and Fatima Plaza.
Taboadela (Spain) / 2009.
Hangover Urban Growth System is a model of non-anthropocentric urban development aiming at being constantly viabile in time, questioning urban-natural dychotomies, built-non built and center periphery.
Collective Housing Prototype.
Harvard GSD, Cambridge (USA) / 2008
With Frank Barkow and Chris Bangle, professors.
This project explores housing configurations for transient collectives, re-considering the dichotomy between objects and furniture as moveable elements and architecture as a fix structure. A folding geodesic structure opens and closes around a fix core to accommodate different uses and create diverse environments, and makes architecture itself perform as a furniture item.
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First Prize in European competition for young architects. With Nieves Mestre and Manuel Leira.
Reggio Calabria (Italy) / 2005.
Coming soon.
Design of an exhibition building within a cultural complex in Ground Zero. With Jose Ahedo
Harvard GSD, Cambridge (USA)/ 2009 (Joshua Prince Ramus, Professor)
The Small Museum considers the relation of small cultural institutions to the diverse formats of contemporary art production, and proposes a moving structure able to transform itself to accomodate the changing requirements of different exhibitions—literally turning around. Its movement becomes a public performance through which the museum renders material the relationship between art and spectacle without falling into its formal celebration.
Chief Curators of the 2016 Oslo Architecture Triennale: Lluis Alexandre Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier
After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit
Oslo (Norway) / September 08 -November 27, 2016
Being at home has different definitions nowadays, both within domestic settings and in the spaces defined by national boundaries in our contemporary global landscapes. Belonging is no longer just bound to one's own space of residence or to the territory of a nation, nor does it last a whole lifespan.
Map of the curatorial Project by Lluis A. Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier. Drawing by David Jiménez Iniesta, Ma Ángeles Peñalver Izaguirre, Studio Animal (Javier Jiménez Iniesta)
After Belonging addresses and imagines the objects, spaces, and territories of a transforming condition of belonging. Global circulation of people, information, and goods has destabilized what we understand by residence, questioning spatial permanence, property, and identity—a crisis of belonging. These transfers bring greater accessibility to ever-new commodities and further geographies. But, simultaneously, circulation also promotes growing inequalities for large groups, kept in precarious states of transit. After Belonging analyzes the ways in which architecture participates and intervenes in both our attachment to places and collectivities—Where do we belong?—as well as our relation to the objects we produce, own, share, and exchange—How do we manage our belongings?
The Core Program of the Triennale is composed by:
-After Belonging: On Residence, an exhibition at the Norwegian Centre for Design and Architecture (DOGA)
-After Belonging: In Residence, a program of intervention strategies and exhibition at the National Museum—Architecture
-After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit, a book published by Lars Muller
-The After Belonging Conference, at the Opera House
-The Embassy, a stateless embassy that represents, through cultural means, the ideals of "stateless democracy" developed by Kurdish communities of the autonomous region of Rojava in northern Syria. Conceived and designed by Studio Jonas Staal in collaboration with the Democratic Self-Administration of Rojava.
-The Academy, a forum organized by the Oslo School of Architecture and Design AHO, bringing schools and students from around the world into a global dialogue and knowledge-sharing experimen.
See more about the Oslo Architecture Triennale 2016: After Belonging in http://oslotriennale.no/en/2016
See more about the After Belonging Agency in afterbelonging.org
Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich
Curation and Design of an exhibition within the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
Norwegian Centre for Design and Architecture (DOGA)
Oslo (Norway) / September 08 -November 27, 2016
Design by Lluís A. Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier. Drawing by Eduardo Tazon.
After Belonging: On Residence documents the spatial conditions that shape our ways of staying in transit and the redefinition of our contemporary spaces of residence, considering the aesthetic, technical, and sociopolitical implications of this redefinition. Architecture, here, takes different forms beyond the building, from arrangements of objects and their logistics, to territorial configurations and digital systems of organization. The contributions to the exhibition gravitate around five areas: Borders Elsewhere, Furnishing After Belonging, Sheltering Temporariness, Technologies for a Life in Transit, and Markets and Territories of the Global Home. Arranged as an accumulation of evidences and speculations, the exhibition unveils the multiple scales and media involved in the architectures of contemporary forms of residence, and how they convey new articulations between individuals, objects, technologies, collectives, and territories.
Participants: Unfold; Amadou Kane Sy; Kër Thiossane; Enorme Estudio & PKMN Architectures; ROTOR; Jill Magid; Coralie Gourguechon; Superunion Architects; Folder; Andrés Jaque / Office for Political Innovation; Femke Herregraven; Einar Sneve Martinussen & Jørn Knutsen; Martti Kalliala; Sputniko!; Sigil, Khaled Malas; estudio SIC | VIC; Martha Rosler & Pelin Tan; Bouchra Khalili; Supersudaca; Pa.LaC.E; Frida Escobedo & Guillermo Ruiz de Teresa; Kadambari Baxi, Janette Kim, Meg McLagan, David Schiminovich, Mark Wasiuta; Cooking Sections; Paulo Tavares with Armin Linke, Giulia Bruno; L.E.FT with Lawrence Abu Hamdan; Nora Akawi, Nina V. Kolowratnik, Johannes Pointl, Eduardo Rega; Center for Political Beauty; Adrian Lahoud; Luis Callejas & Charlotte Hansson; Design Earth; Center for Spatial Research (Laura Kurgan, Juan Francisco Saldarriaga, Angelika Rettberg); Ana Naomi de Sousa, Paulo Moreira, Pétur Waldorff; OMA + BENGLER
The exhibition is produced by DOGA - The Norwegian Centre for Design and Architecture in collaboration with Oslo Architecture Triennale. This exhibition is part of the Oslo Architecture Triennale 2016, After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit, and accompanies the exhibition In Residence, at The National Museum – Architecture.
Exhibition Curators and Designers: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) + MHDS (Markus Heibø) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich
Curation and Design of an exhibition within the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
National Museum-Architecture
Oslo (Norway) / September 08 -November 27, 2016
Design by Lluís A. Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier. Drawing by Eduardo Tazon.
After Belonging: In Residence is a speculative platform focused on a selection of ten sites around the globe that encapsulate current transformations of belonging. The exhibition presents ten commissioned reports and five intervention strategies, intended as two distinct but related architectural operations to approach these sites. The ten reports outline diverse ways of describing the sites, offering multifaceted perspectives and bringing together different scales. In addition, five intervention strategies have been selected through an international open call for the sites located in Oslo and the Nordic region. These interventions design tactical and long-term forms of engagement with the sites, and rehearse alternative architectural practices. By bringing together these different approaches, the In Residence exhibition aims to test the capacity of architectural expertise to respond to changing realities.
Reporters: Eriksen Skajaa Arkitekter; James Bridle; Transborder Studio; Ahmet Öğüt & Emily Fahlén; Ila Bêka & Louise Lemoine; THE STATE; Matilde Cassani; Emeka Ogboh; First Office; Husos Architects
Intervention Strategies: Bollería Industrial; Nabil Ahmed, Dámaso Randulfe; Caitlin Blanchfield, Glen Cummings, Jaffer Kolb, Farzin Lotfi-Jam, Leah Meisterlin; Elisabeth Søiland, Silje Klepsvik, Åsne Hagen; Ruimteveldwerk;
The exhibition is produced by The National Museum of Art, Architecture and Design in collaboration with Oslo Architecture Triennale. This exhibition is part of the Oslo Architecture Triennale 2016, After Belonging: A Triennale In Residence, On Residence and the Ways We Stay in Transit, and accompanies the exhibition On Residence, at The Norwegian Center for Design and Architecture, DOGA.
Exhibition Curators and Designers: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
Design and Production Associates: Juan Ruiz Anton, Paola Simone García / Graphic Design: This is our work (Megan Feehan) + MHDS (Markus Heibø) / Design Assistant: Kamilla Csegzi / Research Associate: Jess Ngan / Assistant: Nick Oelrich
Editors of the Official Publication of the Oslo Architecture Triennale 2016: Lluís Alexandre Casanovas Blanco, Ignacio G. Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
Publisher: Lars Müller Publishers, 2016
The After Belonging publication brings together commissioned essays exploring theoretical arguments, historical case studies, and narrative voices, with a compilation of contributions presented in the different Triennale's platforms. Working as an archive, it contextualizes each contribution within wider conversations and fosters relationships between the works.
With original pieces by: Arjun Appadurai; Cristina López Uribe; Deane Simpson; Didier Fassin; Felicity D. Scott; Hu Fang; Ijlal Muzaffar; Iver B. Neumann; James Graham; Jeffrey Schnapp; Jesse LeCavalier; John Harwood; Keller Easterling; Louise Amoore; Lorenzo Pezzani & Charles Heller; Mabel O. Wilson; Merve Bedir; Michel Feher; Pamela Karimi; Thomas Hylland Eriksen; Thomas Keenan; Troy Conrad Therrien
Graphic Design: This is our work / Copyeditor: John Wriedt
Image by This is our work
Curators of the Oslo Architecture Triennale 2016 Conference: Lluís Alexandre Casanovas Blanco, Ignacio González Galán, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis, Marina Otero Verzier
Oslo Opera House
Oslo (Norway) / September 9, 2016
The After Belonging conference brings together architects, thinkers, decision-makers, and local experts in order to dissect the role of the architect in the contemporary reconfiguration of belonging.
The Conference is organized in four sections:
Global Expertise interrogates the role of the architect within current processes of globalization. By addressing economic, ecological, and logistic networks, this first section questions previous understandings of global expertise and practice, and seeks for a new common frame of action and discussion.
Sheltering Temporariness delves into the complexities of architectural action within the loaded social and political contexts in which notions of belonging and shelter are reconfigured. The section addresses contexts either affected by the alleged exceptionality of natural disasters or armed conflicts, or where precariousness has been normalized.
Productions of Locality looks at the practices and representations involved in the construction of identities in global regimes. Distinctive geographies will be addressed both in their instrumentalization for the markets of tourism or as a form of emancipation.
The Digital and the Real Estate analyzes architecture's mediations within the technological and financial infrastructures supporting new ways of being together, considering both their potentials and challenges.
Participants: Amale Andraos, Yoshiharu Tsukamoto & Momoyo Kajima, Eyal Weizman, Grete Brochman, Gro Bonesmo, Ippolito Pestellini Laparelli, Juan Herreros, Karl Otto Ellefsen, Kjetil Trædal Thorsen, Michel Feher, Negar Azimi, Even Westvang & Simen Svale Skogsrud, Per Heggenes, Reinhold Martin, John Palmesino & Ann-Sofi Rönnskog, Thomas Hylland Eriksen, Andreas G. Gjertsen, Yasmeen Lari
Design of a flag for the exhibition "Westopia"
Bice Bugatti Foundation, Villa Vertua, Nova Milanese (Italy) / 2017
Design by Lluis Alexandre Casanovas Blanco, Ignacio G. Galan, Carlos Mínguez Carrasco, Alejandra Navarrete Llopis and Marina Otero Verzier. Exhibition curated by Parasite 2.0.
During the debates preceding the Brexit referendum, a video of a hooded and allegedly British individual attempting to burn the EU flag went viral. After accusing the EU of taking away "our [that is, British] nationality, our identity, our free speech and our sovereignty," the man approached the star-filled blue flag with a cigarette lighter. His action, however, produced no evident result: the piece of fabric—manufactured following EU regulations on flammable materials—would not light, forcing the man to give up his enterprise after two minutes. Ultimately, the video exposes how the EU flag not only embodies ideological constructs on identity and sovereignty, but also how belonging to the EU has material implications in the everyday objects of shared landscapes.
www.youtube.com/watch?v=GXKv07ghKIw sheds light on the materiality of flags by reasserting their phenomenal conditions. In the flag we propose, constructed entirely out of inflammable fire-protection foam, symbolic and aesthetic values rely exclusively on the manufacturing process. The flag emphasizes not the idea of belonging to abstract socio-political entities, but rather the materiality of those forms of belonging as such.
Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, within the section Monditalia at the 14 International Architecture Exhibition of La Biennale di Venezia (by invitation of the general curator of Rem Koolhaas): Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi
Corderie dell'Arsenale, Venice (Italy) / June 7 - November 13, 2014
Acknowledged with the Special Mention of the Jury
Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.
This installation at Monditalia zooms in on the Italian situation. Multiple case studies are explored to expand the geographical and conceptual map—reconstructing the pedagogical shift in Italy in the late 1960s and 1970s.
See the Radical Pedagogies web platform.
Photo by Miguel de Guzman, imagensubliminal.com
Research and curation: Beatriz Colomina, Britt Eversole, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister, Federica Vannucchi.
Design and construction: Cristóbal Amunátegui and Alejandro Valdés, Amunátegui Valdés architects. Graphic design by Pablo González, Smog.tv.
Multiplatform publishing concept: dpr-barcelona, Ethel Baraona and César Reyes.
Co-curation of an installation featuring the collective research project on architecture pedagogy led by Beatriz Colomina with Princeton PhD Candidates, as an Associated project to the 3rd Lisbon Architecture Triennale: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister
Sinel de Cordes, Lisbon (Portugal) / September 12 - December 15, 2013
Radical Pedagogies explores a series of pedagogical experiments that played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. As a challenge to normative thinking, they questioned, redefined, and reshaped the postwar field of architecture. They are radical in the literal meaning stemming from the Latin radix (root), as they question the basis of architecture. These new modes of teaching shook foundations and disturbed assumptions, rather than reinforcing and disseminating them. They operated as small endeavors, sometimes on the fringes of institutions, but had long-lasting impact. Much of architectural teaching today still rests on the paradigms they introduced.
See the Radical Pedagogies web platform.
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Research and Curation: Beatriz Colomina, Ignacio G. Galán, Evangelos Kotsioris, Anna-Maria Meister.
Design: Ignacio G. Galán, Evangelos Kotsioris and Anna-Maria Meister with Dorit Aviv and Loren Yu.
Construction: Dorit Aviv, Ignacio G. Galán, Anna-Maria Meister and Evangelos Kotsioris with John Hunter, Rui Morais e Castro and POLIGONO.
Book Chapter "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"
Published in Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015)
Architecture pedagogy continuously revises the tools and protocols of the discipline, and it simultaneously considers its diverse agendas and goals as well. The pedagogy of the Valparaiso School directly addressed this conundrum, explicitly rejecting with its methods of architecture production any attempt to "change the world," and was otherwise guided by a pursuit for a "change of life." Their proposed exercises and architectures did not advance any material form of engagement with their historical context, but sought a different productivity for architecture with forms of expression that could overcome this context.
With this particular aim, poetry's relation to architecture was explored as a strategy to set in friction processes of artistic synthesis with the experience of the city. Sites were occupied as playing fields in which the movements of bodies, their appearance in public, their formal arrangement in space and other artistic and architectural strategies were disengaged from any goal beyond them. Such an approach to architecture was thought to charge spaces with meaning and to open them to the production of new subjectivities. In fact, through different poetic acts and performances a new form of productivity was sought for architecture in the relation to different forms of expression and the occupation of spaces. The development of the Valparaíso School's agenda inevitably brought to the fore the tension between a quest for newness in its forms of expression and the unfolding of historical events. This tension became clearest in the 1967 protest in Valparaiso, which this research project addresses and evaluates.
This research is part of the collective research project Radical Pedagogies, and results from archival research in Santiago de Chile and Valparaiso, funded by the Program in Latin American Studies at Princeton University.
Building Cultures Valparaiso (Laussane: EPFL Press and Routledge, 2015), including:
I. G. Galán, "The Pursuit for a 'Change of Life:' Pedagogical Experiences, Poetic Occupations and Historical Frictions"
B. Colomina, I. G. Galán, E. Kotsioris and A. Meister "Radical Pedagogies. Notes Toward a Taxonomy of Global Experiments"
Co-authored publications of the collective research project Radical Pedagogies, led by Beatriz Colomina at Princeton University
Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the twentieth century. This challenge to normative thinking was a major force in the post-war field of architecture.
B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies: Educating Change," Quaderns 267 (2015)
B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Uncube n.25 (Oct. 2014)
B. Colomina, I. G. Galán, E. Kotsioris, AM. Meister "Radical Pedagogies," Pidgin 17 (2014)
B. Colomina, E. Choi, I. G. Galán, AM. Meister"Radical Pedagogy," Architectural Review (Sept, 2012)
Doctoral dissertation currently under development at Princeton University: "Circulating Interiors: The Logics of Arredamento and the Furnishing of National Imaginaries in Italy 1922-1945
Dissertation Advisors: Lucia Allais and Beatriz Colomina
This project examines the transformation of architectural interiors in Italy throughout the fascist period, considering the changing forms of articulating domestic spaces both at the scale of the home and at that of the nation.
Throughout the fascist period, Italian discourse on interiors conceptualized its object of concern as "arredamento"—a term meaning both furniture and the ensemble of elements that furnishes a livable space. While the word "interni" was also used at the time, the emphasis on "arredamento" signaled a distinct interest in the material elements that construct an environment, different both from the association between interior and interiority of the German philosophical tradition and the insistence on social control of French modern practices of the interior. Italian discourse transformed the interior from a unified and enclosed realm, as it was hitherto understood, into an ordered arrangement of elements that moved beyond stable boundaries: Curated displays of furniture and interior ensembles were shaped by the transfers of objects in the market, reconfigured by processes of information circulation, and articulated in relation to the movement of people throughout the territory in different kinds of migratory, colonial, and touristic endeavours.
These forms of circulation manifested in architectural interiors mobilized by political, commercial and media agencies in films, specialized magazines and commercial showrooms, but were not limited to those. These interiors put in motion and managed the use and meaning of the great mass of modern interiors of the nation, all of them connected within material and imaginary networks.
See the PhD dissertation "Circulating interiors: The logics of arredamento and the furnishing of national imaginaries in Italy, 1922-1945"
Research and design of an installation within an exhibition at Real Academia de España en Roma
Rome (Italy) / June 17 - August 31, 2014
Contemporaneous to the construction of the notion of privacy and increasingly throughout the 20th Century, the interior spaces we inhabit became entangled with different cultural and economic processes and exploded any stable definitions of its boundaries. And still, interiors continued to gather different constituencies and manage systems of inclusion and exclusion in forms exceeding their physical delimitations alone.
"Interior networks, Italian habitations" reflects on the real and imagined interiors built simultaneously in the late 1920s and the 1930s in Italy, and displays the complex array of spaces overlapping in the construction of an Italian habitation throughout the period. Different interiors were linked within cultural and material networks reaching from rural settings to New York and Addis Abbeba, from arrangements suggested in Il Corriere della Sera, to objects on display in La Rinascente, to stages shot in Cinecittà.
Simultaneously a display wall and a dividing fence, the exhibition reflects on the way in which the flatness of interior images reproduced in the media and the fleetingness of interior ensembles in department stores and exhibition rooms had lasting spatial implications and created borders at different scales.
"Interior networks, Italian habitations" is a private installation in a collective exhibition.
A conversation with Andrés Jaque, published in "Society Building Interiors"
Published in Volume Magazine n.33 (2012)
Madrid-New York / 2012
IGG: You have claimed that "Ikea builds societies", countering the motto that announces Ikea interiors as 'the independent republic of your home. You argue that interiors are key to understanding contemporary social structures and can claim to have a political status, in opposition to those that privilege the city as the paradigmatic sphere for the construction of the social and the ultimate res-publica.
AJ: Yes, I don't think that the paradigm of the city can account for the reality I am attempting to grasp. Even the dialectics urban/rural or urban/suburban are no longer valid. Individuals and groups are no longer shaped by cities or landscapes, but mainly by the way they establish associations with a series of home-like interiors. We can only account for contemporary subjects and societies if we recognize how they are constructed in association with small architectural devices like living rooms, kitchens, bedrooms, psychotherapy rooms, hotel beds, or bingo tables.
Research project, currently under development
See an abridged version of this research in "Circulen," Circo 186 (2013)
How can we regard architecture's entanglement with the material actuality of contemporary circulatory processes? This materiality is certainly obvious when considering the infrastructures that architects and engineers negotiate for the city. However, it is not so clear when it concerns the cultural and economic processes involved in the movement of images and capitals. Architecture, completely imbricated between all of them, enacts the apparent virtuality of these processes. In this research I follow these simultaneous forms of circulation in the analysis of Milan's subway and Milanese circulating imaginaries.
Consider the following image to begin: A policeman (or maybe a policewoman?), poses in a relaxed position. She is framed horizontally by a continuous banner announcing a subway station, Duomo, and the edge of a platform, positioned, respectively, at the top and the bottom of the photograph. Dressed in a light elegant white outfit, legs crossed and leaning on the stair rail, she is observed not only by the camera located on the opposite platform, but also, on the left-hand side of the image by a group of six people, seemingly a four-member family and an elderly couple turning their heads toward the figure in white. A colored tube rises from the wall turning upward, making a perfect quarter-circle arc to the right and then a full half-circle to the left to meet the policewoman's fist, before finally turning around the dark wall behind her back. There, before rising upstairs, the railing tube meets, in an optical coincidence, the tip of the gigantic arrow of an advertising board located on the wall that backdrops the scene several feet further into the background. On the white and well-illuminated board, the big abstract arrow frames the rather austere logo of the department store La Rinascente, pointing to the stair that rises to the exit. In fact, several feet above the scene depicted in the photograph, one would find not only the successful boutiques of the Galleria Vittorio Emanuelle and the popular Gothic cathedral that gives its name to the subway station, but also the original space in which La Rinascente had first opened in Milan in 1865 and the much larger location to which the thriving business had subsequently moved. Nothing stands out in this 1964 photograph of the recently inaugurated Milan subway, taken by Carlo Orsi—the policewoman, the railing and the advertisement orchestrate a perfect choreography—together they state: "Circulate!"
Metropolitana milanese, Carlo Orsi (1946).
[igg - office for architecture] is a design and research office based in New York City and led by Ignacio G. Galán, PhD. Our work focuses on architecture's role in the articulation of society through design projects, research, and pedagogical endeavors. The designs of the office have been awarded in competitions including the First Prize for the New Velodrome in Medellín and are part of the permanent collection of the Pompidou Center. The office was a finalist to the 2014 Iakov Chernikhov Prize as a result of its contributions to design culture.
We operate through diverse media and platforms and are continuously informed by different kinds of conversations and collaborations. Galán's research has led to the production of several publications and exhibitions including the installation Cinecittá Occupata for the 2014 Venice Biennale by invitation of the general curator Rem Koolhaas. Together with the After Belonging Agency, Galán was the Chief Curator of the 2016 Oslo Architecture Triennale (Graham Foundation Grant 2015). He has also collaborated in the research project Radical Pedagogies and has co-curated its exhibition at the 2013 Lisbon Architecture Triennale and at the 2014 Venice Biennale, where it was awarded a Special Mention of the jury. He is currently one of the editors of the homonymous volume, forthcoming in 2020 by Sternberg Press (Graham Foundation Grant 2019).
Galán studied Architecture at ETSAMadrid and TUDelft, he graduated with Distinction from the MArchII program at Harvard GSD, and has a PhD in Architecture History and Theory of Architecture from Princeton. He has been a Fellow at the Spanish Academy in Rome and a Fulbright Scholar. He is Assistant Professor in the Department of Architecture at Barnard+Columbia Colleges and has taught studios and seminars at Columbia GSAPP and PennDesign among others.
We understand architecture as a key agent participating in the articulation of society.
We explore the ways in which architecture contributes to the definition of new ways of being together.
We are concerned with architecture's relation to cultural transfers, material networks, and diverse forms of population transience in a global context. The relation of these forms of circulation challenge our understanding of architecture (conventionally associated with control, enclosure, permanence, and stability), requires new imaginations for our ways of being together and consequently remains a realm for further inquiry and intervention.
We are additionally interested in the objects, media technologies, and institutions transforming architecture's individual occupations, its collective operations, and its diverse types of mobilization.
These emphases lead the work of the office and continuously challenge our methods of analysis and our design practice.
2019 05 > Ignacio G. Galán to join the Architecture Department at Barnard+Columbia Colleges as Assistant Professor. Ignacio will continue to teach courses in Architectural Design and the History and Theory of Architecture.
2019 04 04 > Ignacio G. Galán and Ralph Ghoche chair the session Urban Dislocations and the Architecture of Diasporas at the Association for Art History Annual Conference in Brighton.
2018 12 11 > Ignacio G. Galán speaks at the conference "Intimacy Exposed: Toilet, Bathroom, Restroom," at HEAD Genève. His paper, Crip Restrooms, addressed the way these key spaces negotiate accessibility and inclusion.
2018 11 22 > 2nd Prize for the restoration and reconfiguration of Beti Jai, a disused pelota venue in the center of Madrid.
2018 11 14 > Ignacio G. Galán to present in the seminar Methods in Design Research at City College New York.
2018 11 03 > Ignacio G. Galán to present in Galeria Proyector, in Mexico City, in the context of the exhibition and conference Walk The Line: The Distributed Vertical Border.
2018 10 > The After Belonging Agency, finalist of the Arquia Proxima Award "Relevant Practices" with the research and curatorial project for the Oslo Architecture Triennale 2016.
2018 10 > Habitactory, the research for a collective housing and production complex developed with Neeraj Bhatia [The Open Workshop], published in Urbannext.
2018 05 21 > Ignacio G. Galán defends his doctoral dissertation at Princeton University, concluding his PhD!
2018 03 30 > "Furnishing the Italian home away from home: Nomad interiors for the African colonies, 1936-1943," presentation in the symposium ARCHITECTURES OF MIGRATION, TECHNIQUES OF CITIZENRY, Council for European Studies Annual Conference.
2018 03 15 > Lecture "The University will be erotic or will not be University. Valparaiso ca. 1968" at the Master of Advanced Architecture in ETSA Madrid.
2017 09-12 > Teaching "Water Communities," a research studio for the seniors in the Architecture Department at Barnard+Columbia Architecture Departement, in collaboration with Facultad de Arquitectura de la UNAM, Mexico, including a workshop in Mexico with the students from Taller Hidrico Urbano.
2017 12 12 > Lecture "Constructions of Belonging" at the Master of Advanced Architecture in ETSA Madrid. With Marina Otero Verzier.
2017 10 27 > Participant of the Dialogues Lucha Libre organized by Super Sudaca within the Bienal de Arquitectura de Chile.


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Victoria Beckham is one of the many women who inspires me. Along with Beyonce, My mum and Lena Dunham.
Victoria Beckham has been in the public eye since her early twenties. A time in most women's lives where you're trying to figure life out, let alone having that added pressure from millions of people and seeing yourself sprawled across the magazines in the most unflattering pose. Yes, it was her choice to become famous, but it wasn't her choice to be criticized left right and center.
We've seen many celebrities crack under the pressures of being in the spot light 24/7 but Victoria wasn't one of them. She's gone from being 'posh spice' to one of the most well known WAG's, to designing her own fashion line. She's been shamed for being too skinny, never smiling and always wearing heals, the most peculiar things to be shamed for if you ask me. Despite all of this negative media attention, she never seems to speak ill of others and always stay's stylish.
In this months Vogue, Victoria published her inspirational letter to her younger self revealing some personal thoughts about her life.
Victoria writes:
"I know you're struggling right now. You're not the prettiest, or thinnest or the best at dancing"
Lesson one: Know that everyone struggles with life at some point. You will overcome it. "IT", whatever that may be, that period in your life will pass by and become a distant memory. Just remember to keep going.
"You will turn up at awards ceremonies resembling a drag queen. But I look back at you and smile. It will add interest to your life to go from one extreme to another. I love the fact that you will feel free to express yourself"
Lesson two: Always be yourself, which ever part of yourself you may be at that time, live it and enjoy it. Even if later on you think "I looked ridiculous" or "what was I thinking going back with him" at least you know you were having fun and at the time you were being true to yourself.
"Learn more about football, especially the offside rule"
Lesson three: Learn more about what your spouse loves to do. Be that, playing football, painting, singing or writing. Whatever it is learn about it. If you're like me and have a football playing boyfriend (who often compares himself to professional footballers after a big win), then you'll understand how football plays a big part in your relationship and how difficult it can be to wrap your head around something you have no real interest in at all. BUT that is not the point. Your partner is. So ask questions, go to their football games, even buy a 'football for dummies' book if you have to.
"What you will realize is that by working hard, yet always putting family first, it will be possible to achieve that balance"
Lesson four: Find a balance. No one is perfect, juggling family, friends and work can be tough but don't feel like you have to completely give up one thing to have another. If you have a job that you are passionate about, don't feel like you should sacrifice that to be with your family 24/7. Everyone needs time to be themselves.
After reading this article in Vogue magazine this month I've been inspired to write a letter to my younger self. Only 22, but hey, I must of learnt something.
Let me know what your take on Victoria Beckham's letter is.
Ta-ra for now

subset: commoncrawl


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March 21
This week has been good. We got a flat tire and Elder Decker didn't know how to change it so I had to do it. We has a super tiny jack and the car almost fell off of it a couple of times. So they are planning on putting missionaries back in Jay. Ok so this transfer is a 7 week transfer and Elder Decker goes home on week 6, so after zone training I went and asked president what was going to happen to me because I would be without a companion for a week. He had totally forgot. So I have no idea what will be happening next week.
March 28
So Elder Decker goes home on Wednesday. I found out that I will be in Atmore from Wednesday till transfers. But this week was good, we had a lot of meal appointments, mainly because Elder Decker is going home. I've seen it with every companion I've had that went home. You get fed more right before they go home. I'm not complaining.
April 4
This week I have been in Atmore with Elder Moore because his companion went home also. We got transfer news yesterday and I am going to be in Atmore and my new companion is Elder Moore. So we have to plan a trip back to Brewton to get the remainder of my stuff. So is Jessica going to have one of the cars/trucks or are you guys keeping all of them for like me till I get married and Brant, Tanner, and Miles while they are still at home? Elder Moore is a great guy, he is from Syracuse Utah and he goes home in two transfers so it looks like I am going to kill another missionary.
April 11
My new address is:
710 E laurel St. #206
Atmore, Alabama 36502.
So they gave me a call on Tuesday about my release date and I kind of freaked out a little bit. Elder Renlunds talk worked perfectly with a less active in Brewton. I hope she watched it. I love you too mom
The new area is good and elder Moore is super cool, so we are like 45 min away from the place where "to kill a mocking bird" took place
April 18
This week has been pretty good. We got some family history training from a senior couple here. So does Brant know when he will be leaving, if I get home before he leaves I could show him a few things. I did not have Bro. Heap for seminary. It is crazy that Jessica is getting married so soon, and they couldn't wait 2 more months. It doesn't look like I have ran across anyone that has had that 7th positive interaction yet
Love Elder Savage


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text:
I am often asked whether I've read anything good lately, and when I say, "Yes, there's this great little book about the demise of print that I've been enjoying," the asker always replies, "No, I want something good." By which he means a novel that will take him places. It's a desire that goes back to that time in childhood when we're just discovering long fiction, just beginning to refuse to turn off the light and go to sleep, those years that turned us into lifelong readers. It's an experience that gets increasingly difficult to recapture as we age, both because we read much faster than we used to, and because we take on novels of increasing complexity, like "Ulysses" or "Gravity's Rainbow," which are not, precisely, page-turners. By the time we finish college, or at least by the end of our twenties, we've read many of the standbys ("Moby-Dick," "Anna Karenina," "Bleak House," "In Search of Lost Time," "Middlemarch," etc.), and taking leaps of faith on new big books becomes necessary. Perhaps every big book is a leap of faith: it can take a hundred pages or so for the story to pick up, or for the reader to acclimate to the writer's language; and there are sometimes passages that lag, requiring confidence on the part of the reader that the writer knows what he's doing—that despite the detours, he'll bring the journey to a satisfying end. Ultimately, of course, this is part of what makes big, engrossing novels so engrossing. They're not too tight, too perfect. They're loose and shaggy, like the world, and like the world, you can get lost in them.
This week, I asked some of my fellow bloggers to share their favorite experiences with big, engrossing novels. Our selections appear below, and I hope you'll share yours, too.
Big books mentioned in this post:
Kristin Lavransdatter, by Sigrid Undset.
The Book of the New Sun, by Gene Wolfe.
Clarissa, by Samuel Richardson.
Crooked River Burning, by Mark Winegardner.
2666, by Roberto Bolano.
The Brothers K, by David James Duncan.
Freedom, by Jonathan Franzen.
Daniel Deronda, by George Eliot.
The Last Picture Show, by Larry McMurtry.
Great Expectations, by Charles Dickens.
Mason & Dixon, by Thomas Pynchon.
The Known World, by Edward P. Jones.
Suttree, by Cormac McCarthy.
Infinite Jest, by David Foster Wallace.
Watership Down, by Richard Adams.
Cloud Atlas, by David Mitchell.
Don Quixote, by Miguel de Cervantes.
All the King's Men, by Robert Penn Warren.
The Ambassadors, by Henry James.
Look at Me, by Jennifer Egan.
In the Fall, by Jeffrey Lent.
Ulysses, by James Joyce.
Gravity's Rainbow, by Thomas Pynchon.
Middlemarch, by George Eliot.
Moby-Dick, by Herman Melville.
In Search of Lost Time, by Marcel Proust.
Bleak House, by Charles Dickens.
Anna Karenina, by Leo Tolstoy.
War and Peace, by Leo Tolstoy.


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- Posted On:April 29, 2016I returned to Sandilands Provincial Forest this week with colleagues Dave Benson and Chris Gray to check out the progress of the prairie crocuses that Dave and I found last week. It was heartwarming to discover that spring had finally sprung! I made a number of images of Manitoba's provincial flower growing in various micro-habitats. This particular image was made along a gravel road using the road as the background. Three images were made with a 200mm micro Nikkor lens set at an aperture of f/8 and focused at different points. The images were later stacked into Helicon Focus software to produce one image with as much depth of field as possible without incorporating any distracting background elements. To add to the challenge, mother nature began to blow and gust as we enjoyed the cool, evening weather. But it was just 'grand' to experience the great outdoors!
- Posted On:April 24, 2016The prairie crocus, our symbol of spring on the Canadian prairies, is one of those wildflowers that I can never get enough of! I photographed these early blooms in Sandliands Provincial Forest on a cold morning using a 200mm macro lens. I made 7 different images focused at slightly different areas on the flower to gain a little extra sharpness on the closest bloom.Shooting at a wide aperture allowed the background to remain blurred and soft. I later processed the images in Adobe Camera Raw and then brought them into Helicion Focus, software that combines any number of differently focused images into one final image. The green color in the background is the result of fruiticose lichens growing amongst the crocuses at the edge of this particular jackpine forest.
- Posted On:April 22, 2016Happy Earth Day! Let's celebrate the small things in life as much as the big ones !
- Posted On:April 15, 2016I first saw this iceberg the day before and photographed it from the shoreline near Eastport, Newfoundland in the afternoon as well as later that same evening and then again the following morning at dawn. On my return to a local B&B for breakfast, my traveling companion and I made one more stop to have a look at this amazing iceberg. Living on the prairies, I don't see these every day! As I was composing the first image, I suddenly heard a very loud CRACK and I told my buddy "Get ready, it's coming down"! A few seconds later, the iceberg began to tilt to the left and proceeded to crumble during the span of less than three minute as I captured this sequence of images of an event that I was indeed privileged to witness. Only days earlier, I had been much too close to other large icebergs floating in the Atlantic Ocean. Because most of the mass of an iceberg is actually under the water and not visible, a tidal wave could easily cause you to overturn and drown should your boat be too close. Life is always full of unexpected events!
- Posted On:April 15, 2016Spring has been a lingering affair this year with a greater than usual repetition of melting and freezing events. A few weeks ago, I meandered into the Seine River Forest and made a few images of ice that formed on pools and puddles at the edge of the trees as well as images of the melting ice on the Seine River itself. The late afternoon sun created a lovely contrast between warm and cool colors. Click on the main image to see the other images in the gallery.


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Maine lobster pasta. French onion soup. Smoked duck quesadillas. What do all of these dishes have in common? They're on the menu at Abigail's Grille and Wine Bar in Simsbury. The classy, contemporary restaurant and bar specializes in traditional and new American fare, and the results are creative dishes beloved by local Yelp reviewers.
There's a huge array of tapas and appetizers to pair with your first glass of wine at Abigail's, so take your time perusing the seafood-heavy list of American eats. Then move on to something larger from the sea or land portions of the menu. There's the whole roasted fish of the day, served fresh and hot from the wood-fired stone oven at Abigail's, as well as Asian-marinated big eye tuna. From the land, you can order an eight-ounce French filet of steak, lamb chops, or the bone-in gorgonzola pork chop. Don't forget to check out the house-made pastas, too.
Abigail's Grille and Wine Bar
4 Hartford Road
Simsbury, CT 06089
(860) 264-1580


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After having put their differences aside to work together and save the day, the fairy tale characters from the ABC drama series Once Upon a Time are now facing a new threat, in the form of the Wicked Witch of the West (Rebecca Mader). With Captain Hook (Colin O'Donoghue) having successfully jogged Emma Swan's (Jennifer Morrison) memory, which had been wiped clean in order to save the residents of Storybrooke, she must once again help her fairy tale family and friends out of a desperate situation. The show also stars Ginnifer Goodwin, Lana Parrilla, Josh Dallas, Emilie de Ravin, Michael Raymond-James, Jared S. Gilmore and Robert Carlyle.
During this recent interview to discuss what's to come for the remainder of this season, showrunners Adam Horowitz and Edward Kitsis talked about why the Wicked Witch wants vengeance, how much we'll learn about her backstory, what type of Glinda (Sunny Mabrey) we'll see, that they'll be hitting on a number of touchstones from the L. Frank Baum books, the journey for Henry to get his memory back, how Neal is dealing with his grief over Emma and Henry, where Emma's heart is at when it comes to Neal and Hook, where things are at for Belle, an upcoming flashback to a young Cora (Rose McGowan), how disappointed they were not to be able to get Jamie Dornan to return this season, and just how much of a mystery Snow White's pregnancy will turn out to be. Check out what they had to say after the jump, and be aware that there are some spoilers.
Question: What vengeance is the Wicked Witch looking for, with Regina?
ADAM HOROWITZ: The vengeance that she wants to enact is exactly what we're going to get into, in the next episodes.
EDWARD KITSIS: When we learn more about the Wicked Witch and her backstory and what happened, we'll understand that what she has against Regina is a global problem and an internal problem. We can tease that those two are definitely going to get into it.
When will we get that backstory?
HOROWITZ: That backstory is doled out. You will certainly learn more in the next episodes.
KITSIS: You'll learn more in every episode. What we were excited about for this second half [of the season] is that we're flashing back to the year that was. In every episode, we're unloading this mystery of what happened, who cursed them, and who this crazy green woman is. We'll reveal her origin story in Episode 16, which is entitled "It's Not Easy Being Green."
Is the Wicked Witch Elphaba?
KITSIS: She is not. Her name is Zelena, and she is our own creation.
Will the Oz story be as big of a part of the story, in the second half, as Neverland was, in the first half?
HOROWITZ: It's very different, in its conception. The Wicked Witch is a big part of the second half, and she's a driving force, as an antagonist. You will see Oz, and we will spend a little bit of time there, but it's not that everybody gets on a ship and goes there.
KITSIS: Once again, we'll be in Storybrooke, and then flashing back to the Enchanted Forest, and also Oz, for an episode or two. The Wicked Witch is the driving force and the mystery. The idea is to treat both halves as a season. Neverland started in the premiere, and then we ended it. The same thing for this. The Wicked Witch story will play out in these next episodes.
Will there be a nod to the yellow brick road?
HOROWITZ: Oh, yeah.
Will Christopher Gorham be back?
KITSIS: Perhaps.
When will we meet Glinda?
HOROWITZ: We will meet her in this half of the season, in the latter half of this run of episodes. We've cast Sunny Mabrey as Glinda, and we're very, very excited to have her join our world.
KITSIS: She's still Glinda, the Good Witch, in the sense that she's positive and she has a lot of spirit to her. But the mythology of the four witches, we created on our own.
HOROWITZ: Unlike the Glinda of the movie, who appears in a bubble and is pure goodness, our Glinda is pure goodness, but she's a character who you'll see has gone through a lot more.
How wicked is the Wicked Witch?
KITSIS: She's pretty wicked, when she is the Wicked Witch.
HOROWITZ: The more you see of her, the less you're going to be using words like "nice."
KITSIS: She does some things that are distasteful, but she does it with style, which all our witches do.
HOROWITZ: We love Rebecca [Mader]. We worked with her on Lost, and we thought of her for this part. She's brought her own unique spin to this character, and it's been a collaboration to create this new Wicked Witch.
KITSIS: It's really fun because she's brought her own vibe to it and spin on it. In the scenes between her and Regina, you really see the difference. It's two great actors, bringing two different things to it.
What sort of relationship will Glinda and Zelena have, and is all of this post-Dorothy?
HOROWITZ: Those are excellent questions.
KITSIS: We will definitely see some iconic friends from Oz, and their relationship is actually going to be explored in a couple of episodes.
HOROWITZ: A lot of the big touchstones from Baum's books are hit, and we try to do our own spin on them. Hopefully, there are some fun surprises and interesting takes on that world, that involved the people you've mentioned in our Once Upon A Time way.
Will Henry get his memory back?
KITSIS: That is something that is important. He is the heart of the truest believer. So, to see the guy who started this whole thing by reading a book and believing it was real, not have his memories, is something we're going to play with. Of course, certain people, like Regina, would love for his memories to come back right away, but if you were maybe thinking you were happier in New York, maybe you're not in such a rush to wake him up.
HOROWITZ: The road to whether he gets his memory back or not will be a complicated one that is not as simple as somebody concocting a potion.
KITSIS: The emotional character view of it is about what is best for him. He has two mothers, and Emma has been really reluctant to embrace this life. Where their home is, is going to be a big question for the rest of the season.
HOROWITZ: These false memories that were put in Henry, at the end of the first half of the season, that allowed him to be in New York with Emma were good and happy memories, and that intervening year was all real. Everything they went through was real, and Henry had a pretty good year. That's something that really complicates things for everyone.
Where will things go with the relationship between Hook and Henry?
KITSIS: They're quite a team together. We will see more of Hook interacting with Henry. We went dark on Neverland, just because it was Heart of Darkness to us. These episodes are a little lighter and more wicked. It's more deliciously fun. But we'll still have the things that people love about this show, which is heavy emotion and magic. There are definitely some dark episodes, coming up.
HOROWITZ: While the stakes will be super high, there will be some fun, as well.
How is Neal dealing with his grief over losing Emma and Henry?
KITSIS: Not well. In a lot of ways, he finds himself in a similar position that his father did. He's stuck in a land and needs to get back to the people he loves. The question is, will he follow the same path. Rumple was willing to curse everybody to get what he wanted. Neal, up until this point, has been a really moral center for his dad. So, we'll see what path he goes down.
Where is Emma's heart at now, with Hook and Neal?
HOROWITZ: Emma has got a lot to deal with. In addition to those guys, she's drawn back into a newly cursed Storybrooke with a son who doesn't have his memories. Her heart is all over the place. Her priorities are her family, and saving them.
KITSIS: In a lot of ways, Emma started the season feeling like an orphan. She didn't want to have magic. She didn't want this to be her life. In New York, she enjoyed that life. The second half of the season is really going to force Emma to make a decision about what she wants to do with her future. She can't continue to hedge.
With Rumplestiltskin gone, where does that leave Belle?
HOROWITZ: It's safe to say there is a significant story that involves Neal and Belle. And Belle's storyline, in the present, is going to reflect what you see us explore, in the past. In addition, we're going to be seeing some more iconography from Belle's story, in the form of Lumière, the candle, who is going to be showing up pretty soon.
KITSIS: The other thing with Belle is that we love how she's a book worm who wanted to actually experience adventure, and this year, you're going to see her start seeing her coming into her own by using her brain. She is the hero that will reach for a book, or use her intelligence more than a sword.
HOROWITZ: The thing we love about Belle is that she's smart, and she can take care of herself and she's resourceful. All of those qualities come into play, as the story unfolds.
At what point will we find out whether Rumpelstiltskin is still alive?
HOROWITZ: In the next episode.
Are you done with Peter Pan, for good?
KITSIS: I wouldn't say for good. This season, yes.
Are there any more flashbacks coming?
KITSIS: Only for a couple episodes, when they are origin stories. We're going to get Zelena's origin story, and we're going to get a your Cora, played by Rose McGowan, backstory.
Are you disappointed that Jamie Dornan is too busy to return, now that he's got 50 Shades of Grey?
HOROWITZ: We love Jamie. We're so happy for him.
KITSIS: To be honest, we'd like to take credit for it. No. We are his biggest fans. When I was driving on Santa Monica Blvd. the other day and saw a building with Jamie looking out a window, I thought, "Fantastic!"
HOROWITZ: We're very, very happy for him. We'd love to have him, if he ever wanted to come back, but he is quite busy right now, and rightfully so. He's very talented.
KITSIS: Last year, when he did "Welcome to Storybrooke" for us, it was fantastic to have him come back. He's a friend of ours, and he's a friend of the show. Unfortunately, this year, he went right from the movie to The Fall. Because they were shooting in Vancouver, we were hoping.
HOROWITZ: His part was always conceived as that seven-episode arc, in the first season, with the hope that we could bring him back, here and there. But, it's gratifying that everyone has seemed to have responded so well to his talent.
KITSIS: The minute we saw Jamie, we loved him and thought, "That's the guy."
What had you wanted him to do, if you could have got him this season?
HOROWITZ: We can't really say because that would be a big spoiler.
KITSIS: Ask us that after the finale, and then we will tell you exactly what we wanted to do and you will be so bummed that we didn't get to do it.
HOROWITZ: We miss him, dearly.
What can viewers expect from Robin Hood and Regina?
HOROWITZ: You're going to see them meet, in the next episode. Whether true love happens or works out or not, it's going to be a very interesting road that they will travel together.
For the flashback to Snow White's father, how will that play into the story?
HOROWITZ: We're going to see the Snow White family, in the early years. We'll see a little bit of King Leopold when he was younger. We're going to see how there were some interactions between him and some of the other characters, that you may or may not have expected him to interact with.
KITSIS: The fun of these stories is that, now that we've had two and a half years, you've had a taste of all the characters, so we can dig a little deeper. We're going to understand a little more about King Leopold when he was a prince. We're going to get a little more insight into his side of the family and Snow's side of the family.
HOROWITZ: We're also going to learn a bit more about Snow's mother.
What can you say about the introduction of Blackbeard?
KITSIS: I can say that he does not shower very much. He is a pirate, through and through. He and Captain Hook do not have a lot of love for each other. The only thing that two pirates would fight over, even more than a woman, would be a ship.
Can they still do magic in this newly cursed Storybrooke?
KITSIS: Yes.
KITSIS: Everyone who's not dead. If you're dead, you're not there.
HOROWITZ: Everything that happened during the previous curse has still happened.
KITSIS: But, there may be some new people. You never know who will show up.
HOROWITZ: In that first curse, there were certain protected areas, and people that didn't make it over. This time, there may be some other people who have come over.
Since she has no memory of how it happened, is Snow White's pregnancy a mystery?
HOROWITZ: It's Charming's. But that said, there is a lot to be discovered about what happened, in that intervening year.
Once Upon A Time airs on Sunday nights on ABC.


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Student or Learner
The Reasons For Space ExplorationSince human beings first appearance on Earth, curiosity has always acted as a force of human nature which is the predominant factor that todays knowledge of science and technology has its grounds on. Accordingly, space exploration is one of this curiositys outcomes that some people claim that more money should be allocated in this field of science in order to understand more about space, the universe and its system, trigger new inventions in science and find alternative planet to live on.
The first reason for space exploration concerns understanding more about space, the universe and its system. Due to the fact that the widespread belief amongst people about aliens existence has stirred a lot of controversy, research in science is accelerated in order to find certain answers to intriguing questions about aliens.
The second reason for space exploration concerns the possibility of triggering new inventions in science. Because of the fact that there are still thousands of unanswered questions among scientists, learning more about space and the universe has caught immense attention. Since human beings are lacking in knowledge of space presently, there are still thousands of facts to be discovered which subsequently will trigger new inventions in science.
The third reason for space exploration concerns the search for an alternative planet to live on. Since the Earths population is constantly growing and the climatic changes on this planet are causing unbearable sufferings among people, the search for a new planet which should be similar to Earth in terms of temperature, gravitation and air concentration, etc. has become one of the most desired feature in most peoples lives.
In conclusion, the idea of allocating more money on space exploration and its research is highly supported by its proponents based on its possible outcomes like understanding space and the universe, new inventions in science and finding an alternative planet to live on. Hence, many governments expect to gain interest and cooperation among others in order to carry out this research for a better future.
Figure out what you want to say and say it.
Strive for clarity.
Space between paragraphs.
Make sure you have a point.
Don't ramble.


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Andy Greene scored, Travis Zajac added an empty-net goal, and Cory Schneider made 33 saves for his fourth shutout of the season to lead the New Jersey Devils past the Columbus Blue Jackets 2-0 on Saturday night.
Playing their lone road game in a 10-game, 23-day stretch, the Devils won for the first time in four away games. They had lost their previous two games overall.
Curtis McElhinney made 19 saves for Columbus, which has lost five in a row (0-4-1). The Blue Jackets are .500 on the road (14-14-2) but just 12-17-2 at home.
Top news stories in the tri-state area, in America and around the world
Neither team could really afford a loss. New Jersey came in 12th in the East, nine points below the playoff cutoff. The Blue Jackets were four points behind the Devils in 13th, 13 points back and needing five teams.
The Devils didn't record their first shot until almost 15 minutes had elapsed, but Columbus couldn't get of its drives past Schneider.
New Jersey netted all the goals it would need in the first period.


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Lake Ontario, 2 Bedroom Waterfront Home, Year Round
New Listing in Sandy Creek, New York
2 Bedroom Waterfront Home, Year Round, Lake Ontario - Contact Bob McTague at 315-882-6610 for more information about this home located in Sandy Creek, New York.
Sandy Creek, NY Neighborhood -This cozy and well maintained "year round" 2 bedroom, 1 full bath, Ranch home is located on North Sandy Pond boasting 50' of waterfront.
Living Area Features - The living area features a large kitchen, a spacious and open living room with a large picture window that provides great views of the sunset and the water, 2 good sized bedrooms, and a full bath.
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Recent Posts
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Tags(whatever you do, do not say s-h-i-t-s-t-o-r-m.) **saved from the draft part 2 07/08/05 4eva 20 Monty 31 percent of young journalists (34 and younger) expres 2008: The Long Road Home 2009: Ladyparts ATTACK :P above the nip another one got away another telling tuesday moment ben marrison blingee saves the day bobcat update complaint department crotchety dammit dammit dammit don't worry mom God ISnt Finnishd wif me yEt. gpoyas helping the nation heal i'll be the best girl you'll ever meet. i'm going to off myself tonight i'm never drinking again i could teach you but i'd have to charge. intelligent discourse it's like Darfur only worse. it's ok if you don't understand. it's this whole crazy thing journalism lil' peckers my effing car got towed non-commital. running shitstorm 2007 tot two vacation we have fun What's Demoralizing Us Now when in Bangs why won't anyone buy us a decent digital camera work. ya-ya sisterhood of the traveling pants Yes We Can you're right
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Tag Archives: **saved from the draft part 2
Reasons why I suck, Vol. 7**
My body decided last night that I had been working a little too much and it didn't let me go to work. There was a bout of early-morning ralphing (not that kind of ralphing) and a general sense of all-around … Continue reading


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Military movers may not notice right away, but an organizational shift in how their relocations are processed could mean changes to the moving system in the coming months.
U.S. Transportation Command is taking over a portion of the logistics ― the part that includes running Move.mil ― from the Army. Military Times has the full details here, but we want to know which of the proposed TRANSCOM areas of improvement would make the most difference, if changes came to pass?
Don't see the poll above? Click here.


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BannerBio is dedicated to the analysis, identification and manufacturing of active ingredients derived from plants. Our competitive edges come not only from the environmentally friendly production process and reasonable cost control, but also from our unique technological strength ActXTract®, a set of technologies used to produce in a more efficient and energy saving way.
In order to provide our terminal manufacturers with a technology upgrade platform far superior than existing forms for a variety of functional factors, including powdering of liquid, masking unpleasant odors, protecting activity, rapidly dispersing and improving bioavailability. BannerBio again develops a new technological platform NanoEncaps® to satisfy the customers' various demands.
BannerBio has always been in pursuit of consistent product quality. With its unique brands GriffsTract®, GrapsTract®, OlfTract®, BannerBio enjoys high reputation among our international customers. BannerBio will continue to develop more valuable and well known brands like it always does in the forthcoming future.


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Wijermans's research focuses on understanding and formalizing of human behaviour in and on social-ecological systems. She uses agent-based modelling (computational simulation) to integrate and formalise case or expert knowledge, (social) theory and connecting to other methods to contribute to a deeper understanding.
At SRC, she works in GRAID and focuses on synthesising knowledge using agent-based modelling, i.e. comparing and exploring fishery case studies and interventions. Before GRAID, Wijermans worked in the SES-LINK project focusing on the role of human behaviour in diverse natural resource management projects. These projects concerned theory development (AgentEx), exploring the effect of assumptions on fisher behaviour (FIBE) and the role of complexity in SES inspired by Balinese irrigation (COBA).
Wijermans has a PhD in Social Simulation with a thesis titled 'Understanding crowd behaviour' and MSc in Artificial Intelligence, specializing in autonomous systems. Her multidisciplinary upbringing (mix of computer science, psychology, math, philosophy, etc.) and development towards social-ecological system research is a relevant addition to the variety of multi-disciplinary scientists at SRC.
Wijermans also engages in a number of scientific committees, such as: Active member of the European Social Simulation Association (Management committee, 2012-2016; Coordinator of a special interest group on Cognitive models in Social Simulation (2012-2016); Coordinator & organiser of ESSA@work workshops and conference tracks for modellers (2008-2016).
Research news | 2018-11-20
Several new and exciting projects will be initiated
Research news | 2018-11-09
The perception of cognition and other related terms easily get misunderstood in scientific processes, leading to frustration, communication breakdown and a collaboration impasse
Research news | 2016-11-04
Why cooperation alone is not enough to secure sustainable use of a resource
Research news | 2016-10-07
Better representation of human behaviour needed in models of social-ecological systems
2017 - Book chapter
Occupy, the Gezi park movement, the Maidan protests, or the recent solidarity marches for Charlie Hebdo—since the uprisings of the Arab Spring, we could observe many examples of on-site protests on big squares and streets being accompanied by waves of collective action in social media. We present the design stage of an agent-based model that will allow us to explore the following questions: What role does social media play in ...
2017 - Journal / article
Formal models are commonly used in natural resource management (NRM) to study human-environment interactions and inform policy making. In the majority of applications, human behaviour is represented by the rational actor model despite growing empirical evidence of its shortcomings in NRM contexts. While the importance of accounting for the complexity of human behaviour is increasingly recognized, its integration into formal mo...
2016 - Journal / article
Of the many crowd behavior models, very few have been used in assisting crowd management practice. This lack of usage is partly due to crowd management involving a diversity of situations that require competencies in observing, sense-making, anticipating and acting. Crowd research is similarly scattered across disciplines and needs integration to advance the field towards supporting practice. To address these needs, we present...
2016 - Journal / article
Cooperation amongst resource users holds the key to overcoming the social dilemma that characterizes community-based common-pool resource management. But is cooperation alone enough to achieve sustainable resource use? The short answer is no. Developing management strategies in a complex social-ecological environment also requires ecological knowledge and approaches to deal with perceived environmental uncertainty. Recent beha...


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Election Launch Party and Candidate Adoption Meeting - On the evening of Friday 27th March we will be launching our election campaign with an event from 7.30pm at IpswichLabour Club (just to the rear of the Party Office, in Silent Street) - in their newly built function room - hosted by special guest, former BBC Suffolk & Town 102 radio presenter(and Labour supporter) Nic Pandolfi. At this meeting we'll be formally adopting David Ellesmere as our Parliamentary Candidate - and making sure we are ready for our Flying Start campaign weekend. Also cash bar, raffle etc...
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Campaign Launch Night
When?March 27, 2015 at 7:30pm - 11:30pm
Where?Ipswich Labour Club.
35 Silent Street
Ipswich IP1 1TF
United Kingdom
Google map and directions
Peter Randall · · 01473 255131


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Some Points about quitting Smoking
Smoking is a habit that you can not just leave, especially if you have a long history with them. Most of us know that smoking significantly harms our health and people around us, but nobody seems willing to note when you leave.
Stop smoking has so many benefits for them, the first is that we will certainly look younger. People who smoke more than those who do. It is a fact. People who smoke have nicotine stains on teeth and fingers, the skin appear older, his voice is different, and their physical condition is poor. Stop smoking would be reduced from 10 years are. Exit this applies to you to take control of life and health. Perhaps the most important outcome is to take control of your health.
Smoking can be harmful and the person next to you. There are dozens of cancer, vascular disease, heart disease and lung disease than smokers to suffer. The odds of having lung cancer is 20 times more likely to be a heavy smoker, compared to non-smokers. Smoking is simply a very bad thing to do.
Think of the money saved, if you quit smoking! Smokers usually do not believe that for all the great things that they could save money on cigarettes. You can put the money even on a trip, you can enjoy with family and friends.
Another reason to abandon this bad habit is that you are more socially acceptable, and many areas do not allow smoking today. Bars and restaurants do not accept, work and leisure clubs, smoking in his presence. If the host is more direct and everywhere you go!
Many of you will agree with me that the people of cigarettes as a way to relax and cope with pressure. But we must also accept that most people learn to stop smoking, how you deal with stress in other ways. Non-smokers have a bad smell usually speak. If you stop smoking, make the scent slowly.


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AOL Adds New RSS Content to Its Video Search Engine
america online, a leader in internet technologies, web brands, interactive and e-commerce services, announced collaborations with a variety of video producers, in a bid to cover all of the bases for consumers in terms of video content.
"there's a lot of variety in the group of partners that we've just announced," said a representative for america online.
"from hip-hop videos to business news, we want to make sure there's a wide range of content available for users to find through our video search."
among america online's newest affiliates, pc world will cater to the tech audience and forbes.com will offer breaking business news feeds.
evtv1.com is slated to provide your daily celebrity gossip fix and blastro.com will serve up the urban entertainment while gametrailers.com will share its library of information with the video gaming community.
in addition, time4 media has agreed to do it up right for the sports enthusiasts, by offering feeds from their transworld skateboarding, snowboarding and surfing sites, according to a recent news release.
consumers can now access the recently added optimized rss feeds through america online's video search engine.
the search repository is currently available on the aol service or through the aol.com portal's video tab or aol search.
the company says it will also offer clips through singingfish (its audio and video search tool) and its related network of properties.
by working with america online to index their content through aol's search properties, video producers can make their clips more accessible to consumers while also driving increased traffic to their web sites, the company said.
america online's extensive video search database draws its content from the company's 18,000-strong video-on-demand archive and from its singingfish collection of 1.5 million clips.


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Reducing emissions doesn't mean re-engineering of your vessel
Our systems help to make significant reductions in greenhouse gas emissions from both ships and rigs.
We focus on offering cost savings through increased electrification, less fuel consumption, reduced emissions and improved efficiency.
We are fortunate to have so many skilled professionals on our team. Every day they find solutions that benefit us all.
So we're in no doubt – the future is looking very bright!