Palmyra House, Nandgaon, Maharashtra, India by Studio Mumbai
Located outside of Mumbai on the Arabian Sea, Palmyra House was built as a refuge from the bustle of the busy city. The 3000 sq ft. house consists of two wooden louvered structures set inside of a functioning coconut plantation. Anchored to stone platforms, the structures overlook a network of wells and aqueducts that weave the site into an inhabitable whole. Living room, study and master bedroom are contained in the north volume, while the south volume contains the kitchen, dining, and guest bedrooms. Set in the plaza between the buildings, the pool provides a channel for swimming, with expansive views of the sea to the west and views into a dense foliage of palms to the east.
Well…this is certainly the right place to be. Happy weekend everyone!
Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster.
Morning Mist in Saxon, Switzerland by Jens Böhme
Neat! Terrestrial lunar libration.
What happens when museums open themselves up to stories that are less precisely defined and more open to investigation? This new book release outlines one example, which took place at MCA Denver
“Everything in our lives today is so fully known. Every object has a barcode. Everyone has a traceable genetic code. Our smartphones let us know exactly where we are. And all the analysis that objects undergo at museums—by curators, conservators, scientists, and historians—only serves to place those objects deeper and deeper into categories of knowledge and history. Everything arrives to us in the full light of day with a wealth of background information. But in Ron’s collection, there is the rare opportunity to experience something different.” —Adam Lerner
Adam Lerner is the director and chief animator of the Museum of Contemporary Art Denver. In From Russia with Doubt, he follows the trail of 181 unauthenticated artworks presumed to be masterpieces of the Russian avant-garde. This is the true story of two unassuming collectors, a museum director, and the uphill battle that is fine art authentication.
I don’t like being lied to.
Unless it’s my brain lying to me via neuro-optical trickery, in which case I love it.
Beat Consoni - Atelier Brust & Schwing, Bohlingen 2002.
Page 1 of 16