Historically, the U.S. Centers for Disease control and Prevention has been the agency in charge of predicting, and containing outbreaks of disease. But as Covid 19 ravaged the country, the agency took a backseat to the White House.
Michelle Fay Cortez and John Tozzi discuss how the agency has handled the pandemic response, its early missteps, and how its role is likely to change in the future.
From a CityLab online article (April 10, 2020):
What might that mean for the bathrooms of the post-coronavirus world? Americans have already demonstrated a keen fixation with this household feature: In the last 50 years, the number of home bathrooms per person has doubled. One could easily see the lavatory-building boom accelerate further as future homeowners keep the needs of the self-quarantined in mind. And many have speculated that sales of bidet attachments will surge as toilet-paper shortages encourage Americans to embrace this more sustainable alternative.
Alter predicted that disease-avoidance would rise to the fore of bathroom design a few years ago, when he observed the traumatizing effects of the 2003 SARS outbreak on Toronto, which killed 44 people. But home design in general — and bathroom design in particular — has long been influenced by infectious disease.
The modern bathroom developed alongside outbreaks of tuberculosis, cholera and influenza; its standard fixtures, wallcoverings, floorings, and finishes were implemented, in part, to promote health and hygiene in the home at a time of widespread public health concerns.
Overlooking the Aegean Sea, a charming string of coastal neighborhoods form the Athens Riviera, a serene escape from the constant activity in the city’s center. A selection of high-end hotels lines the pristine stretch of beaches down to the southernmost point of the Attica Peninsula.
The revamped Four Seasons Astir Palace, with a history of housing foreign dignitaries and film stars of the 1960s, is the most luxurious hotel in Athens, perhaps even in all of Greece. The night club, Island, is bringing back the glamour and excitement of the twentieth century bouzouki clubs reminiscent of names such as Melina Mercouri and Stavros Niarchos.
Athens is experiencing a revival—in art, night life and design. For a metropolis constantly associated with the past, the modern strides in development and culture are sometimes overlooked in favor of the ruins and artifacts from antiquity. When in fact, the juxtaposition only enhances the beauty of both. Athens Riviera puts the old-world beside the new-world and a deeper understanding of this ancient capital emerges. With one foot in the past and one foot in the future; access to both the electricity of city life and the tranquility of a beach side resort, Athens cannot be defined in simple terms. One just has to experience it for themselves.
Stéphanie Artarit began her career as a journalist, and worked as a psychoanalyst for many years in Tokyo. She then went on to write the novel Variations of the Devil in 2013. Today, she divides her time between homes in Athens and the Cycladic island of Antiparos, where she also operates her boutique, Petit Tipota, and represents several French fashion labels in Greece. In 2018, she began her company, The Gang of Style, which specializes in designing in-house boutiques for luxury hotels all over the world.
Created and Directed by: Vadim Sherbakov
“Serenity” is a non-narrative short drone film, produced with the unique camera angle, facing straight down at -90º at the wonderful texture of earth landscapes. Because of this and the subjects it captures, you can watch this film both horizontally or vertically. Here is a horizontal version, but you can see the vertical one, on my Instagram or IGTV.
The film itself is a 3 minutes blend of total tranquility and calmness that allows you to escape reality for just a short while. Shot in different places on earth such as Iceland, Norway, Spain, Portugal, Belarus and Russia, it shows the unique and gorgeous landscape at an unusual angle. So bring up the volume or put on headphones and immerse in it.
Although our galleries are temporarily closed we wanted to share the Aubrey Beardsley exhibition at Tate Britain with you. Join Tate curators Caroline Corbeau-Parsons and Alice Insley as they discuss the iconic illustrator’s short and scandalous career.
Before his untimely death aged twenty-five, Beardsley produced over a thousand illustrations. He drew everything from legendary tales featuring dragons and knights, to explicit scenes of sex and debauchery. His fearless attitude to art continues to inspire creatives more than a century after his death.
Aubrey Vincent Beardsley (1872-1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which also included Oscar Wilde and James McNeill Whistler.
Italian tenor Andrea Bocelli sang in a closed Duomo Cathedral in Milan on Sunday, as a part of a “Music for Hope” event designed to bring people together during the new coronavirus outbreak.
Instead of a crowd in the pews, Bocelli’s performance was watched via livestream on his YouTube channel. Accompanied only by the cathedral’s organist Emanuele Vianello, the Italian opera singer’s set included classic songs such as “Ave Maria” and “Amazing Grace.”
A selection of three essential articles read aloud from the latest issue of The Economist. This week, the business of survival—those companies that survive the coronavirus crisis will need to master a new environment. Plus, how to reopen factories after covid-19 (9:23) and Venezuela’s navy battles a cruise ship, and loses (17:41).
From a The Architectural Review online article (April 9, 2020):
The sleep industry caters to a working consumer’s wish to sleep less, yet sleep more productively, and accommodates transnational industry which has joined the state as a custodian of biopolitics. Jonathan Crary’s 24/7 spells out in detail how the state and a capitalist economy are encroaching stupendously on the private sphere, in which sleep was one of the last vestiges of unfettered time.
About 15 years ago, someone calculated the financial loss US companies incurred through workers’ illicit practice of sleeping on the job. Indeed, the trope of the lazy sleeper is an old one, resignified at present in our more than callous attitude towards the homeless, whose sleeping bodies punctuate many a journey to and from work.
Even in this most passive stance – someone simply disregarding normative codes and regulations by giving in to a physical need – sleep seems suspiciously subversive. Less an act than a way of being, the sleeper, by sleeping when and where it is not condoned, challenges everyone else, who is doing/working/functioning/functionalised. Contrary to the tree falling in the forest, the sleeper in the workplace or in public space affects and thus ever so slightly transforms those around them.
Charles Mahoney,(18 November 1903 – 11 May 1968): Painter, muralist, draughtsman and teacher, born Cyril Mahoney in London – his fellow-student Barnett Freedman re-christened him Charlie at the Royal College of Art, which he attended 1922-6 after a period at Beckenham School of Art under Percy Jowett. Early on, Mahoney established a reputation as a conscientious teacher.
He was at the Royal College 1928-53, from 1948-53 as a painting tutor, and was noted there for his concern for academic discipline.
His portrait is included in Rodrigo Moynihan’s celebrated Teaching Staff of the Painting School at the Royal College of Art, 1949-50. From 1954 to 1963 he taught at the Byam Shaw School of Drawing and Painting and from 1961 to 1968 at the Royal Academy Schools. He painted murals at Morley College 1928-30 with his colleagues Eric Ravillious and Edward Bawden.
Unfortunately these murals were destroyed during World War II. The work led to further murals: at Brockley School, Kent, with Evelyn Dunbar; and at Campion Hall Lady Chapel, Oxford. His oil paintings are frequently of a religious nature. He was a skilled botanist, and many of his drawings depict his garden at Wrotham, Kent.
He exhibited at NEAC and the RA, being made an RA elect in 1968. He is represented in the Tate Gallery and other public collections. The Ashmolean Museum, Oxford, held a memorial exhibition in 1975. Exhibitions were held in 2000 at the Harris Museum and Art Gallery, Preston, Royal Museum and Art Gallery, Canterbury, and the Fine Art Society plc in association with Liss Fine Art.
From reception pavilion to proper house, 2m26’s houses are unique pieces. They are produced made to measure, on demand. They absolutely fit to the landscape. The houses are made of pine planks, rough cuted. The structure is protected with linseed oil to resist to weather conditions and walnut stain can be added to obtain a dark color.
The building process / prefab gives the opportunity to prepare all the pieces at the Atelier. Moreover, it reduces on site time of construction, damages on plants and minimizes noise pollution. On site construction can be scheduled from a week to a month.
Techniques used are mostly cutting, drilling, screwing, so that the assembly work can be done together with the customer, reducing costs for him.
About 2m26: Born in 2015, 2m26 summarizes ten years of researches and experiments about inhabiting.
Proceeding between design and architecture, 2m26 offers tools for living / handmade, thrifty and luxury / unique pieces designed and produced on demand / raw materials, natural processings and mastered development / simple, handsome and functional.
The crew :
mélanie heresbach / artist / architect.
sébastien renauld / artist / architect.
Boomers Daily 