#Mercedes Benz golden colour

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Mercedes Benz S Class 2012 2021 Maybach S650 Overview in golden colour

Mercedes Benz S Class 2012 2021 Maybach S650 Overview in golden colour

Mercedes Benz S Class 2012 2021 Maybach S650 Overview in golden colour If you are a car lover and love to post car driving and drifting videos on your whatsapp status, this collection is especially for you. We have collected lots of new super car status videos that shows attitude and coolness. From the normal cars to super cars we have added lots of car status videos in this collection. You can…

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A Dive Into Toiletpaper

A woman lays on a harshly lit blue floor next to a lobster, a man in a garish suit paints the entire globe a hue of turquoise, a lady devours a chocolate bar on top of stacks of money. This is just a few different types of the absurd imagery that can be seen with a slight delve into surrealist magazine Toiletpaper. Founded by Maurizio Cattelan and Pierpaolo Ferrari, the magazine comes out twice a year and has a huge and bright website accompanying the ongoing project.

Image from Toiletpaper magazine.

The two artists met on a shoot for W magazines art issue in 2009. There's not a great deal to the story other than they met on shoot, Cattelans camera broke and Ferrari agreed to let Cattelan use his. The rest is a deep level history. The two artists create an intriguing alternative to art when considering Cattelan having years of experience of the fine art field vs Ferrari who mostly focused on advertisement and commercial photography works. It would be hard to go into much detail about Toiletpaper magazine without discussing both the artists who created Toiletpaper in the first place, so let's hop back three steps before we revisit.

Maurizio Cattelan

Cattelan is an Italian visual artist, considered to be one of the controversial in the contemporary art world. I've discussed some of the types of works in an essay last year where I went into a vague explanation about his golden toilet that was stolen from the art gallery and more recently, the banana that was duct taped to the wall. The piece itself was titled Comedian and was a reflection on how fast things are passed around on social media in this current climate. People were quick to completely slate this piece of artwork in particular, branding it boring and not art, but the piece was never created to be a beautiful piece of art. It was simply created to have a message behind it.

Comedian sold for a hefty $120,000 at the Art Basel, making it a very expensive banana, but it was never clear just how long these bananas would be displayed on the wall for. Would they replace the banana or would they just let the banana shrivel up and die? And what's worse is the performance artist who then went to one of the shows and took the banana off the wall to then eat it ???? I've done a whole art degree and contemporary art still really confuses me.

Cattelan's work is created for discussion, to intrigue the viewer, and he asks us to reflect on what the meaning of art really is and to create joke pieces of works that are thought provoking.

Pierpaolo Ferrari

Ferrari began his work in Milan in the early 90s, typically focusing on advertisements, shooting the campaigns for the likes of Nike, Mercedes Benz, Heineken and MTV to name a few. Aside from working on Toiletpaper magazine, Ferrari also shoots Hollywood actors and models for the likes of Vogue magazine. Think bright, surreal, out of this world. The works Ferrari produces very much resemble a cut and paste job from a magazine, a layered collage, or sometimes nostalgia. Solely based on the colour palette that Ferrari chooses to use in his works, saturated pastel colours, loud backgrounds, the person typically modelled into something that feels ironic to look at.

Like I'm not really sure how Ferrari got away with placing Michael B Jordan into the galaxy, held up by a giant hand, but I love it and it works. This image was taken from the Hollywood issue of Vanity Fair, a special issue for 2021 which was produced and photographed by both Cattelan and Ferrari together. The whole spread and the image used for the cover was just as bonkers as the rest of it.

Imagine the wild performance artist constantly getting himself under fire for creating such controversial pieces that then end up being stolen, eaten or straight up pranked who then begins to work with a bonkers surrealist commercial photographer. That is Toiletpaper magazine. It's a joined forces sharing their one braincell type of work, but it works so well.

Every image created for every issue is created entirely from scratch, despite some of the images looking like they've come from the weird side of the countless stock images online. The two artists simply start with a loose theme that they want to present in the magazine and they create everything for the issue from there, it seems like a never ending major project. Every 6 months features a brand new branch from the tree onto the next subject. The way in which the magazine is produced is also very similar to the way it would work back when I was creating my uni projects,,, scrapping a huge majority of the images for the project simply because they weren't on theme enough. This for Toiletpaper was that images were scrapped from the issues because they didn't have enough uncanny ambiguity.

The large scale images featured throughout the glossy biannual issues of the magazine create a world that is so similar, something that we have all lived before, but it looks so alien all at the same time. An image of a little dog across the double page spread looks normal at first glance until you realise that the dog has a pipe in its mouth and is smoking it. The types of images featured in the magazine feel like the types of things you would see in your dreams, or nightmares, you decide. The images paint this idea to be familiar with something, but also disgusted and it works. For Christmas, my boyfriend gifted me issue 15 of the magazine and upon a general flick through, I doused my eyes on this image of a woman who appears to be licking an ashtray. The ashtray filled with ash and cigarette butts, I was horrified, but I also couldn't tear myself away from the page.

The duo have taken their images from the pages of their magazine and brought it out into real world collabs, these including Vice magazine, Absolut and Martin Parr to name a few examples. Some of the names they have worked with feels like the two have got a hat, written some names in there and pulled them out at random.

Toiletpaper advert for Absolut Vodka.

The Absolut x Toiletpaper collaboration may be one of the most interesting in the use of artists, the statement the advert was trying to make, but also how it relates to the brand at the same time. The duo have done a really eye opening job at creating this advert. The ad solely focuses around how women on average are paid 14.5% less than a male doing the same job as them, next to the text features an companying image of a woman in a money note dress cutting a rope. The male hand is seen from the bottom right corner pulling a string which is attached to the woman's dress as if to portray how she is working harder than him and yet he is the person receiving the main profits of her work.

The bright red background is both portrayed to present this high alert danger, a bright hue that is set to capture the attention of anyone walking by this if the advert was displayed on a billboard somewhere. Not only that, but it is also the typical colouring that Cattelan and Ferrari love to use in their sets of work. It is something that is powerful and captivating, I really like this piece of work I can't lie. It has a 'the more I look at it, the more I like it' aura to it.

Toiletpaper exhibition w/ Martin Parr @ The French Academy.

Another unlikely collaboration that blends and works perhaps a little too well together. This was the Toiletpaper x Martin Parr collaboration exhibition. The show was called 'Villa Toilet Martin Medici Paper Parr', the works between the three artists are then displayed outside in the gardens of the building.

This collaboration is interesting because the show came about after the three artists had already teamed up before to create their own photobook and also a special edition of Toiletpaper magazine and they all joined forces to showcase the best of their works. It's kind of like a sequel to the physical photobook that already existed, but instead you can immerse yourself within all of the images and look at them all larger than ever before. The works of Toiletpaper, we know that they typically create work that appears to be something we are familiar with, and all disgusted by. I feel that Martin Parr does take on a similar approach with his works. Parr has a portfolio extending over decades, typically using public areas such as the beach to document and record people of the beach. While it's quite a familiar scene, it also disgusts me in the way that I remember than human beings are all a little bit gross and a bit of an ick, I hope that makes sense.

Martin Parr's Life's A Beach @ Giant Gallery. 2022.

There is an irony with how they are very different artists, but the overall works they create are very similar and work incredibly well within an exhibition space.

Toiletpaper for the Vice photo issue. 2019.

When doing research into the collaborations that Cattelan and Ferrari have created, it was no surprise to me that they had worked with Vice in the past. It makes the most sense, the way in which I wouldn't raise an eyebrow if they had worked with Adult Swim in the past too.

The duo worked for Vice for the first time in 2012 and have since designed four covers for them as well as being featured in the yearly photo issue three times. The image they created for the 2019 photo issue had to be my favourite because I think it is something that perfectly explains the types of work that Cattelan and Ferrari creates. The knight in a suit holding a banana is very much an ode to the controversy of Comedian, a little reminder of a piece of art which we may have forgotten as the year went on, I for sure didn't. The knights against the striking background is in summary to the surrealist commercial works that Ferrari has graced us with over the years. The cover for the magazine was also in homage to Natalia LL and her piece Consumer Art, a piece which had also been censored in Poland at the time.

All in all, Toiletpaper as a collective are ahead of their time. Through their controversies and little scandals, this duo are not going anywhere anytime soon and I live to see what types of surrealist disgusting work that they come up with next. I'm so grateful that my uni lecturer introduced me to the work of these two back when I was creating my final major project because I feel as though they have become a major influence on the types of works that I create today and the things I will continue to create in the future.

The full Toiletpaper magazine website can be found here

You can purchase the Toiletpaper x Martin Parr photobook here

[gurukripatimbersuppliersblog]

Imported Wood Supplier in Mohali

Introduction

Home, kitchen, gifts and furniture products made from wood are the best ones. However, a variety of woods are available in the market these days. 

But most of the products are made from mango wood, which gives a luxurious, practical look and is also sustainable.

Today, in this article, let’s look over different types of imported wood and talk about the wood available from imported wood at Guru Kripa timber in Mohali.

Different Types of Imported Woods

Here are a few types of Imported Wood available at Guru Kripa Timber, the best-imported wood supplier in Mohali : 

Sudan Teak

Sudan teak is a high-quality wood among teak wood. It originated in Sudan (Africa). 

High durability and beautiful grain make it ideal for yachts and boats. It also gets used in the automobile industry for das boards of Mercedes Benz S series cars.

Meranti Wood

Meranti wood is a hardwood from the tropical Shorea tree species. And reddish brown and comes with white resin streaks. Most meranti wood is used for residential purposes and is the easiest wood to deal with.

It gets commonly used in plywood, furniture and boat building. Meranti is an exotic wood course in texture, and the grain can be interlocked easily.

Kapur Saal 

Kapur Sal is a hardy emergent tree of the tropical forests of Asia. This wood is heavy and wildly gets used for construction purposes. Kapur Sal refers to a grade of plywood, mostly known as MR Grade Plywood.

It is moisture resistant, can handle harsh weather conditions, and gives an impeccable finish to the products.

Malaysia Saal

Malaysia Sal comes from Malaysia and is one of India’s most important sources of hardwood timber. 

It comes with hard, coarse-grained wood that is light in colour when cut fresh but becomes brown when exposed. This wood is suitable for constructing frames for doors and windows.

Imported Hollock

Hollock has known hardwood used for making doors, door frames and window shutters. 

It is one of the best wood you can depend on due to its durability, strongness, and excellent woodworking finish. And can be painted and polished easily.

Golden Champ

The colour and texture of golden champ are similar to the Champ wood found in the north eastern region of India. 

It is widely in demand due to its termite resistance, stability and optimum quality. Golden champ finishes once they get polished, similar to Teak wood.

Arau Champ

Arau champ is produced in Malaysia. The texture, weight and colours of this wood are similar to the Champ wood found in the northeastern region of India. It is ideal for making door frames, chowkhat and interior purposes.

Pine

 Pine differs from oak but is an ideal choice for furniture, depending on your purpose. It may not last long as oak, but pine is strong, shock resistant and suitable for furniture if you like rusty or country styles.

Red Saal

Red Saal is imported from Malayasia; a dark reddish or purplish brown commonly comes with white resin streaks. It is a common wood used for door and window frames because of its flexibility and durability.

Conclusion

In the end, we can say that most wood products are handmade and can add value, increasing their perceived value and profitability.

You can buy all of the above-mentioned imported wood from GuruKripa, the best imported wood supplier in Mohali. 

Our exceptionally quality products will make you fall in love with your home. Our main goal is to provide our customers with authentic and premium imported wood.

Originally Resorced :- https://www.gurukripatimber.com/imported-wood-supplier-in-mohali/

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Caterina murino casino royale dress

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Caterina Murino (born 15 September 1977) is an Italian actress. She began her acting career in the 1999 production of the play Richard III and later made her breakthrough with the 2004 film The Corsican File. She went on to appear in the 2006 film Casino Royale and received a European Golden Globe at the 2008 Italian Golden Globe Awards. 5. Barbara Bach (Anya Amasova), Black Dress In Movie "The Spy Who Loved Me" 1977. Caterina Murino as Solange in CASINO ROYALE. "I love this pomegranate silk dress which I used for Solange - who was exotic, hot and fiery," says Costume Designer Lindy Hemming. "It was from Jenny Packham who made it in a colour of our choice. Emma Watson Belle Yellow Dress Beauty and the Beast. $599.99. Celebrity Inspired White Off-the-shoulder Satin Evening Formal Prom Dress. $259.99. Beyonce Inspired Black Mermaid Long Formal Celebrity Evening Dress. $209.99. Olivia Rodrigo Inspired Neon Green Strapless Tulle Dress Brit Awards 2021. $279.99.

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[carforce36]

Mercedes-Benz 280 Pagoden-SL.

The last one of its kind

History

Mercedes-Benz 280 Pagoda SL

Grand finale.

Some 40 years after its birth, the Mercedes-Benz 280 SL in sand beige is coming home. The last ever Pagoda SL ever made has put in the miles over the decades – now it shines with a new lustre.

The shimmering golden Pagoda.

The W 113 model series has a more loyal fan base than virtually any other Mercedes-Benz SL. In shape, the hardtop is reminiscent of a pagoda and this is how the open-top giver of joy got its name. Like all the SL model series, over the years it has become a motoring legend. Although the colour combination of sand beige metallic (colour code 467) on the outside and MB tex in cognac (colour code 140) on the inside is not unique, it is downright cool.

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[maudanouk]

ACT I - ABOUT VEIL AND IMAGE

EXT. GARDEN - DAWN

LENNY arrives at the WITTGENSTEIN HOUSE. Here is the garden and around it some flower beds, a space cultivated for flowers for Margot, to make a spray for her hair, to perfume the sheets.[2] The WITTGENSTEIN HOUSE embraces him warmly with its garden.

WITTGENSTEIN HOUSE

Every man must create it new and different out of himself: new and different. [3] Once on a June evening, in those long gone years when the ends of days sank into silence, I was waiting for a total eclipse of the sun on a terrace facing a garden, overlooking the foliage of a maple tree. [4] And I thought of you Lenny. In the sudden darkness I saw you, hidden behind a veil, the massive walls of the Vatican Palace. A faceless silhouette.

LENNY 

I have no image [...] because I am no one.[6] To become like everybody else; but this, precisely, is a becoming only for one who knows how to be nobody, to no longer be anybody. [9] And so, for my first adress the lightning was so dim, no photographer, no TV cameraman, and not even the faithful saw anything of me but a dark shadow, my silhouette. They did not see me because I do not exist.[10]  The prim speech imposed upon them, the lessons in good behaviour, the veil of mystery you profess to hang before their eyes, serve but to stimulate their curiosity. [7] In being everywhere and nowhere I was [...] the object of much social curiosity; people payed attention to this, spoke about it, remembered it.[8] Now that I am pressed on all sides, I maintain my equilibrium, because, no longer attached to anything, I depend on myself alone.[10]I love the immediate presence of him who is in possession of no space other than that in which I exist.[11] I keep praying for You to make something happen so why this awful, crawling feeling that nothing ever does? [11]I either hardly feel it, or don't feel it at all.[12] God does not shout. God does not whisper. God does not write. God does not hear. God does not chat. God's infinite silence...[13] I said to myself: Why should I strive to find what does not exist? [14] By extending myself precariously I exist, outside of the stability where the other subject remains asleep or dead. [15] And in the end I only thought of her[16], my Margot. I don’t know her yet but you will help me find her.

WITTGENSTEIN HOUSE (hesistates)

The new is born of the old; the new is only the repetition of the old.[5] What you’re looking for is a complete inversion. Again a mystery, a face that is not yours but this time it will not be no image but all image. The new self is constructed from a triple contingency: faith and doubt; hope that will be happy at an indeterminate time; bonds of unconditional Love.[18] When i watched the total eclipse of the sun that summer evening it soon became dark and an eclipse wind, like a wave, had risen when suddenly from the neighbouring house burst forth a sort of wild dance, with the strange, biting, astringent sound of Pan’s pipes. Young people were celebrating some festival, they had confused shadow with twilight and were playing as night fell. However much one knows about it, the veiling of the sun’s light is disturbing and transports one to another world. [18] I saw you cover up in darkness and now i see you longing for the unveiling of the sun. And in this twilight a party shall rise so that the heart, that obscure, celestial flower, undergoes a mysterious blossoming. 19]That is the only way great loves stories are born and I don't want any more part time believers.[20]

ACT II - ABOUT BEES AND HONEY 

EXT. GARDEN - MORNING 

LENNY discovers a garden in this Genesis, naturally, and in this garden only the apple tree interests him, tempts him: he can see its flowers.[21] He walks towards the tree. The WITTGENSTEIN HOUSE is observing him. As LENNY reaches for one of the blossoms a bee flies out of it.

LENNY

But how can i find my Margot in this city still so strange to me?

WITTGENSTEIN HOUSE

You have to understand what she likes. Margot is the bee and you are her honey. What does Margot like?

LENNY (looking at the flowers)

Margot likes wind in her hair and salt cristals on her skin, lace and hoodies, rings on her fingers and flowers in her hair, black panthers and partridges, walking barefoot on wet grass and wearing mid calf boots, day dreaming and ADHD, dancing underground and sleeping in white sheets, birch trees and skyscrapers, gel nails and knitting, smocking and drinking tee, equal rights and mini skirts, her birthday and celebrating christmas with her family, a Ferrari Portofino and umberella pine trees, Fellinis Roma and Mario Cart, Los Angeles and Palermo, seashells and pinecones, Zorra by Bad Gyal and playing the Bach Suite Nr. 1 on her Cello, passion fruits and rough fights, oranges and jeweled persian rice, fig trees and Coke, dry white wine and soft cheese, creaky parquet and soft carpets, stone basins and hot springs, ....

WITTGENSTEIN HOUSE

The mask does not hide the face, it is the face.[21] Your new face should combine all these elements to a story. You become invisible by making, on the contrary, a lot of noise.[22] [...] the veil of mystery you profess to hang before their eyes, serve but to stimulate their curiosity[23]. In being everywhere and nowhere [...] the object of much social curiosity[24] people will pay attention to it, speak about it, remember it. And I will be the embodiment of your story the place where all elements manifest in a happening. A great feast Margot will want to attend.

ACT III - THE INVITATION

INT. MARGOTS MURCIELAGO - AFTERNOON

A downpour of summer rain patters on the front window.  MARGOT is waiting at a red light. Her phone buzzes and she opens the message. 

TEXT ON SCREEN

My darling friends, there’s one spectacular party in the making! Join us tonight at the Wittgenstein House to another glass of white wine under the fig trees, eating fresh fish on soft carpets next to blossoming anthuries. Glowing cheeks from dancing till dawn. Bring a delicate, floating, spring bouquet of florets in new leaf green, cherry blossom pink, and marigold yellow[25] and we’ll serve everything else. XOXO EROS (Gossip Girl, Prince Charming, SHY GIRL, haha)

ACT IV - THE PARTY 

EXT. THE CITY INT. AVAS FERRARI PORTOFINO - SUNSET

The rain had stopped. The water evaporated on the hot asphalt and left a sultry summer evening air. AVAs car is speeding down the Ringstrasse. The roof of the cabrio is folded down and the wind blows through their hair. 

AVA (lost in thought)

Do you think EROS will attend the party today? I wish we’d find out who’s behind all this uproar. Maybe it’s one of our friends hiding behind a second persona. It would make sense because EROS seems to like all the things we do. 

MARGOT

Some weeks ago we’ve never heard about him and now he's everywhere.  Noise, ruckus, rumors spread.[27] I’ve heard the parties are supposed to be unique in its kind and his face, enveloped by a more or less dense veil[26] has sparked many suspicions. (sighs) I think he looks like Hauru, wearing drop earrings made of rubies and emeralds combined [...] dripping down[27] his lobe, a radiant boy [...] his blonde chin length hair making him the cynosure of all eyes.[27]

AVA shakes her head and starts laughing.

EXT. THE SITE - RADIATION INTO NEIGHBOURHOOD -  SUNSET

It’s dark but the garden is enlightened by the colourful lights emerging the windows. The WITTGENSTEIN HOUSE is radiant and reaching in all directions, emitting visual, audible and perceptible vibrations. The air smells of Un Jardin en Méditerranée. The Ferrari Portofino enters the SITE. AVA and MARGOT step out of it. Instantly they are surrounded by an electric atmosphere. People get chauffeured around in Mercedes Benz with Cristal champagne.[28] On inspecting the entrance facade, you can discover a series of metaphors and symbolic signs.[29] It would be too strong to call this fantasy a portal to Hell, but it is surely no entrance to a Heavenly Jerusalem[30]. AVA and MARGOT join the stream of guests walking through the garden towards the WITTGENSTEIN HOUSE greeting, kissing, hugging.

INT. THE ENTRANCE - APERO - THE FIRST IMPRESSION - SUNSET

The party begins as people are moving in, gathering in the entrance hall and taking a stand up cocktail.[31] There is champagne, caviar and fireworks.[32] Ahead, some distance from the entrance, is a great mural of brilliant color.[33] Opulent Ornaments, heavy textiles, reflecting surfaces. The materials come from the everyday domestic sphere, much having to do with ornamenting the body: copper and brass wire, buttons, beads, baubles, hooks, eyes, straps, false fingernails, makeup, hair, ribbons, lace, thread, shells, feathers, and bones. The amulets are fetishes, beautiful ornamental objects, and they are connected to the fetishism of architectural representation.[34] 

WITTGENSTEIN HOUSE (whispering to the YOUNG POPE)

This is the moment we’ve been waiting for. First Impressions are made. About me as the entrance always affects the following impression of the whole house and about you. Especially Margots first impression of you. I am preparing you, bit by bit, so that, at the desired moment, I can give you the final instructions and have it all fall into place.[35] 

MARGOT (whispering)

Ava! Look at this man sitting on the seashell sofa in the garden. He’s knitting all alone while everybody else is clinking glasses. 

AVA (teasing)

Why don’t you bring him a glass of Prosecco. I know it, I feel it, and you will say it.[35]

MARGOT (concentrated)

You just know me too well and yes, he is cute.

EXT. THE GARDEN - THE TALK ABOUT LOVE - SUNSET

MARGOT walks over to the LENNY carrying a glass of prosecco. Rising up in a warm haze, the innumerable modern statues towered on their pillars half way up the golden webs of sunset.[36] The garden is a collection of living beauties, rare Plants, exotic Flowers and Fruits. The trees are old and high and in between long white cotton cloths are hanging in the trees, blowing in the wind, rendering shadow plays. LENNY is sitting in the seashell sofa sheltered from the wind, warm sunbeams began to play, streams to flow, and groves of pines diversified the rocks. [37] MARGOT hands him the glass.

MARGOT (laughing)

Hello strange man, what are you knitting? 

LENNY

Some of the more exotic plants have to be taken indoors for protection from the cold night air and swaddled in thick woollen garments.[38]

MARGOT We have, indeed, become a flower growing people.[39] So you’re actually a textile and dress designer[40] for plants of all kinds. (laughs)

LENNY

When, on a summer evening, the melodious sky growls like a tawny lion, and everyone is complaining of the storm, it is the memory of the Meseglise way that makes me stand alone in ecstasy, inhaling, through the noise of the falling rain, the lingering scent of invisible lilacs.[41] Or when I reach out to touch a fragile tree and blossoming spicules float downwards and fade, each with its clear, tiny tinkle.[42] These are the moments I cherish most. I am in love with them and that is why I take care of them. 

MARGOT (hesistating)

But for me love is not only loving and caring. It fun when it starts getting way more complex. It is raucous, low, full, pleading, vulgar, sharp, cutting, jovial, harmonious, commanding, harrowing, seductive, explosive or irritated[...] noble, high pitched, servile, majestic, ample, sick, affronted, clothed in silence, echoing with the sea or forest, undercut by the twittering of birds, howling like a wild beast, [... ]asking questions and saying come here, an alarming voice, broken, sobbing [43]. 

LENNY (sighs)

Until now I’v only got to know a more one-sided monotonous love but thats another story. I’d be excited to get to know your kind of love.

MARGOT (excited)

Oh look over there! It’s a real black panther prowling through the peach trees!

EXT. WINTER GARDEN - DAWN

People are appearing in the open doors of the WITTGENSTEIN HOUSE following the excited call of MARGOT. People start bringing out plates with all kinds of foods. The WITTGENSTEING HOUSE opens all the windows that all the curtains flow in the summer breeze. A stone basin appears and now the air is filled by lapping and cricket chirping. 

INT. SALON - DANCING AND TEASING - NIGHT

After eating the WITTGENSTEIN HOUSE starts playing Promiscuous Girl by Nelly Furtado. Slowly the dancefloor is filled with curiously dancing people. Tossing their hands in a wanton and lascivious manner, rolling around, twerking. MARGOT catches LENNYs eye and they dance towards each other.

SPEAKERS

♪ Promiscuous girl You're teasing me You know what I want And I got what you need ♪

MARGOT (smiling)

Feeling a little afraid is normal when facing something new, in a place or in a way you’ve never experienced before.[44] You don’t look like you’ve ever danced before. SPEAKERS

♪ Promiscuous boy Let's get to the point Cause we're on a roll Are you ready? ♪

LENNY (laughing)

You’re not that wrong with this assumption but you dance the way you love, it seems. Raucous, full, pleading, vulgar, sharp, cutting, jovial, harmonious, commanding, harrowing, seductive, explosive.[45] SPEAKERS 

♪ Wait... I don't mean no harm I can see you with my t-shirt on ♪

LENNY takes MARGOS hand and twirls her around. SPEAKERS

♪ I can see you with nothing on Feeling on me before you bring that on ♪

[2] Serres, The Parasite

[3] Deleuze, Francis Bacon The Logic of Sensation

[4] Serres, The Five Senses

[5] Serres, Hermes Literature Science Philosophy

[6] The Young Pope

[7] Rousseau, Collected Works of Jean-Jacques Rousseau

[8] Foucault, The History of Sexuality Volume 2

[9] Deleuze Guattari, A Thousand Plateaus

[10] The Young Pope, (Grammatics changed)

[10] Rousseau, Collected Works of Jean-Jacques Rousseau

[11]  Serres, The Five Senses

[11]  The Young Pope

[12] Wittgenstein, Philosophical Investigations

[13] Aquinas, Summa Theologica

[14] Rousseau, Collected Works of Jean-Jacques Rousseau

[15] Serres, The Five Senses

[16] Rousseau, Collected Works of Jean-Jacques Rousseau

[18] Serres, The Five Senses

[18] Serres, Branches

[19] Hugo, Les Miserables

[20] The Young Pope

[21] Deleuze Guattari, A Thousand Plateaus

[22] Serres, The Parasite

[23] Rousseau, Collected Works of Jean-Jacques Rousseau

[24] Foucault, The History of Sexuality Volume 2

[25] Kassinger, Slime

[26] Deleuze, Cinema 1 The Movement Image

[27] Serres, Troubadour of Knowledge

[27] Rand, The Fountainhead

[27] Hovestadt Buehlmann, Quantum City

[28] Hovestadt Buehlmann, Quantum City

[29] Hays, Architecture Theory since 1968

[30] Frankl, The Gothic

[31] Schumacher, The Autopoiesis of Architecture Vol 2

[32] Carter, Anthony Blunt His Lives

[33] Ockmann, Architecture Culture 1943 1968

[34] Hays, Architecture Theory since 1968

[35] Asimov, Complete Robot Anthology

[35] The Young Pope

[36] Proust, In Search of Lost Time Vol IV Sodom and Gomorrah

[37] Wollstonecraft, Complete Works

[38] Proust, In Search of Lost Time Vol II Within a Budding Grove

[39] Gothein, A History of Garden Art

[40] Callan, Dictionary of Fashion and Fashion Designers

[41] Proust, In Search of Lost Time Vol I Swanns Way

[42] Asimov, Complete Robot Anthology

[43] Serres, The Five Senses

[44] Del Toro, Cabinet of Curiosities

[45] Serres, The Five Senses

[infinitheismworld]

Enjoying the costless luxuries of life

When we fill our lives with costless luxuries, we experience a quality of life that not even the richest men in the world can experience. When man has enough money, he realises that the most essential of his wants can never be transacted with money. Abundance is not just affluence, it is a holistic state.

It was a long morning at the office.  Many crucial decisions had to be taken.  Most of the decisions had irreversible consequences and hence we had to look into every detail before the decisions were made.  At the end of the meeting, I felt like going home for an afternoon nap.

I reached the portico of my office and I was watching the rain as I waited for my car.  After several years, Chennai was having a good spell of rain this year.  Enticed by the heavy downpour, madness struck me.  I was consumed with crazy thoughts.  I decided to walk back home in the rain.  Much to the embarrassment of my driver, I asked him to take the car back home and began my walk in the rain.

People on the road kept gazing at me but I wasn’t in a mood to even watch myself.  My hands gently moved into my jeans pockets and a profound sense of liberation swept over me.  I was fully drenched and droplets of rain trickled from my hair through my forehead onto my lips only to be sucked in by my tongue.

My eyes kept blinking to clear off the dripping water.  I gently began to hum a self-composed tune; something that I always do when I am engulfed in intense rapture.  I was in ecstasy.  I forgot all my labels and social identities.  I was experiencing enigmatic freedom.

I was filled with inexplicable gratitude for life and tears began to ooze from my eyes.  It was a moment that no one else could have gifted me.  Only I could have gifted such a moment to myself.

The words of a wise man echoed in me.  “Never miss out on the Costless Luxuries of life!”

If life is a series of such costless luxuries, then why are there so many miserable people?  Then why do the rich, richer and the richest seem poor, poorer and poorest when it comes to peace and happiness?  Why then is man getting more and more distressed in the midst of growing comforts?  It all began when he was a child…

Long long ago, on one dusky evening when he was still a child, he went to the provision stores along with his mother.  He was attracted by the chocolates displayed over there and asked the shopkeeper to give him some.  To his surprise, the shopkeeper looked at his mother.  Him, as a child wondered, “Why is this fellow looking at my mother, when it is I who wants the chocolates?”

The child did not know that the next few moments were moments that were to define the course of his life.  His mother drew out a coloured paper from her purse and extended it to the shopkeeper in return of which he extended chocolates.

Having observed the whole phenomenon, the next time when they were at a shop, the child looked at the chocolates, asked the shopkeeper for it and immediately turned towards his mother, knowing very well that the coloured paper has to be given for chocolates to be got.  By then, the child concluded that if he wanted chocolates, the coloured paper would suffice; mummy was not required.

From then on, the child observed that the coloured paper got him admission in school, had his birthday party celebrated, sent him on excursions and bought him the toys he wanted. He began to believe that this coloured paper could get him everything.

And concluded that the more coloured paper he has, the more he can get what he wants.  From then on, the child decided to do everything possible to accumulate that coloured paper.  From the education he pursued to the career he wanted, to the place where he wanted to live – everything was seen with the vision of amassing that coloured paper.

Sure enough, he did amass money in all possible ways.  He pledged the happiness of his family, his personal talents, his sweat and sometimes, even his blood for the successes he got in return.  The child grew not into just a man, but a man of affluence.

Ideally, his wealth, prosperity, riches and the enormous amount of coloured notes should have given him the greatest of security but instead it put him through a rude shock.  These coloured notes bought him the best of cots and beds but could not buy him sleep.

It bought him swanky homes but could not buy him peace.  It bought him sex but could not buy him love.  It bought him the best of food but could not help digestion.  It bought him seats in top universities but could not buy him education.

It bought him the best of the courses but could not buy him transformation.  It bought him pleasures but could not buy him happiness.  It facilitated an extravagant wedding but could not create a harmonious marriage.  His coloured notes bought him the priest but could not buy him God.

When man has enough money, in fact only when man has enough money, does he realise that the most essential of his wants can never be transacted with money.  The greatest of life’s experiences are available free; in fact, they are available only free.

They are priceless because we cannot place a price tag on them.  When it comes to defining and experiencing the quality of one’s life, being rich becomes a fallacious concept.  Irrespective of our materialistic status, for each one of us life can be a series of costless luxuries.

Abundance is not just affluence.  Abundance is a holistic state.  Abundance is about your well-being, bliss, love, peace, wonderment and of course also affluence.

Watch a child and he would validate this prophecy that life is a series of costless luxuries just by the way he lives.  Let us remember that we too were that child just a few years ago and we can be that once again.  We do not have to be childish, but we can always be childlike.  Why else would you go to amusement parks and picnics as grown up adults?

I am not a fool to say that money is nothing.  I am only saying that money does not define the quality of your life.  Money just acts as means to your experience.  Money can at best turn a costless luxury into a costly luxury.

Marvelling at a sunrise is in itself, a costless luxury.  If I cannot afford it, I will enjoy the sunrise from the terrace of my house and if I can afford it, I will go to a mountaintop and experience the sunrise across the valley.

Treating myself with the melodies of Hariprasad Chaurasia and Zakir Hussain is in itself a costless luxury.  If I cannot afford it, I will listen to the melodies from a public radio, if I have some money I will buy a personal collection of their melodies and if I am really rich, I would organise for their live performance.  

Getting thoroughly drenched and dancing in the rain is in itself a costless luxury.  If I cannot afford it I will dance in the rain, if I have some money I will visit the local water falls and if I can really afford it I will visit the Niagara falls.

I do not need to have the fortune to experience a Mercedes Benz.  I can always rent the car for one day and freak out.

It does cost money to live in this world, but it costs nothing to feel on ‘Top of the World’.

Let us make this all-important choice to punctuate our life with these costless luxuries.  Each one of us can experience a quality of life that not even the richest of men in the world can experience, provided, we choose to fill our lives with these costless luxuries.  They are available to all of us in abundance, most and more… and absolutely free.

When you were born, God gave you this whole world as your birthday gift.  Please do not die without even opening the gift wrap.

Singing without an audience, dancing without any music, to recline on the carpet of grass, to sleep under the open sky, a solitary stroll, wandering with a loved one, an unexpected kiss, a child’s giggle, articulation of air through the mouth of an old man who has no teeth, the lap of your mother, the stroking of your hair by a friend, the spontaneous tears, when something that was lost is found again, to sit on the seashore, the fragrance of a garden, the celebrative mood of people during festivals, a belly laughter at a joke, the making up after a fight, the night skies, the bliss of melodious music, the grasp of your finger by a baby, the early words of a child who has just started to communicate, the wait for a loved one, a smile between tears, silence… I can spend an entire lifetime only listing the costless luxuries that each one of us can experience from this bountiful gift of life.

Isn’t this very life gifted to us free?  Then life is the first of costless luxuries.  Golden moments and memorable experiences are available to all of us and yet, nobody can give them to us.  Each one of us has to gift these experiences to ourselves.

Golden moments of life are gifts given unto oneself.  Costless luxuries are gifts by the self, to the self and for the self.

At the end of our lives, we should be able to look back at the way we have lived our lives and say, “My happiness cost me nothing in life, and everything else consumed a lifetime of my earnings.”

[laviejaguardia]

30 questions 💕

Thanks @ahopelesswallflower for tagging me and sorry i took ages to actually answer it!!

Rules: Answer 30 questions and tag 20 blogs you would like to get to know better.

Nicknames: Caro, Lina, Caroline

Gender: female

Star sign: Pisces

Height: 1.45 m

Time: 13:11

Birthday: 16 of March

Favorite Bands: Fall Out Boy, Panic! At The Disco, Glass Animals, Arctic Monkeys, Cage The Elephant, Royal Blood

Favorite Solo Artist: Halsey, Lorde, really like Sia too

Song Stuck in my Head: Pressure by Milk & Bone

Last Movie I Watched: Clueless

Last Show I watched: Black Mirror

When Did I Create My Blog: 2013 (but i had another account before, so ive been even longer in this hellhole)

What do I Post: mostly MCU now, some Cosmere and funny posts i guess, some cute animals once in a while too

Last Thing I Googled: how can i know when i created my tumblr

Do I have Other Blogs: nope

Do I get asks: not really

Why did I choose my url: it was part of a joke with a friend i thought it seemed tumblr url worthy

Following Blogs: 415

Followers: 394, i can never seem to get to 400

Favourite Colours: the emo inside me screams black but i also really like military green

Average Hours of Sleep: around 6-8

Lucky Number: 23 or 16

What am I wearing: shorts with some golden brodery, a white sleeveless t-shirt and flipflops, and a mercedes benz cap

How many Blankets I Sleep with: one, two in winter

Dream Job: probably a representative in a big brand, so i get to travel a lot

Dream Trip: probably Italy

Favourite food: timbal

Nationality: Argentinian

Favorite Song Now: probably The Last Of The Real Ones by Fall Out Boy

no idea who i can tag that’d be willing to answer them so  ¯\_(ツ)_/¯

[wordsablaze]

Chapter Twelve: Sight

All Because Of A Car Cinder's life revolved around the garage, working as a mechanic, until that one male student came in looking for a Mercedes and changed her life... AU AH Kaider story. 

(Kai POV)

Kai jumps as Cinder suspiciously glares out of the window, then sheepishly grins, throwing his hands up in surrender.

"Sorry!" he says, knowing that she can't hear him.

He can't tell if she's grinning or glowering at him but she's disappeared before he can work it out. Being the awkward person he is, he tries to walk backwards away from the window but trips over his shoelace, stumbles a metre or so, flails just as Cinder comes outside, and lands on a pile of leaves.

Or rather, sinks into the pile of leaves.

"Kai!" he hears Cinder exclaim, and he can safely say he's never heard anyone say his name with such a soft and adorably concerned tone.

Inhaling the scent of damp, dying leaves, he coughs and sits up, only for his head to make a beeline for Cinder's forehead. The two of them yelp and Kai falls back into the leaves again and Cinder jerks backwards, rubbing her head.

"I'm so sorry!" Kai immediately blurts, "I didn't mean to hurt you!"

Cinder, to his surprise, just giggles.

"What on earth are you wearing?" she says, which he figures is her way of saying she forgives him.

"What, aside from these fashionable leaves?" Kai asks, grinning in relief.

She holds out a hand, letting him use her as a ballast to pull himself up. Brushing off any leaves, he thanks her with a breathless smile. Cinder clearly appreciates the gratitude because her cheeks change colour to almost match the leaves floating on the floor.

"You look like someone whose tent has collapsed on them," Cinder comments.

Kai glances down at his faded grey jeans and extremely oversized camouflage hoodie, internally admitting that she's not wrong. But, for the sake of staying loyal to Spencer - who'd quickly lent him the outfit in the first place - he shakes his head and tries to think of something Spencer would be proud to hear him say.

"It's much warmer and a whole lot more comfortable."

Cinder raises an eyebrow. Kai opens his mouth to protest at the clear doubt in her gaze but, before he can even start to articulate an argument, Cinder's reaching out and he's sinking back under the pile of leaves, spitting out a leaf and stifling a groan.

He hears Cinder awkwardly talking to someone, someone who clearly dislikes every kind of humanity, and figures that he was being hidden, rather than randomly pushed for the sake of it. Trying his best not to even breathe too heavily, he shuts his eyes, not liking the idea of getting leaf debris in them; the last thing he needs is to lose his vision before he can help to make Cinder happy.

It's a minute and a cramp later when he hears Cinder sigh with relief and let him know that it's safe to surface.

"I'm sorry; I just couldn't let her see you."

"I understand," Kai replies, even though he doesn't.

Cinder sends him an amused smile and brushes the leaves off him. Kai goes completely still as she does, unsure of how he's meant to react. He literally doesn't move until Cinder reaches to pick a leaf out of his hair, somehow failing spectacularly and accidentally poking his eye, at which point he blinks and flinches backwards as a reflex.

"Oh flat tires, I'm so sorry!" Cinder sounds horrified, but Kai shakes his head, trying to blink away the stinging feeling.

"I can still see," he says softly.

Cinder nods, albeit guiltily, "You should probably come inside before anyone else walks by."

"Good plan," Kai mumbles, following as she leads him to the back of the house.

He does briefly wonder why they're climbing in through a broken window, but he doesn't ask, figuring that Cinder would have a reason for avoiding doors.

"Um," Kai starts, "I'm sorry if I was too forward... You know, um, inviting you to fly my kite?"

Cinder pauses and turns to him, smiling. "You weren't; I was- I am, uh, grounded."

Kai's eyebrows fly under his floppy fringe as he tries to hide his confusion. Of course, it doesn't exactly work as Cinder sighs, then shakes her head as if to say it's not something worth explaining.

"I was meant to be back from work, and, well, I wasn't."

"Oh..." Kai knows his facial expression is a strange mixture of relieved and confused, but Cinder chooses to ignore both of those, instead deciding to ask the obvious question.

"What are you doing here?"

Kai blanches for a second, then chuckles a little, running a hand through his silky hair. "I, um, just wanted to see if you were okay..."

"What did you do, get advice from Iko?" Cinder rolls her eyes.

Kai just shrugs but he doesn't know what to feel. It's hard, he decides, to unravel someone like Cinder. Mechanics spend so long taking apart and putting machines back together that they forget humans can be unravelled too. It's a shame because he's not blind and he knows there are some things that a need a little touch of golden glue to put back together in Cinder's routine.

Instead of saying all this out loud, he coughs, "No, actually, I just had a break and thought I'd come to apologise in person."

Cinder starts to nods, but then something seems to dawn in her mind and she shakes her head instead. "Wait, what do you mean?"

"About which part?" Kai asks, bemused.

"Apologising in person?"

Kai nods. "Yeah, I felt bad about not coming myself yesterday."

"Wait, that wasn't you?"

"We don't look alike, how did you confuse us?" Kai asks, mentally once again comparing himself to Spencer just in case they could have been mistaken for each other; he doesn't think they're really that similar.

Her eyebrows furrowing, she glances at him in confusion. "I didn't answer the door... I just assumed it was you..."

"I'm sorry, I couldn't come myself. Anyway, I'm not sure it matters too much, does it?"

"Guess not," Cinder replies, then leads Kai into the kitchen. "Oh, the garage hasn't had the parts delivered for your Mercedes yet."

"That's okay, it's only a car," he says as he leans on the door.

"Only a car?" Cinder echoes and Kai can't help feeling as if he's committed a crime or something.

"Mhm?"

"You're the opposite of most dudes, you know?" Cinder tells him but he can't categorise the comment into either a good or a bad thing.

"My apologies," Kai mumbles, "I meant: that's okay, it's only a Mercedes-Benz s-class selenite grey magno night edition."

He can see Cinder's cheek flare up and almost feels bad, but can't help admitting that it looks extremely cute. He can only hope that she doesn't take him to be vain and condescending, but rather as someone she doesn't have to hide her true self from. He hopes that they can try again next weekend, or maybe he can 'check on the car' after school during the week...

Hopefully, they'll be able to see each other soon.

like/reblog but don’t repost, thanks!

[tripstations]

Most glamorous airlines around the world you can book now

(CNN) — As soon as upon a time, air journey was glamorous.

Within the 1950s, air journey’s so-called golden age, flying was an event. Passengers dressed up, flight attendants served meals on china, commonplace seats have been roomier, and every part concerning the expertise felt dignified.

Sixty years in the past, air journey was a glamorous idea.

Mondadori/Getty Pictures

At the moment flying is related to overbooking, cramped quarters, badly behaved passengers and inevitable delays. However for vacationers with the means to fly first or enterprise class, the skies are sometimes next-level luxurious.

What qualifies as glamorous on this planet of air journey “shouldn’t be as minimize and dried as one may assume,” says Steve Wooster, managing director of companies and air operations at luxurious journey consultancy Virtuoso. “For some carriers, type means holding onto the airline’s cultural heritage, whereas others embrace extra standard glitz and shine. In the end, it comes right down to high quality as outlined by the traveler.”

In fact, luxurious is subjective.

And but a variety of worldwide airways are dedicated to upscale glamor as a part of their model mission. There’s competitors amongst this lot too, with “some one-upmanship taking place within the trade as airways proceed to lift the bar,” says Wooster.

Unbiased pilot and airline advisor Mike Arnot advised CNN Journey “airways are investing closely of their in-flight leisure and so-called exhausting product, similar to seats. Every of these seats can value the airline upwards of $100,000 for enterprise class. Nevertheless it makes a giant distinction to passengers who care, significantly those that have a alternative on tips on how to fly throughout the Atlantic or to Asia.”

From arrival and lounge expertise, to in-flight service, facilities, inside design and {hardware}, the sky is the restrict for the next carriers.

Turkish Airways

How Turkish Airways does enterprise class.

Turkish Airways

Getting into the business-class lounge for Turkish Airways at its hub within the new Istanbul Airport, it is clear luxurious is a precedence. The service’s lounges have been designed with undulating stable wooden panels to mirror the breezes and motion of the area’s Aegean Sea, a theme that permeates the model’s identification.

The 60,000-square-foot enterprise lounge contains 13 non-public suites with showers and seating for 765 visitors, together with assembly rooms, a library, a prayer room and a museum created along with the Istanbul Trendy.

The service is investing in {hardware} in a giant manner too, with plans so as to add 30 new Boeing 787-9 Dreamliners over the following 4 years. Every plane will function a enterprise class cabin by which all 30 fully-flat-reclining seats could have direct aisle entry. The seats can be outfitted with adjustable mirrors and 18-inch leisure screens.

As soon as on board, vacationers get pleasure from Denon noise-canceling headphones and an amenity package designed by Versace and equipment model Mandarina Duck. There’s additionally a devoted bar and sizzling towel service earlier than mealtime.

Cabin crew uniforms have been designed by Milan couturier Ettore Bilotta, with colours and shapes mentioned to be discovered within the Istanbul Bosphorus strait, bringing the circulation theme, and the vitality of Turkey, full circle.

Emirates Airways

“You may’t discuss luxurious within the sky with out mentioning the Center East,” says Nick Ellis, an editor at aviation-focused journey web site The Factors Man. “Dubai’s Emirates has one in all — if not essentially the most — extremely regarded first-class merchandise flying at present.”

Sure, that is the Emirates’ in-flight bar.

Emirates Air

That regard is born out upon arrival on the airline’s Dubai Worldwide Airport enterprise class lounge, the place workers can be popping any and all 4 Moët & Chandon Champagne vintages: Moët Impérial, Rosé Impérial, Nectar Impérial and Grand Classic 2008.

Emirates has invested in {hardware} too, lately refurbishing its Boeing 777-300ER aircrafts — and the ensuing firstclass suites, the service says, are “game-changing.”

The totally enclosed non-public suites have sliding doorways, digital home windows and interiors impressed by Mercedes-Benz — delicate leather-based seating and stitching, touch-screen management panels and temper lighting — with a zero-gravity seat place mimicking these created by designers at NASA.

On the opposite Emirates plane, the AirBus 380, every first-class suite can be totally non-public with a sliding door and ambient lighting, seats that convert into totally flat beds, and regional meals paired with craft cocktails, Dom Perignon and Emirates Classic Assortment wines.

British firm Bowers and Wilkins created unique noise-canceling E1 headphones, and when it is time for mattress, passengers obtain a pair of moisturizing pajamas (the sleepwear releases argan oil and shea butter with a passenger’s each toss and switch).

An amino-acid wealthy skincare package from Byredo supplies further hydration, and a sleep oil and pillow mist full the bedtime routine selling most restful sleep.

As soon as awake, it is off to one in all two on-board bathe spas with heated flooring. Stocked with amenity kits created by Bvlgari and that includes Voya skincare merchandise, vacationers have one other alternative to reach refreshed, and smelling luxurious.

Etihad Airways

Etihad Airways equates to luxurious, from arrival to lounge to in-flight first-class, which boasts butlers and journey concierges amongst different facilities.

Etihad Air

Etihad Airways, the second largest service within the United Arab Emirates, is so eager for vacationers to contemplate an Etihad flight their residence away from residence, they named their highest journey class The Residence.

For its every day JFK to Abu Dhabi route, Etihad provides an Airbus A380-800 with 4 courses of service: Financial system Sensible, Enterprise Studio, First Flats, and, sure, The Residence.

The Residence, providing a personal bed room with a double mattress and custom-made mattress with Duxiana bedding and {custom} loungewear constructed from antibacterial and hypoallergenic supplies, is a three-room suite designed for one to 2 visitors. The en-suite bathe is stocked with Luciana linens and robes and Acqua di Parma toiletries.

There is a separate residing space on the higher deck, and fortunate visitors can be served by a VIP journey concierge and in-flight butler. Residence vacationers even have entry to a devoted Residence lounge on the airport, and personal chauffeur in any respect Airbus locations.

One class under The Residence at Etihad isn’t any slouch both.

The Airbus has 9 first-class areas often known as First Flats that present a personal sanctuary, mini-bar and vainness unit and on-board bathe. Vacationers can lounge in both the Poltrona Frau leather-based recliners, or stretch out within the full-length ottomans that convert to 80-inch beds, having fun with the service’s signature Cognac service — a Remy Martin Cellar Grasp ’28, in a stemless Normann Copenhagen glass.

Etihad prides itself on its luxurious partnerships: This previous New York Style Week, the airline partnered with Swiss luxurious watchmaker Breitling to create an unique restricted version watch crafted with gold Arabic numerals — there are 500 watches out there.

Singapore Airways

“Excellent service is the final word luxurious,” says Singapore Airways spokesperson James Boyd, and the corporate invests sources accordingly.

SIA’s inflight crews endure the trade’s most stringent recruitment and coaching, the model says, surpassing the trade common by weeks, to incorporate instruction in overseas languages and wine appreciation, amongst different disciplines. 

French couturier Pierre Balmain custom-designs the model’s sarong kebaya uniforms for every crew member.

From the second passengers arrive at Singapore Changi Airport, they’re welcomed in by a model “recognized for its opulence,” says The Factors Man’s Ellis. The unique expertise begins with the Non-public First Class check-in pavilion, and continues at The Non-public Room, an enhanced lounge expertise with a pre-flight non-public fine-dining restaurant.

Snooze in luxurious: Adjoining suites in firstclass at Singapore Airways could be mixed in order that {couples} can share a bigger area and double mattress.

Singapore Airways

The in-flight expertise epitomizes old-school glamor: caviar service, starched linens, Wedgwood bone china to plate meals designed by famend cooks, and the traveler’s alternative of three Champagnes to start out — classic Dom Perignon, Krug or Taittinger. “Second-growth” Bordeaux wines, the second finest within the area, based on the Bordeaux wine classification created in 1855, are on provide as properly.

Within the Airbus A380s, first-class suites have armchairs and separate twin beds, and adjoining suites could be mixed in order that {couples} touring collectively can share one bigger area and a double mattress.

Visitors are handled to turn-down service with Lalique sleepwear and linens, and if restlessness is a matter, they will flip to guided stretching workouts and leisure strategies developed by Canyon Ranch Wellness Architects for SIA, by way of their private leisure methods.

Air France / KLM Royal Dutch Airways

Air France has been “investing closely in lounges,” together with a renovation at Washington Dulles.

Air France

Air France, in the meantime, and its sister airline KLM, have been “investing closely in lounges,” based on Air France communications director Arturo Diaz. In 2019, Air France revamped its enterprise class lounge at Washington Dulles, and at New York’s JFK it added a brand new La Prairie magnificence remedy heart.

Passengers in enterprise class and in La Premiere, Air France’s firstclass, can retreat into the 30-square-meter area without cost massages and 20-30-minute facials. For these with much less time between connections, there’s additionally an space for fast magnificence therapies.

Final yr Air France unveiled a brand new flagship lounge at Paris’ Charles de Gaulle Airport, full with an On the spot Rest space with mini-suites and loungers, a detox bar, non-public saunas and a set serving facials by Clarins-trained aestheticians.

The service is prioritizing its concentrate on in-flight meals as properly; La Premiere and enterprise class clients can now get pleasure from meals designed by Michelin-starred chef Daniel Rose of NYC French eatery Le Coucou and Paris eating places Chez la Vieille and La Bourse et La Vie.

The brand new KLM Crown lounge at Schiphol Airport in Amsterdam.

KLM Royal Dutch Airways

KLM will open the ultimate section of its new flagship lounge, the KLM Crown, at Amsterdam’s Schiphol Airport on the finish of 2019, with separate areas for work, leisure, leisure, food and drinks, tremendous eating and sleep pods.

All Nippon Airways

Top quality “suites” on All Nippon Air provide privateness doorways and movable partitions that allow bigger seating and sleeping areas.

All Nippon Air

In summer season 2019, the service rolled out 12 new Boeing 777-300ER aircrafts, designed by architect Kengo Kuma and British designer Acumen to meld Japanese heritage with Western design ideas.

For All Nippon’s first-class space, aka The Suite, the design “takes inspiration from high-end Japanese resorts,” explains Acumen model expertise director Mike Crump. “Darkish rosewood is used all through the suite to present it an expensive really feel, the carpet has an earthy coloration and print, whereas the cabin partitions function an authentic grey cloud sample impressed by conventional Japanese work.”

Along with being soothing aesthetically, chairs in The Suite are “essentially the most spacious totally enclosed seating association but on an ANA plane,” says All Nippon’s VP of Americas, Shigeru Hattori. The massive flatbed surfaces, Crump provides, mirror how Japanese folks calm down utilizing padded mattresses and tatami mats.

The redesigned aircrafts have privateness doorways, 43-inch viewing displays on what an ANA spokesperson calls the “world’s first 4K private display screen on a business airliner,” and movable partitions to pair seats to create bigger seating and sleeping areas.

Enterprise class, often known as The Room, was additionally redesigned this fall and has expanded to double the width of the earlier enterprise class seats. The design is impressed by fashionable, multifunctional Japanese residing areas — versatile doorways provide each privateness and the possibility to pivot the seat and share area with fellow vacationers.

Each courses function new {custom} lighting by Panasonic, supposed to imitate the pure dawn.

Japan Airways

On the first-class Japan Airways lounge at Narita Airport, guests can get pleasure from contemporary sushi, together with bathe rooms, therapeutic massage chairs and a library and gallery.

Japan Airways

The primary-class lounges at Japan Airways (JAL) are a quiet sanctuary from the chaos of the encircling metropolis. On arrival vacationers will discover bathe rooms, medical therapeutic massage chairs, libraries and gallery rooms.

On the lately renovated first-class lounge at Narita, eating choices embrace made-to-order sushi hand rolls and ramen from fashionable Tokyo store Afuri and eye-pleasing Japanese set meals. These could be paired with three completely different sorts of sake or a choice of sommelier-curated wines and Champagnes.

As soon as on board, JAL First Class provides simply eight non-public suites with wooden grain interiors and beneficiant storage areas. Vacationers can select from exhausting or delicate Airweave pillows and may turn into slippers and natural cotton pajamas.

The “Anytime You Want” restaurant choice permits vacationers to dine, sure, anytime they want, on seasonal ingredient-sourced menus with considerate wine and Champagne pairings. Italian attire label Etro has created the amenity kits, which embrace a steam eye masks on all flights to Japan.

Different standout carriers

On the subject of design, service and brand-partnered facilities (moisturizing PJs and Cognac service, anybody?), the airways above are second to none.

Many extra have stellar trade reputations, too, although and are to not be missed.

Bucket-list worthy Hong Kong-based Cathay Pacific, for instance, takes lounge life significantly, with six first-class lounges at Hong Kong Worldwide, housing temperature-controlled cabanas, rain bathe bathtub suites and day beds.

Qatar Airways, based on The Factors Man’s Ellis, “has developed an excellent business-class product,” together with Qsuite, Qatar’s proprietary seat design with forward- and backward-facing seats, every with a completely closing door, that mix to kind double beds and even quads.

Germany’s Lufthansa “is probably not the flashiest within the sky, but it surely’s possible essentially the most constantly nice product that is flying,” Ellis provides, welcoming first-class visitors with their signature single rose and a glass of Laurent-Perrier Grand Siecle Champagne. And Australian service Qantas is executing a multimillon-dollar improve to all 12 of its A380 Airbuses by 2020, including 27% extra room in premium seats.

All nice causes to get reserving.

The post Most glamorous airlines around the world you can book now appeared first on Tripstations.

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[maksymilianmikolajczak]

Current Portrait Photographers

1.Jingna Zhang                                                                                                  Born in Beijing and raised in Singapore, Jingna Zhang is a fashion and fine art photographer and director based in New York City and Seattle. Imbued with love for the Pre-Raphaelites and Japanese anime, Jingna’s work interweaves Asian aesthetics with western art styles, bringing unique visions of painterly and fantastical images to fashion and fine art photography. 

Jingna majored in fashion design before dropping out of school to pursue photography. She is an alumna of Stanford’s innovation and entrepreneurship program Ignite, and a Forbes Asia 30 Under 30 listmaker. Jingna’s works have appeared on multiple editions of Vogue, Elle, and Harper’s Bazaar. Her clients include Mercedes Benz, Montblanc, and Lancome. Jingna’s fine art works have exhibited at Leica Gallery Milan, Tsinghua University, and Japan Creative Centre in Singapore, and she has spoken at Laguna College of Art and Design, Monterrey Institute of Technology, and Square Enix.

2. Eric Lafforgue                                                                                                    Eric Lafforgue born in France started his career in mobile application and media. In 2006, he began publishing his photos on the Internet that shortly got noticed by many grand magazines worldwide. He works with National Geographic, Der Spiegel, Le Monde, Lonely Planet, Times, Grands Reportages and many more.  With a humanist approach, Eric Lafforgue offers in his pictures and travel stories a positive and benevolent gaze of the countries he visits, often unknown by the public which gives others the chance to experience what it’s like to visit them. His work on Papua New Guinea tribes was exhibited at the famous festival "VISA Pour l'Image in Perpignan", France     

3.Peter Hurley                                                                                                        Peter Hurley started with photography while he was training for the Olympic Games. He was modeling for Ralph Lauren’s sailing campaign in front of Bruce Weber’s lens and little did he know that day would the trajectory of his life. After his Olympic Career he moved to New York and tried some modelling and acting however it didn't really work out for him and that's when Bruce Weber encouraged him to pick up a camera. He started shooting some portraits of his model friends and that that's how he landed his first commercial job photographing sneakers for Reebok. However he loved portraits so much he decided to stick with them and focus all his efforts on his goal of becoming the best headshot photographer he could be. His signature style is simple clean background, beautiful lighting, and captivating expressions. He was recognised years after years by the Backstage Magazine as the best headshot photographer in New York City.

4.Steve McCurry                                                                                                   Steve McCurry has been one of the most iconic voices in contemporary photography for more than thirty years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around Born in a suburb of Philadelphia, Pennsylvania; on to work for a local McCurry studied film at Pennsylvania State University, before going newspaper. After several of work, McCurry made his first of what would become many trips India. Traveling with little more than a bag of clothes and a roll of film, he made his way across the subcontinent, exploring the country with his camera.

5.Justine Tjallinks                                                                                                 Justine Tjallinks is an Amsterdam-based Dutch Artistic Photographer. She started her career as a magazine Designer and Art-Director and worked for leading fashion titles. After several years of working with photography she wanted to create imagery as she envisioned and took the leap towards a new career in 2014 Justine aims to capture the uniqueness of individuals and the diversity of human beauty, often backed by a story of social importance. Inspired by the master painters from the Dutch Golden Age, her artworks feature muted colours and balanced compositions. Fashion design is used as an additional means of expression Even though a sense of nostalgia speaks through her art, aim is to always remain in line with the contemporary zeitgeist. 

[wristwatchjournal]

Hands-on: A. Lange & Söhne Lange 1 Time Zone Ref. 136.032 Watch

BY HARLAN CHAPMAN-GREEN

In 2016 we got to go on a tour of the A. Lange & Söhne manufactory. A part of that tour was spending some time in the building which housed the original workshops in Glashütte. It’s an office space now, and a place to meet and interview staff (this is where we met Product Direct Anthony de Haas). We also got to spend time in a room full of watches for us to try out, and there were watches from every product range there from the Double Split to the Richard Lange Perpetual Terraluna to the simple Saxonia Thin. I took photos of a lot of them, but while I was doing that I was wearing one of their watches: the old Lange 1 Timezone. It fitted my wrist so well and was comfortable too. The dial was elegant and well thought out. It was close to the perfect watch, so imagine how I felt when I saw this new one for the first time.

Anxious. That’s how I felt. I wasn’t sure about it when I first saw the press photos. But, we know that press photos don’t convey everything about a watch; you need some real hands-on images to get a better sense of a timepiece. When the opportunity to go hands-on with the new piece arose, I made sure to clear my calendar for it. 

The watch measures in at 41.9mm in diameter and 10.9mm in thickness, which puts it in the middle ground of the watch category it aims to compete with. While I’m sure the fine folks at A. Lange & Söhne will say that their watch is in a class of its own (and it kind of is), it should be noted that for a watch with this complication at this price point there is some competition. For example, Patek Philippe’s 5230 world-time. A Traditional world-time watch displaying all 24 timezones simultaneously, that watch has a 38.5mm case but is more affordable than the Lange 1 Timezone. The other alternative could be the Classique Hora Mundi 5717 from Breguet. That watch features a unique setup which allows you to switch between two timezones with the push of a button. The Hora Mundi is bigger than the Lange 1 Timezone, measuring at 43mm in diameter, it’s also more expensive.

The Lange 1 Timezone sits at a happy medium, at least between those two watches which I think are the main competitors for it. With a price tag of €48,000, the Lange 1 Timezone feels as expensive as it is. 

The wearing experience

To use the same cliché I always use when writing about my hands-on experience with watches from A. Lange & Söhne, the watch felt extremely solid, robust and German. The word German isn’t an adjective in any sense, but it often becomes one when describing a German-made product. Watch a few episodes of the old-school Top Gear with Clarkson, Hammond & May, and you’ll probably find them waxing lyrical about how solid and powerful an AMG Mercedes-Benz feels, or how precise a BMW M car is. They’re not just doing that for the TV appeal, either, stepping into any BMW in the range these days feels like climbing the social ladder, even their smallest cars feel like they’ve been made with more care than their more affordable European and Japanese counterparts, but I digress.

The watch in hand feels heavier than the 111-gram reading from our VSS (Very Scientific (Kitchen) Scales) lets on. This makes it 32 grams lighter than our reference timepiece, the Rolex GMT Master 2 126710 BLNR and 43 grams lighter than the Odysseus I had a go with back in February. Those watches are steel, though, and come on a steel bracelet. If the Lange 1 Timezone were to be presented on a rose gold bracelet (like some of the older Lange 1s had), it would probably break into the 200-gram category. Despite being relatively easy to scratch, the gold in the case is still very dense and coupled with a rose gold pin-buckle it makes for a reassuring watch to wear. You know where your money went with this one, you can feel it in your hands.

The pushers feel precise, they require a little force (especially the city ring), but it does feel like you’re moving gears in there which is a nice feeling. The only tricky part I found was decoupling the time dials (more on that later), you have to push the city ring in so far without clicking it forwards to set the hours of the second timezone separately, and it’s really easy to overdo it and have to start all over again. It’s a very small point, and I only had to do it once (the watch came set up for Berlin time, to get the city ring dial set up correctly on GMT I had to decouple the dials). It would be easier to put this decoupling feature in the crown, so it pulls out to a third position. 

For me, the tangible feel of the piece is the most important part, knowing where my €48,000 went is extremely important, more important than whether the watch will still be worth that much in the future. Maybe I’m a simpleton for living in the here and now when it comes to watches? 

The movement

Although I like to focus on the things I can feel with my hands, it always pays to take a loupe to the things that are trapped behind sapphire crystal. You’d be forgiven for thinking that A. Lange & Söhne hasn’t changed much in the calibre L141.1, it looks the same as all the other Lange 1 movements after all. While it’s not had a completely revolutionary upgrade, there are still some changes worth noting.

First of all, updates of spring technologies and efficiency mean that the new calibre L141.1 retains the 72-hour power reserve of the outgoing calibre L031.1, but it only has one mainspring rather than two. You’ll see on the old model that the word Doppelfederhaus – double spring house – was printed on the dial, whereas now it says Gangreserve 72 Stunden which means ‘Power reserve (of) 72 hours’. A. Lange & Söhne has also started producing its hairsprings in-house as well, so while the old L031.1 used a Nivarox hairspring, the new L141.1 uses an in-house made spring, it’s a little detail in reality, but it means a lot for a watchmaker to produce their own hairsprings.

The watch also has a new indication which has been implemented into the second timezone subdial. Inside the arrow is a window that turns red or white, depending on whether the indicated timezone uses daylight saving. The watch can’t adjust itself for that, but it is nice that it tells you that you may need to change it according to the timezone you’ve just arrived in. Despite being a small window, it was legible when on the wrist, as there are only two possible colours, it could be it was easy to tell the difference.

The movement retains the 3Hz oscillation rate of the outgoing model, as well as the high level of finishing. A. Lange & Söhne applies the same level of detailing to all of its watches, no matter how expensive they are. The balance cock has been engraved by hand, along with the cock for the exposed wheels that connect the second timezone to the first. The patterns carved into the two cocks are unique to the artisan that engraved them, and everyone in the small engraving department has their own theme which they meticulously apply. The three-quarter baseplate (a Glashütte tradition) has also been finished with precision and features Glashütte stripes as the main eye-catcher. The edges have been polished to remove signs of machining, and a couple of the jewels are sat in polished gold chatons, a throwback to old-school watchmaking where chatons were the only way to hold a jewel in place. There’s even a cutout to view the top of the click (the ratchet that stops the watch unwinding when using the crown), and it’s been given the same level of attention as every other piece. You’ll also find heat-blued screws dotted about the place, while they aren’t necessary to the overall function of the timepiece, their addition shows the extra steps the folks at A. Lange & Söhne take when making a watch.

The movement may have been remade from the ground up, but its appearance is still quite similar to the old model. Both calibres have the same 34.1mm diameter, but the new movement is flatter and looks larger when viewed through the caseback.

The dial

The dial is where most changes have occurred. It still features the A. Lange & Söhne typeface, the Outsize Date, the Up/Down power reserve and the city ring around the edge, but a couple of things have changed. As well as the replacement of the Doppelfederhaus text, the day/night indicators have been moved inside the time dials. Before, they were an arrow sat on a rotating disc, now though they encompass the pinion the hands sit on and perform one rotation per 24 hours. When the hour hand goes across the blue semicircular line, the watch is indicating that it’s night time. Though, of course, if you look out the window, you can tell it’s night time.

The dial is laid out in the classic A. Lange & Söhne way, with all the different elements spaced out in such a manner that they are subconsciously pleasing to look at. For an in-depth explanation, read my Fortnight Review of the Grand Lange 1. The same principles apply here, the centre of the larger time dial, the centre of the Outsize Date and the centre of the away dial all join together to form a triangle which has perfect proportions (the ‘Golden Triangle’). Because of how our brains process and interpret their surroundings, this shape always seems correct to us, even if we ourselves don’t entirely know why and can’t really explain it.

The lancet hands common on watches from the Saxon brand make an appearance here, made of rose gold, so they match the case and provide contrast to the silver argenté dial. While the main dial itself has a subtle matte-style finish to it, the time dials have had concentric circles engraved onto them to break it all up a little.

Reading the time is very easy, although there is no lume on the watch at all. When staying put at the home timezone, both dials display the same time, which I think is visually appealing. When you travel abroad, depress the lower pusher to advance the hand on the smaller dial forwards by one hour, this will move the day/night indicator as well. It’s then simply a matter of advancing the hour ring forwards until you hit the city of your choice, all very easy stuff. Winding the watch is easy as well, there’s no screw-down crown, so you don’t need to unscrew it to wind the watch.

Conclusion

This is a classical dress watch with complications done in the right way. Instead of being confusing for the sake of ‘heritage’ that I find a lot of Swiss manufacturers are doing, A. Lange & Söhne has taken extra steps to simplify the world-time watch. The updates to the watch have been successful as they bring it into line with the Saxon brand’s new releases (let’s face it, this needed an update as it was launched in 2005 and not really updated since), and it looks contemporary. The fact that they launched the redesigned piece not long after they unveiled a limited-edition 25th-anniversary edition of the Lange 1 Timezone using the old model should bode well for the secondary market prices of that piece too.

Visit A. Lange & Söhne here.

The post Hands-on: A. Lange & Söhne Lange 1 Time Zone Ref. 136.032 Watch appeared first on Wristwatch Journal.

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[watchilove]

On the grounds of Hampton Court Palace, Saxon precision watchmaking meets the world’s most stunning classic cars on the first weekend of September. A. Lange & Söhne will seize the exclusive event to present the penultimate model in the ten-piece “25th Anniversary” series: A hand-engraved lunar disc in white gold distinguishes the LITTLE LANGE 1 MOON PHASE from the standard version. It has a diameter of 36.8 millimetres and debuts in a limited edition of 25 watches. The recommended German retail price (including VAT) for this watch is 42,300 Euro.

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

LITTLE LANGE 1 MOON PHASE “25th Anniversary”

A hand-engraved lunar disc in white gold distinguishes the LITTLE LANGE 1 MOON PHASE – presented on the occasion of the 25th birthday of the LANGE 1 – from the standard version. It has a diameter of 36.8 millimetres and debuts in a limited edition of only 25 watches.

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

As the ninth of a total of ten special models, the LITTLE LANGE 1 MOON PHASE “25th Anniversary” recalls the spectacular presentation of the LANGE 1 on 24 October 1994. The hallmarks of the two-toned anniversary edition include a white-gold case, an argenté-coloured dial in solid silver with blue-printed elements and blued steel hands. The colour concept is echoed in a characteristic movement detail: The blue-filled engraving of the balance cock in German silver features a reliefed depiction of the outsize date with the number “25” to match the anniversary. The watch is worn on a dark blue alligator leather strap with a white-gold buckle.

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

Like all manually wound timepieces of the LANGE 1 family, the LITTLE LANGE 1 MOON PHASE – first introduced in 2017 – has an off-centre dial with an outsize date and an UP/DOWN power-reserve indicator. The moon-phase display is so precise that it only has to be corrected by one day every 122.6 years. As was already the case with the GRAND LANGE 1 MOON PHASE “25th Anniversary”, this special edition also features a hand-engraved lunar disc. Six stars and numerous little dots depict the starry sky and together with the golden moons form a three-dimensional heavenly canopy.

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

The manufacture calibre L121.2, painstakingly finished, polished and decorated by hand, runs at a frequency of 21,600 semi-oscillations an hour and thanks to its twin mainspring barrel only needs to be wound every three days.

LITTLE LANGE 1 MOON PHASE “25th Anniversary” Ref. 182.066 Technical Specifications

Movement Lange manufacture calibre L121.2, manually wound, crafted to the most exacting Lange quality standards, decorated and assembled by hand; precision-adjusted in five positions; plates made of untreated German silver; balance cock engraved by hand and filled with blue; engraving of the Lange outsize date on the balance cock

Movement parts 411

Jewels 44

Screwed gold chatons 8

Escapement Lever escapement

Oscillation system Shock-resistant screw balance with eccentric poising weights; balance spring manufactured in-house with a frequency of 21,600 semi-oscillations per hour; precision beat adjustment system with lateral setscrew and whiplash spring

Power reserve 72 hours when fully wound

Functions Time indicated in hours, minutes and subsidiary seconds with stop seconds; power-reserve indicator; Lange outsize date; moon-phase display

Operating elements Crown for winding the watch and setting the time; button for rapid correction of the outsize date; recessed push piece for correcting the moon-phase display

Case dimensions Diameter: 36.8 millimetres; height: 9.5 millimetres

Movement dimensions Diameter: 30.6 millimetres; height: 5.7 millimetres

Case White gold

Dial Solid silver, argenté

Hands Blued steel

Glass and caseback Sapphire crystal (Mohs hardness 9)

Strap Hand-stitched alligator leather, blue, grey seam

Buckle White-gold prong buckle

Limited edition 25 watches, engraved 01/25…25/25

  A passion for classics: the 1815 ANNUAL CALENDAR on the wrist of Katie Forrest. During last year’s Concours of Elegance, she won the RAC Spirit of Motoring Award for her 1912 Rolls-Royce Silver Ghost, “Nellie”.

A. Lange & Söhne x Concours of Elegance 2019

On the grounds of Hampton Court Palace, Saxon precision watchmaking meets the world’s most stunning classic cars and inspires also the collectors of tomorrow.

Saxony precision watchmaking in an English country garden: A. Lange & Söhne’s presence at the Concours of Elegance in 2018.

From 6 to 8 September 2019, connoisseurs of exclusive classic cars will come together at the Concours of Elegance on the manicured driveways of Henry VIII’s old stamping ground of Hampton Court Palace near London. A selection of 60 of the world’s rarest and most beautiful classic cars bridges the gap between motorsport pioneers from the early 20th century to the latest super sports cars.

A century separates these two mechanical masterpieces: Lange manufacture calibre L951.6 of the DATOGRAPH UP/DOWN, launched in 2012, shown in front of the engine of a 1912 Rolls-Royce Silver Ghost.

Main sponsor A. Lange & Söhne will present its own experiential space, bringing together the finest craftsmanship, classic design and contemporary luxury. In the “House of Lange”, attendees can discover the highlights of the current watch collection, see first-hand how a manufacture calibre is made and put their own artistry skills to the test.

Lange CEO Wilhelm Schmid in conversation with Katie Forrest beside her 1912 Rolls-Royce Silver Ghost

At a gala dinner on opening night, A. Lange & Söhne will present the penultimate model in the ten-piece “25th Anniversary” series, celebrating 25 years of the LANGE 1 this year.

Evan Zema behind the wheel of the 2018 Best of Show-winning Mercedes-Benz S Barka Tourer of Bruce McCaw

A. Lange & Söhne has been the Concours of Elegance’s main sponsor since 2018. The company is also involved with the Concorso d’Eleganza Villa d’Este on Lake Como in Italy and the Classic Days at Schloss Dyck near Dusseldorf, and Bonhams London to Brighton Veteran Car Run, as well as the Royal Automobile Club’s Historic Awards. For Lange CEO Wilhelm Schmid, the Concours of Elegance has special significance: “Among the visitors and competition entrants, we’re meeting more and more young people who are working to preserve cultural values. Katie Forrest, who does not just drive her family’s over-a-century-old Rolls-Royce, but maintains it too, and Evan Zema, who curates the outstanding collections of Bruce McCaw, exemplify the next generation of idealistic collectors and preservers. They know that mechanical masterpieces – whether they are cars or watches – are turned into timeless works of art by their history and the passion of the people who made them. That’s why they’re doing all they can to preserve them for eternity.”

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

A. Lange & Söhne LITTLE LANGE 1 MOON PHASE “25th Anniversary”

Saxony precision watchmaking in an English country garden: A. Lange & Söhne’s presence at the Concours of Elegance in 2018.

Evan Zema behind the wheel of the 2018 Best of Show-winning Mercedes-Benz S Barka Tourer of Bruce McCaw

Lange CEO Wilhelm Schmid in conversation with Katie Forrest beside her 1912 Rolls-Royce Silver Ghost

A passion for classics: the 1815 ANNUAL CALENDAR on the wrist of Katie Forrest. During last year’s Concours of Elegance, she won the RAC Spirit of Motoring Award for her 1912 Rolls-Royce Silver Ghost, “Nellie”.

A century separates these two mechanical masterpieces: Lange manufacture calibre L951.6 of the DATOGRAPH UP/DOWN, launched in 2012, shown in front of the engine of a 1912 Rolls-Royce Silver Ghost.

A. Lange & Söhne presents the LITTLE LANGE 1 MOON PHASE “25th Anniversary” at the Concours of Elegance On the grounds of Hampton Court Palace, Saxon precision watchmaking meets the world’s most stunning classic cars on the first weekend of September. 

[everydaynuggets-blog]

The Secret of God’s Disguises

I was in the Spirit on the Lord’s day, and heard behind me a great voice, as of a trumpet, Saying, I am Alpha and Omega, the first and the last: and, What thou seest, write in a book, and send it unto the seven churches which are in Asia; unto Ephesus, and unto Smyrna, and unto Pergamos, and unto Thyatira, and unto Sardis, and unto Philadelphia, and unto Laodicea.

And I turned to see the voice that spake with me. And being turned, I saw seven golden candlesticks; and in the midst of the seven candlesticks one like unto THE SON OF MAN, clothed with a garment down to the foot, and girt about the paps with a golden girdle.

HIS HEAD AND HIS HAIRS WERE WHITE LIKE WOOL, AS WHITE AS SNOW; AND HIS EYES WERE AS A FLAME OF FIRE; AND HIS FEET LIKE UNTO FINE BRASS, AS IF THEY BURNED IN A FURNACE; AND HIS VOICE AS THE SOUND OF MANY WATERS.

And he had in his right hand seven stars: and out of his mouth went a sharp twoedged sword: and HIS COUNTENANCE WAS AS THE SUN SHINETH IN HIS STRENGTH.

And when I saw him, I fell at his feet as dead. And he laid his right hand upon me, saying unto me, Fear not; I am the first and the last: I am he that liveth, and was dead; and, behold, I am alive for evermore, Amen; and have the keys of hell and of death.

Revelation 1:10-18

Years ago, I heard about how Saddam Hussein would move around without being noticed. A convoy of Mercedes Benz cars would pass and everyone would think he was in one of them. He would then arrive alone in a taxi. At times he would come in an ambulance. Indeed, many heads of state successfully disguise themselves.

Jesus Christ came to this world completely disguised and hidden from the wicked men of this earth. The book of Revelation reveals that Jesus Christ was completely disguised when He walked on this earth.

The book of Revelation clearly reveals and unveils things that are hidden from open view. Things that are not public knowledge are made known to us if we care to accept them.

Revelation means to unveil and to show something that is hidden.

Jesus Christ is revealed in the book of Revelation: His head is white as wool. His eyes are flaming fire. His feet are like burning brass and His voice is like the sound of water. Amazing! In reality, this picture is who and what Jesus Christ is: His glistening face, His piercing eyes, His wonderful voice, His burning feet, His powerful mouth and His glorious hair. Wow! So this is who He really was!

But when He walked amongst us by the Sea of Galilee, He had none of these features. Jesus had put on a remarkable disguise and walked amongst us in humility and weakness, allowing only God-fearing people to recognize Him.

What an amazing disguise God wore as He walked amongst us! That is scary! So what other disguises does He have today? Does He still walk amongst us without us knowing? Indeed He does! He is walking amongst us with perfect disguises. Most of us hardly recognize Jesus when He is around. His disguises are simply too amazing.

Perhaps, Jesus Christ should be given the highest award for the most outstanding disguises of all time. In Matthew 25, we see an array of disguises He uses. Let us go through some of the disguises that Jesus is using today. Knowing these disguises is important, because it helps us to know when we may be inadvertently dealing with Jesus Christ.

Woe unto to you if you miss these disguises and mishandle the Son of God!

The Disguises of Jesus

1. The disguise of a hungry and thirsty person.

For I was an HUNGRED, and ye gave me no meat: I was THIRSTY, and ye gave me no drink:

Matthew 25:42

2. The disguise of a homeless person.

I was a STRANGER, and ye took me not in: naked, and ye clothed me not: sick, and in prison, and ye visited me not.

Matthew 25:43

3. The disguise of a naked person.

I was a stranger, and ye took me not in: NAKED, and ye clothed me not: sick, and in prison, and ye visited me not.

Matthew 25:43

4. The disguise of a sick person.

I was a stranger, and ye took me not in: naked, and ye clothed me not: SICK, and in prison, and ye visited me not.

Matthew 25:43

5. The disguise of a prisoner.

I was a stranger, and ye took me not in: naked, and ye clothed me not: sick, and IN PRISON, and ye visited me not.

Matthew 25:43

Disguises of a Man of God

We must also realize that God has given men of God disguises that they cannot shake off. Do not be disturbed if the world does not recognize you in your disguise. They are not supposed to recognize you.

Do you want to know more about your God-given disguise? I am sure you do. Your disguise will make you look humble and lowly. All the disguises of Jesus made Him look very humble and lowly. God gives His servants disguises. These disguises make the servant of God look weak, humble and powerless.

Think about it. God was born in a stable! God grew up as a carpenter! God was crucified as a criminal! But look at Jesus in Heaven. How glorious! How marvellous! The Jesus who came to this earth in this humble form is seen in the book of Revelation in His true and glorious state.

What looks great on this earth will not look great in Heaven. Jesus is the best example of this because God has chosen the weak things of this world to confound the mighty. Your greatness is not determined by how you appear on earth. God has intentionally given you things that give you a humble appearance.

The reason why the cross is the power of God unto salvation is because it was the most humble thing that God gave to Christ to bear. As you go higher in the Lord, He will give you things that make you lowly and humble. Ask yourself a question: What is it that breaks you down? What is it that makes you cry? What is it that humbles you? What is it that makes you lower than other human beings? What is it that makes you less than your friends and colleagues?

Anything that makes you “inferior” or “less” is part of that humble cloak given to you by the Lord. It is your cross! It will be exchanged for glory one day. Our light affliction works out for us an eternal weight of glory (2 Corinthians 4:17).

Your humble cloak may be your skin colour, your nationality, your level of education, your family background, your peculiar circumstance, your poverty, some peculiar physical defect, your failed marriage, your failed home, your failed ministry, your failed children, your broken heart, your failed business, your failed exam, your sickness, the death of a loved one or any other disappointment of your life.

Do not be deceived by the humble things that God has put on your lap. God has decided to give many great ministers humble appearances on earth. Receive the wisdom that Paul had and embrace the things that make you weak. Have a proper respect for things that place a reproach, a necessity and a distressing situation on you.

Do not be deceived by the lowly appearance of people on earth. You may be dealing with someone who will be a glorious and honoured king in Heaven.

Do not be misled or do not misread the things that make you humble on this earth. God allows humbling things to happen to you and to be with you. However, when you appear in Heaven you will be shining and glorious.

God Has Chosen Lowly Disguises

1. The disguise of foolish things: “But God hath chosen the foolish things of the world to confound the wise; and God hath chosen the weak things of the world to confound the things which are mighty; and base things of the world, and things which are despised, hath God chosen, yea, and things which are not, to bring to nought things that are: that no flesh should glory in his presence.”

1 Corinthians 1:27-29

2. The disguise of lightly esteemed things: “… for that which is highly esteemed among men is abomination in the sight of God.”

Luke 16:15

3. The disguise of being last: “And he sat down, and called the twelve, and saith unto them, If any man desire to be first, the same shall be last of all, and servant of all.”

Mark 9:35

4. The disguise of being a servant: “But he that is greatest among you shall be your servant.”

Matthew 23:11

5. The disguise of infirmities: “And he said unto me, My grace is sufficient for thee: for my strength is made perfect in weakness. Most gladly therefore will I rather glory in my infirmities, that the power of Christ may rest upon me.”

2 Corinthians 12:9

6. The disguise of earthen vessels: “But we have this treasure in earthen vessels, that the excellency of the power may be of God, and not of us.”

2 Corinthians 4:7

7. The disguise of afflictions: “For our light affliction, which is but for a moment, worketh for us a far more exceeding and eternal weight of glory; while we look not at the things which are seen, but at the things which are not seen: for the things which are seen are temporal; but the things which are not seen are eternal.”

2 Corinthians 4:17-18

by Dag Heward-Mills

[aguedahopetoun-blog]

When Words Are Related, children Recognize.

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[spicyconcepts]

MOLUE: AN ARTIST PERSPECTIVE By OLUSHOLA O. OLAJOBI The uniqueness of the Lagos buses known as “Molue” can not be compared to any other city buses around the globe. The outstanding creativity that transform a Mercedes Benz automobile into this new form and colour does not only emphasise the vibrancy of the city 24/7 throughout the years of its reign but also bring to notice the energy and light this movement aid of masses in the city of Lagos have beamed on the diverse markets that can be found within its loins. From the precolonial period of the Awori's to the traditional military encampment by the Benin kingdom in the 16th century down to the Portuguese business era before the colonial period when this "small but mighty" landscape have emerged as a colony before it was made the capital of the southern protectorate in the 90's, Lagos have become not only a major determinant of activities or trends but a major key player in the development of many ideas and innovations. Èkó as it is popularly called in the Yoruba language with its adjoining metropolitan areas is the largest city on the African continent and one of the fastest growing in the world. Apart from its urban agglomerated population and the financial centre of the continent, its GDP contributions cannot deny the large busy ports and houses which also add to its identity. With its golden jubilee as a state this year which have witness diverse activities from being a colony to becoming a federal territory, this metropolitan entity and it's extended surrounding is the home to about 21 million of the Nigeria population figure. Through this painting, Tomiwa Ashaolu bring to limelight the importance of this important city in discussing Nigeria economy and it’s influence on other countries located within the African continent. With the use of traditional motifs which is identical to the continent, he brings to our notice that although this city have been influenced by many cultures and diversities of people, it’s values and heritage is still well visible across the land mass it cover. He's also reminding us of the shades of evil doers which is identical to any cities around the world that may also become a problem if the necessary amenities and services from the necessary authorities in power are not provided. With the parts of the painting faded to the canvas, the artist point to our notice that although we may believe we know this city, our vigilance is important because change is the only constant thing in life. Artist: Tomiwa Ashaolu Title: Molue Year: 2016