Blog — Page 184 of 281

Frank Gehry

Prestel Publishing

Frank Gehry is an artist.

Frank Gehry is a creator.

Not unlike one of his most prominent works, i.e. the Bilbao Guggenheim, which triggered a phenomenon known as the “Bilbao effort”, his bespoke emissions are usually a spectacle – to the extent where critics claim that his constructs are mainly an exercise is excessive self-indulgence defeating the purpose of being functional.

Apart from the fact that Gehry’s engineered pursuits are never not intriguing, they raise the questions of the merits of creating art, the significance of building as a cultural occurrence and the practicalities of it all.

Be it as it may, the impact he has had on architecture at large and the incorporation of ornamentation and the application of computer software to create sheer limitless, intricate and undulating designs pushed the boundaries of what was considered to be possible.

This beautifully illustrated monograph compiles fifty of Frank Gehry’s most striking and impactful work, spanning a period of sixty years. Following a chronological timeline, the tome sheds light on Gehry’s genesis and his evolution, which was fuelled by him firmly embracing new technologies and innovations. It is great to see how Gehry’s work not only expands and elaborates on the concept of what a city can and should be, but conceptualised the buildings and creates a dialogue with them and their environment – a conversation that usually enhances both.

The range of the idiosyncratic edifices and constructions that are profiled along with their locations is testament to the Gehry’s flexibility and diversity. The sketches, drawings and plans that are depicted give an indication of how much visionary thought and efforts goes into the modelling of each.

If nothing else, Frederic Migayou’s and Aurelien Lemonier’s informative book illustrates that has never ceased to create surprises and inspiration for both his peers as well as the general public.

An intriguing read that translates and resonates well with what I feel and sense when I encounter a “Gehry” in the third dimension.

Time Out Sydney Food Awards

Sydney, Australia            

August 27, 2018

You are familiar with Time Out, a media company publishing magazines and travel guidebooks covering events, entertainment and culture in cities around the world.

Now, when it comes to bringing people together for an extravaganza of good-feel fun the people behind Time Out are predestined to nail it. With the brief being to honour the talent in the hospitality and foodie scene, the Time Out Food Awards is an event to look forward to.

This year’s shindig was held at 12 Micron in Sydney’s Barangaroo district – a venue with views, wow factor, suitable decor and one that generated pre-event anticipation.

More than three guests followed Time Out’s call to not only celebrate established and emerging talent but to attend an opportunity to network and meet and greet the great and the good of the hospitality scene.

Simply reading out a list of award winner would be a trite affair, so Time Out ensured that music, video and light all came together to create a bit of an engaging spectacle.

With sponsors like Melbourne’s Starward Distillery, which we recently visited and covered with a feature, the night began with Old Fashioneds from Starward, wines from Jacob’s Creek Barossa Signature range and Gage Roads Brewing Co providing ales and extended to canapes being served for sustenance.

The guest list was packed with hot talent alongside local industry legends, which all had a hoot as the awards for Best Casual Dining, Chef of the Year, Restaurant of the Year, Cheap Eat, Fine Dining and Café category were dished out.

Standout winners that whose services we have learned to appreciate Ho Jiak kitchens located in Haymarket, who specialise in spicy fare, and Saint Peter, which was not only voted to be Time Out’s Restaurant of the Year, but whose chef Josh Niland was Chef of the Year 2018.

Hot Talent winner was Firedoor's Ahana Dutt. Edition Coffee Roasters received the Best Café award, and Rosebery’s Banh Xeo Bar was recognized for being the Best Cheap Eats.

The Best Degustation Award went to Yellow, an etablissement we have yet to test drive and being an aficionado of everything hot and spicy, I welcomed that the Thai restaurant Spice I Am won this year’s Legend Award.

At the end of the celebration and hot off the press, the latest issue of Time Out was distributed, with features on not only the winners but the nominees as well.

The bar has been raised and one is excited about what Time Out is planning for 2019.

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Photos by @k.a.vv

Time Out - Old Mate’s Place Bar Opening

Sydney, Australia

August 23, 2018

Sydney has a new bar in its central business district that instantaneously makes it on the must-visit list both for locals as well as visitors: The triumvirate Dre Walters (ex-Lobo Plantation and Kittyhawk), Gabrielle Walters and Dan Noble (Ramblin' Rascal Tavern) have joined forces to open the Clarence Street bar with an open-air rooftop.

After hosting Wild Turkey’s recent Spirit of the Wild pop-up event and infusing it with the character of Old Mate’s bar team prior to its official launch on 23 August, Old Mate’s Place is the new haunt for day time and evening drinking with a speakeasy, set out as an old, abandoned library overgrown by plants on the downstairs level with exposed wooden beams and a staircase spiralling up to the rooftop bar, which has a bit of a treehouse theme going, i.e. a natural extension of what is going on a level below.

The focus of Old Mate’s Place is firmly on serving creative quality cocktails and a food offering that will aim to be a little more comprehensive than most bar food options, given that founding fathers Walters and Noble have both spent time in kitchens.

It is not rocket science that a charismatic and friendly bartender makes for happy customers, a feat that Old Mate’s Place easily accomplishes with its community spirit and its crew’s passion and honest love for what they are doing.

As a result, the atmosphere of this new bar is not only derived from its fitout, location, theme and physical position, but from the people driving it and the attention to detail, great music and good vibes.

If quality is king, consistency is queen and consistency is part of Old Mate’s Place in every aspect. No matter if it means education their punters through small blurbs in its drinks menu, treating its customers like they would treat guests at their home or matching the price of their liquid concoctions to the quality of products, i.e. value for money.

Summer in Australia is around the corner and the prospect of Old Mate’s Place planning a custom-built bar should add another reason enough to plan a visit – if there still was a need for one...

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Photos by @k.a.vv

It’s been almost two decades since Billy Corgan, James Iha and Jimmy Chamberlain shared a stage together, and while not a full and complete reunion without bassist D’arcy Wretsky, Denver came out in droves with love and support for Corgan and Co. for the Shiny and Oh So Bright tour.

Walking out on his own with an acoustic guitar, Corgan commanded the stage immediately and the 16,000 plus in attendance at the Pepsi Center erupted when the first chords of Disarm were struck. Pictures of Corgan as a child flashed on the screen and effectively punctuated the autobiographical nature of the song. Now, one could argue that it also effectively served the ego of Corgan, but really, what it did more than anything was set a darkly confessional tone for the rest of the evening.

As the song ended, the rest of the band, including guitarist Jeff Schroeder and bassist Jack Bates wordlessly joined Corgan for Rocket, also off the Siamese Dream album. The Pumpkins went on to play a well-chosen mix of their entire catalog - with a concentration on the aforementioned Dream and Mellon Collie albums.

With a set designed to satiate both the casual fan with hits like Today and Bullet With Butterfly Wings as well as deep cuts for the long time fan like Thirty-Three and For Martha, Smashing Pumpkins really spared no expense in making sure everyone left satisfied in the over three-hour set.

Giselle

State Theatre

Melbourne, Australia

September 3, 2018

For the uninitiated: Giselle is a romantic ballet in two contrasting acts, which was first performed in the first half of the nineteenth century in France. In essence, Giselle’s storyline is comprised of the passions and dramas that make humans tick, i.e. the cycle of love, deceit, heartache and ultimately forgiveness. What sounds like what could be a cliché-laden exercise is one of the most iconic and hauntingly beautiful performances on this earthround and even if you perceive ballet to be “not your thing”, it shall prove hard to not be won over by the story of this classic tale, which has never lost relevance.

Two acts are juxtaposed: What starts off in a naturalist forest environment is followed by activity within the confines of an otherworldly cemetary.

Maina Gielgud’s production is traditional in the best sense as it puts the focus firmly on the expression of the dance and has both characters and the story clearly identified, so no effort is needed to follow the narrative.

Gielgud’s meticulous choreography is outstanding and at times the dense accumulation of formations is almost overwhelming, which prompts more than once spontaneous applause as the  

The sharp yet subtle and evocative stage sets of the two acts is detailed and rich courtesy of Peter Farmer, which in both cases is embedded by William Akers’ lighting which adds nuances on the dancers performances, highlighting their features, which adds another dimension specifically to the second act.

Adolphe Adam’s score reinterpreted courtesy of Orchestra Victoria under the guidance of conductor Simon Hewett frames Australian Ballet’s incarnation of Giselle in a lively and engaging context that does not let up throughout both acts and supports the narrative succinctly.

Australian Ballet’s reimagined Giselle is a tour de force of visually compelling and physically thrilling dance theatre group work fuelled by passion and visceral, life affirming energy, which finds its most impressive expressions in the vividly acted romantic duets and fluidly danced pas de deux.

Thanks to powerful and theatrical performances that have both depth like this and radiantly convey the passions the main protagonist are driven by, Giselle shall keep shining undimmed.

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Photo courtesy of Australian Ballet