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The Museum of Fine Arts, Boston (MFA), will reopen on Saturday, September 26, welcoming the community back for one-of-a-kind encounters with works of art. First to reopen will be 31 galleries of the Art of the Americas Wing, featuring the work of North, Central and South American and Caribbean artists, and including some of the MFAs most beloved objects. Two special exhibitionsWomen Take the Floorand the teen-curatedBlack Histories, Black Futureswill also reopen, offering visitors another chance to experience these cornerstone shows of the MFAs 150th anniversary year. The Museum will also unveilin short order three new and highly anticipated exhibitions that were originally slated to open in the spring:Writing the Future: Basquiat and the Hip-Hop Generation(October 18, 2020May 16, 2021),Monet and Boston: Lasting Impression(November 15, 2020February 28, 2021) andCzanne: In and Out of Time(November 11, 2020February 28, 2021).Member Appreciation Days will take place September 23-25.

Museums play a crucial role in providing spaces for reflection, solace and inspiration. Were grateful to welcome Bostonians back to their MFA and bring a shared experience of art into the lives of many once again. This wasand will continue to bea challenging time for all of us, but we remain guided by our belief in the power of bringing art and people together, said Matthew Teitelbaum, Ann and Graham Gund Director.

The MFA will reopen at a reduced capacity in the interest of prioritizing the health and safety of visitors and staff.Advancetimed-entry ticketswill be required for all visitorsmembers and nonmembers alikeand will be released on a monthly basis (approximately two weeks before the start of each month, following a 24-hour member presale).

When the Museum reopens, visitors will have the chance to reconnect with hundreds of important works throughout four floors of the Art of the Americas Wing. Spanning 3,000 years, from the ancient civilizations of Mesoamerica to the modern art capitals of Mexico City and New York, the objects found in these galleries embody the innate human desire to create meaning and beauty through art and crafta drive shared by Indigenous peoples, colonial settlers and immigrants, the free and the enslaved, artists trained and those self-taught. A new text panel at the Wings entrancecomposed by curators during the MFAs closurewelcomes visitors with a more inclusive vision of the arts of the Americas, a global interpretive approach that questions dominant historical narratives, challenges biases and seeks to highlight previously underrepresented cultures and artists. Later in the fall, two paintings by artist T.C. Cannon (Kiowa/Caddo), on loan from a local collector, will also be installed at the Wings entrance.

Over the coming months, new installations and careful reassessments will build upon initiatives launched in late 2019 with the addition of Charles Bird Kings portrait of the Pawnee leader Peskelechaco to the New Nation Gallery, which emphasizes that North America was home to a constellation of powerful Indigenous nations when the United States was founded. Visitors will also find updated labels reflecting fresh perspectives on iconic visitor favorites such as Thomas SullysPassage of the Delaware(1819), John Singleton CopleysWatson and the Shark(1778) and Paul ReveresSons of Liberty Bowl(1768); and the installation of an empty frame in the Boston on the Eve of Revolution Gallery, acknowledging those who contributed to this nations founding but by virtue of their race, class or preferences were largely left out of the visual record of the time. The Art of the Americas Multilingual Interpretation Initiative begins in September, soon bringing interpretation in Spanish, Chinese and Kryol (Haitian Creole)the three languages most commonly spoken in Boston after Englishas well as an Algonquian language, into the Wings opening gallery.

The MFAs upcoming fall exhibitions will mark milestone moments for the 150-year-old Museum. The groundbreakingWriting the Future: Basquiat and the Hip-Hop Generationis the first major exhibition to chart Jean-Michel Basquiats relationship to early hip-hop culture, uniquely positioning him among his friends and fellow artists of color at the forefront of post-graffiti, a transformative moment in American art. And for the first time in a generation,Monet and Boston: Lasting Impressionassembles the Museums entire collection of 35 paintings by the beloved Impressionist mastericonic works that capture the beauty and mystery of the world around us. A concurrent exhibition,Czanne: In and Out of Time, places the paintings of Paul Czanne in conversation with those of his contemporaries, highlighting what made his art so distinctive when it was newand why it continues to fascinate today.Due to limited capacities,Writing the FutureandMonet and Bostonwill each require separate, timed-entry exhibition tickets($30 for nonmembers, free for members and youth) that include general admission. Wall texts and labels for the two exhibitions will be freely accessible via a new mobile app, and additional contentincluding videos and curated Spotify playlistscan be found on mfa.org.

Visitor info:mfa.org/visit.

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MFA Boston Will Reopen September 26 with Art of the Americas Galleries, "Women Take the Floor," "Black Histories, Black Futures,"...

A company that makes tidal power turbines in Scotland has won a C$4m contract to install 15 of its machines in the waters of Nova Scotia, Canada in the latest attempt to realise the dream of generating power from the vicious tides of the Bay of Fundy.

An earlier attempt in 2009 saw a large turbine shredded by the high-velocity currents of the bay, which has the highest tidal range in the world.

Some 160 billion tonnes of water flow in and out twice a day, which the government believes believes represents a generating capacity of at least 2.5 gigawatts of clean energy.

Canada is betting that the smaller, aquadynamic profiles of Nova Innovations turbines, manufactured in Edinburgh, will allow them to withstand the violent tides.

Announced 9 September, the contract sees Nova Innovation install first just one of its 100kW M100 D turbines on the sea floor of Petit Passage in southwestern Nova Scotia, near the giant mouth of the bay. https://www.canada.ca/en/natural-resources-canada/news/2020/09/government-invests-in-canadas-tidal-power-industry.html

Its performance will be monitored before another four are added in 2021, followed by another 10, making a total of 15 turbines by 2023, giving the array a generating capacity of 1.5MW. Nova Innovation has been operating three of these turbines in the Shetland Islands, Scotland, since 2016.

An earlier attempt in 2009 saw a large turbine shredded by the high-velocity currents of the bay, which has the highest tidal range in the world.

Some 160 billion tonnes of water flow in and out twice a day, which the government believes represents a generating capacity of at least 2.5 gigawatts of clean energy.

Canada is betting that the smaller, aquadynamic profiles of Nova Innovations turbines, manufactured in Edinburgh, Scotland, will allow them to withstand the violent tides.

Announcedon 9 September, the contract sees Nova Innovation at first install just one of its 100kW M100 D turbines on the sea floor of Petit Passage in southwestern Nova Scotia, near the giant mouth of the bay.

Its performance will be monitored before another four are added in 2021, followed by another 10, making a total of 15 turbines by 2023, giving the array a generating capacity of 1.5MW. Nova Innovation has been operating three of these turbines in the Shetland Islands in Scotland since 2016.

Canada is betting that the smaller, aquadynamic profiles of Nova Innovations turbines will allow them to withstand the violent tides (Nova Innovation)

It is a modest installation, but Canadian fisheries and oceans minister Bernadette Jordan said it was a step toward building a thriving tidal power industry across Canada.

With the longest coastline in the world, Canada should be a global leader in tidal energy, she said. This renewable energy source has the potential to substantially grow our blue economy in the long term, but we need to invest now.

Kim MacNeil, Nova Innovations Head of North American Business Development said: Canadas investment reflects the growing confidence worldwide in our technology and our ability to operate it in extremely challenging environments. It will be a huge step forward for tidal energy in Nova Scotia and Canada.

In the first attempt in 2009, a much bigger, 10-tonne turbine was installed on the floor of the Minas Passage, near the head of the bay where currents are twenty times faster than at Petit Passage, reports CBC.ca. https://www.cbc.ca/news/canada/nova-scotia/ottawa-pledges-9-6m-to-try-to-harness-bay-of-fundy-tidal-energy-again-1.5717559

Within 20 days all 12 of the turbines rotor blades were destroyed by 10-knot currents.

With the longest coastline in the world, Canada should be a global leader in tidal energy, she said. This renewable energy source has the potential to substantially grow our blue economy in the long term, but we need to invest now.

Kim MacNeil, Nova Innovations head of North American business development, said: Canadas investment reflects the growing confidence worldwide in our technology and our ability to operate it in extremely challenging environments. It will be a huge step forward for tidal energy in Nova Scotia and Canada.

In the first attempt in 2009, a much bigger, 10-tonne turbine was installed on the floor of the Minas Passage, near the head of the bay where currents are twenty times faster than at Petit Passage, reports CBC.ca.

Within 20 days all 12 of the turbines rotor blades were destroyed by 10-knot currents.

Top photograph: Low tide in the Minas Basin, Bay of Fundy, Nova Scotia. Some 160 billion tonnes of water flow in and out of the bay twice a day (LeonardoDog/CC BY-SA 4.0)

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Turbine trials: New attempt to harness power from the ferocious Bay of Fundy - News - GCR

MarketPlace Logan announced the latest safety measures, contactless options and innovative new amenities taking flight at Boston Logan International Airport.

Some of the safety measures that have been put into place across the concessions program include:

In addition, the concessions program has launched new technology and amenities that have become critical throughout Boston Logan terminals such as in-airport food and delivery leaderAtYourGate, airport e-commerce platformGrab andPPE Vending Machines by Hudson.Travelers can use the AtYourGate contactless delivery service to receive a meal within 30 minutes or less from airport eateries such as: B. GOOD, Not Your Average Joes, Lucca, WPizza, Burger King and more. Coming this fall, AtYourGate and Grab will debut the next generation of airport e-commerce ordering at Boston Logan allowing travelers to order through a variety of digital channels across terminals enabling a more efficient and stress-free experience. Hudson PPE vending machines featuring individual and bulk packaged masks, sanitary wipes, hand sanitizer, latex gloves, multi-use thermometers and portable and rechargeable UV-C sanitizers for mobile devices and personal items are now available pre-security within Hudson stores pre-security in Terminals A and B.

We have made every effort to adjust and improve the Boston Logan Concessions Program to keep employees and passengers safe and healthy. In collaboration with our partners at Massport we have not only made necessary adjustments but also introduced new pilot programs and technology to elevate the options available and further facilitate social distancing for our travelers. There is a variety of grab-and-go options throughout the airport, ordering to go through AtYourGate as well as sit down dining options allowing travelers to have a meal safely and feel comfortable doing so while passing through Boston Logan, said Paul McGinn, president of MarketPlace Development.

Boston Logan International Airport has also already initiated the following safety measures:

This update coincides with restaurant re-openings including iconic favorites such as: B.GOOD in Terminals A and B, Kellys Roast Beef, Lucca and Not Your Average Joes in Terminal B, and Wahlburgers in Terminal C.

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Marketplace Logan Announces Ongoing Safety Protocols and Debuts Innovative Offerings for the Concessions Program - AviationPros.com

The Phoenicians were paramount in the spread of wine throughout the Mediterranean region, which is why it is odd that there is strikingly little archaeological evidence of wine production in Phoenicia itself. But things are changing as excavations at Tell el-Burak in Lebanon have revealed the first ancient Phoenician wine press. The structure was apparently rather innovative in its design, emphasizing the importance the beverage had both for Phoenician society and Mediterranean trade.

The Iron Age wine press dates to the 7th century BC and its discovery is shedding light on the wine production of the Phoenicians and their construction habits. Dr. Adriano Orsingher, of the Eberhard Karls University Tbingen, Germany and lead author in the current study published in Antiquity later today , told Ancient Origins that this find is the earliest evidence of wine-making installations in ancient Phoenicia.

The ancient Phoenician wine press at Tell el-Burak from the south-west. (Courtesy of the Tell el-Burak Archaeological Project/ Antiquity)

The ancient Phoenicians were significant wine traders and key in the spread of the production and consumption of the alcoholic beverage across the Mediterranean, so researchers have been keen to find out more about Phoenician wine making.

This is why the discovery of the first Phoenician wine press in Lebanon is such a great find by studying this well-preserved structure a team of researchers from the Eberhard Karls University Tbingen hope to glean more insight into the ways the Phoenician wine pioneers made the beverage.

The wine presss discovery site, Tell el-Burak, is a small Phoenician site that was occupied from the 8th to 4th century BC. It is located near the modern city of Sidon, which was also an important Phoenician city. Sidon was on the maritime trade routes of the eastern Mediterranean and the current and previous discoveries at Tell el-Burak suggest that it was focused on supplying the wine that people in the area would consume and inhabitants in Sidon would trade.

Phoenician territory and their extensive trade networks and settlements around the Mediterranean. (Credit: Rodrigo & Reedside / CC BY-SA 3.0 )

Phoenicians is an ancient Greek term which is now used to refer to Iron Age Semitic-speaking people who lived on the central coast of the Levant from around 1200-332 BC. They used their trade routes to spread not only wine, but also their alphabet, which was adopted and adapted by the ancient Greeks and Romans.

Wine was a valuable commodity for the ancient Phoenicians, but it was also important for traditions and ceremonies in their society. Dr. Orsingher explained some of the ritual ways the ancient Phoenicians used wine:

Wine consumption played a quintessential role in Phoenician feasting activities. Wine was also employed in libations, namely the act of intentionally pouring out liquids onto the ground, an altar, or another surface. In sacred areas, libations were poured to appease and thank deities and gain their favour, but they were also performed to honour or in memory of the deceased and ancestors in burial grounds.

Wine obviously played a significant socio-economic role in Phoenician societies. The researchers believe that this is reflected in the development of innovative solutions in the building technology of installations for the wine production. This innovation can be seen in the design of the newly discovered Phoenician wine press .

It was built with plaster that was made by mixing lime and recycled ceramics, making the press stronger and easier to build. This is in contrast to the Bronze and Iron Age wine presses of the Levant (c. third to first millennia BC), which were generally hewn into the bedrock or built with stone blocks, according to the new paper. Dr. Orsingher told Ancient Origins that the design of the wine press really was unique:

The archaeometric research offers the first evidence of a local and innovative tradition of plaster production in the southern Phoenicia, which is characterised by the mixing of crushed ceramic sherds with lime. Although the Phoenicians are often reported to have promoted the use of this type of plaster, the three installations of Tell el-Burak, dating from at least the 7th century BC, currently represent the first evidence of such a practice in the Phoenician homeland.

The scientific analysis carried out at the Competence Center Archaeometry - Baden-Wuerttemberg (CCA-BW) of the University of Tbingen revealed that use of recycled ceramics mixed with mortar (a technique known as cocciopesto) would have made the construction of the Phoenician wine press easier, more water-resistant, and more durable. Later on, Romans improved upon this technique and used it in their buildings as well.

Plan of the ancient Phoenician wine press at Tell el-Burak, showing the position of the plaster samples. ( Antiquity)

In their paper, the researchers write that even though this is the first example of a Phoenician wine press, there are numerous examples of ancient wine presses in the Levant and across the Mediterranean from the fifth millennium BC (or even earlier) to the first centuries AD with which it can be compared. Although they vary in building techniques, shapes, size and number of components there are three important elements to ancient wine presses: a treading floor/basin where grapes were smushed, a connecting channel for must to flow through, and a sunken vat to collect the must and sometimes the first fermentation of the wine.

In the case of the newly discovered Phoenician wine press, the excavators have found a large rectangular treading basin that is attached to a large vat that they state could hold roughly 4,500 liters of liquid, suggesting they were making wine on a large scale which was then shipped out in the large numbers of transport amphorae previously found.

The researchers wrote in their paper that excavations have been underway to the Tell el-Burak archaeological site since 2001. One of the excavated areas has revealed three plastered installations, two of unknown purpose, and the third being the wine press.

Structures at Tell el-Burak, area 3: a) plastered floor in room 1 of house 4, from the south-east; b) plastered floor in room 1 of house 4, from the north-west. (Courtesy of the Tell el-Burak Archaeological Project/ Antiquity)

One of those curious plastered installations is a basin-like feature that was unearthed beneath the floor of a courtyard. The other was discovered in a room, which was also coated with plaster, and had a plastered drainage channel in the wall between two rooms. The researchers are still uncertain of the relationship between those two plastered installations and the wine press. As they wrote in their paper:

The exact chronological correlation of the three plastered installations, however, is yet to be established. Currently, it is thought based on preliminary analysis of associated ceramics that all three installations were probably constructed during the seventh century BC or, in the case of the wine press, during the late eighth century BC.

Plastered basin in room 3 of house 3 at Tell el-Burak, from the south-west. (Courtesy of the Tell el-Burak Archaeological Project/ Antiquity)

However, the wine press was the only installation that they believe was still in use after the beginning of the sixth century BC.

Dr. Orsingher told Ancient Origins that solution to the mystery of the other plaster installations may available in the near future. He said, an organic residue analysis of plaster samples is currently ongoing at the University of Tbingen, which may determine whether all three plastered structures at Tell el-Burak were connected to wine production. At this regard, we also hope that the resumption of the excavations at Tell el-Burak in the Spring 2021 will provide us with more archaeological data.

The remains of a house found at Tell el-Burak, Lebanon. (Credit: Tell el-Burak Archaeological Project/ Antiquity)

Dr. Orsingher also told Ancient Origins that the researchers will be conducting an additional analysis to understand whether ceramic sherds were added into the lime plaster at Tell el-Burak to enhance its hydraulicity. Furthermore, putative evidence for a second press at the site was revealed by recent geophysical survey so the researchers hope that the continuation of the Tell el-Burak Archaeological Projects fieldwork activities will likely provide new evidence to be considered in the study of plaster production at Tell el-Burak, and its role in the broader Iron Age Mediterranean context.

The paper Phoenician lime for Phoenician wine: Iron Age plaster from a wine press at Tell el-Burak, Lebanon is published in the journal Antiquity.

Top Image: Reconstruction of the wine press at Tell el-Burak, looking from the south-east. Source: Tell el-Burak Archaeological Project; drawing by O.Bruderer; Antiquity

By Alicia McDermott

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7th Century Press is a Major Discovery for the History of Phoenician Wine - Ancient Origins

BENTONVILLE -- Benton County Judge Barry Moehring plans to update justices of the peace on the courthouse expansion at the Sept. 24 Quorum Court meeting.

"We should be able to give them a pretty good picture and go through the stages," Moehring said. The circuit judges, prosecutor and public defender staff also need to know where things stand, he said.

Justice of the Peace Susan Anglin looks forward to an update.

"If possible, I think it would be nice to see a picture of how the outside would look and more detail on changes to the entry and the security features," she said.

A new courtroom is needed for Christine Horwart, who was elected in March and will be the county's seventh circuit judge. She takes office Jan. 1. The Arkansas Legislature added the judgeship to assist with the increasing caseload.

The expansion would add 5,500 square feet to the downtown courthouse. The county plans to demolish the one-story section behind the courthouse that housed the coroner's office. A two-story addition is planned on the site with a lobby area and restrooms on the first floor. Horwart's courtroom and office area would be on the second floor.

"I like the proposed courthouse expansion in terms of meeting the needs of Division 7, now and in the future," Horwart said. "It will allow D7 to handle bench and jury trials with no limitation of space or resources."

Demolition work for the court expansion will start later this year and construction will start in early 2021, Moehring said. The old coroner's office will be used as the staging area for construction materials, he said.

County officials met with Bentonville planning staff Wednesday to start the development review process, Moehring said.

The county will finance $3.1 million to expand the courthouse. The county secured the loan from Regions Bank for five years at 1.59% with no prepayment penalty, said Brenda Guenther, county comptroller. The court approved the financing plan in July.

Included in the court expansion cost is $231,783 to repair the annex where Circuit Judge Brad Karren holds court, according to documents. The annex is across the street from the main courthouse.

New outside awnings are being installed on the annex, said Bryan Beeson, county facilities administrator. The west side awning was completed about three weeks ago, and the south side awning was installed last week.

Those two areas are where lines form outside as people wait for their cases to be called. The other two sides will be done in the coming weeks, Beeson said.

A sidewalk will be added under the awning on the west side that should stop water from seeping into the annex basement, Moehring said. That work will be done in the coming weeks, Beeson said. The building exterior also will be painted, Moehring said.

"This court is grateful to Judge Barry Moehring and construction manager Bryan Beeson for the outside awnings erected on the courthouse annex," Karren said. "During the covid-19 pandemic, this court is not conducting in-person hearings. This requires many of our citizens to wait outside in the weather to appear in our foyer by video conference. With fall and winter weather quickly approaching, the awnings will provide much-needed protection from the elements."

The plan is to have the whole expansion wrapped up by the end of 2021, Moehring said.

Until the work is completed, Horwart's first courtroom and chamber would be in a small area in the courthouse last used as a courtroom in 2012. The room doesn't have a jury box and has a small gallery, Moehring said.

"The initial courthouse space will be just fine," Horwart said. "The proposed docket of Division 7 will consist of all domestic and probate cases, eliminating the need for a jury box/room until the new courtroom is completed. I suspect the main challenge will be construction noise while court is in session."

Horwart's courtroom remodeling is finished, Beeson said. The county budgeted $23,796 to remodel the 888-square foot courtroom.

"I have been working closely with the county on the layout of the initial courtroom and they have done an excellent job of making changes to accommodate requested modifications from my Division 7 team," Horwart said. "I am very excited to get started."

Security cameras and doors and audio/visual equipment will be added later in the year, said James Turner, county information technology director. That equipment and moving some prosecuting attorney staff out of the space will cost a little more than $88,600, Turner said.

"They will be ready to go pretty quick. The gears are starting to turn in Division 7." Moehring said.

New awnings are visible Thursday, September 10, 2020, on the Benton County Court House Annex in downtown Bentonville. The work is part of the $3.1 million courthouse expansion. The county will spend $231,783 to repair the courthouse annex. Check out nwaonline.com/200914Daily/ and nwadg.com/photos for a photo gallery.(NWA Democrat-Gazette/David Gottschalk)

Expanded Quorum Courtroom

The Sept. 24 Quorum Court meeting will be held in the expanded Quorum Courtroom on the third floor of the County Administration Building.

The new courtroom is roughly 2,000 square feet. The elimination of the east wall added about 800 square feet of space.

Improved video and audio conferencing as well as livestreaming capability are part of the expansion.

The Quorum Court approved $100,000 for the project July 31.

Source: Benton County

Mike Jones can be reached by email at mjones@nwadg.com.

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Courthouse expansion update in works - Arkansas Online

Transforming an industrial site: PENETRON ADMIX was used to waterproof the extensive below-grade concrete structures of the new complex in Milan, Italy that combines office towers with green spaces.

EAST SETAUKET, N.Y. (PRWEB) September 15, 2020

The September 2020 inauguration of The Sign office park and mixed-use development has transformed a whole neighborhood in southern Milan, Italy. The Penetron System was used extensively in the below-grade structures to ensure a durable, maintenance-free concrete structure.

The Sign is an innovative office and mixed-use complex designed by Progetto CMR for Beni Stabili. Located on the via Ernesto Calindri in the Moncucco-Romolo area of Barona on the southern outskirts of Milan, The Sign is adjacent to the University of Modern Languages Institute (IULM), an international university.

The project has repurposed a large industrial site from the 1950s, which is now completely transformed. A key focus of the project was the restoration of the foundry into a mixed-use complex (four-floors with a total of 4,200 m2). In addition, there are two office towers (10-floors/9,400 m2 and 12-floors/12,600 m2), for a total area of over 26,000 m2. All three buildings share a curtain wall faade with alternating gold-colored blind panels and glazed surfaces in a visually eye-catching sequence. A significant portion of the former industrial site now hosts a large green area and a 4,000 m2 landscaped public square between the two office towers. A fracture etched into the square as a sign that links the buildings representing the eponymous developments name.

Reinforced Concrete Building Goes for LEED CertificationDesigned to achieve LEED Gold certification, The Sign has optimized the use of natural resources, adds Enricomaria Brac, Managing Director of Penetron Italia. The sustainability features include dual water systems, rainwater collection, green roofs, innovative office cooling systems, local sourcing for construction materials (including regional woods), and the planting of exclusively native plants for the landscaped areas.

The main structures of The Sign complex are entirely made of reinforced concrete, including the basement which house the extensive underground parking areas and the foundation slab, based on a white tank design developed with the Penetron System.

Advantages of the Penetron SystemA white tank design is a concrete structure that uses an integral waterproofing system as part of the concrete, explains Enricomaria Brac. This design is a significant improvement over conventional black tank methods that rely on bituminous membranes fixed to the concrete surface. Penetrons white tank design stands out in its simplicity, remarkable durability and self-healing capacity.

The white tank design takes full advantage of the Penetron System and is well-known as a value engineering solution in the construction industry. PENETRON ADMIX is used to treat the concrete mix about 85,000 m3 to completely waterproof the concrete structure; PENEBAR SW waterstop strips are installed along the construction joints and swell when in contact with water to prevent any leakage through construction joints and penetrations; PENECRETE MORTAR is used to seal form-tie holes and repair any honeycombing, leaking penetrations or cracks bigger than 0.5 mm.

The Penetron System enabled the contractor to save substantial time on the construction schedule, resulting in considerable cost savings, enthuses Enricomaria Brac. Thats a very positive sign for the project owners!

The Penetron Group is a leading manufacturer of specialty construction products for concrete waterproofing, concrete repairs and floor preparation systems. The Group operates through a global network, offering support to the design and construction community through its regional offices, representatives and distribution channels.

For more information on Penetron waterproofing solutions, please visit penetron(dot)com or Facebook(dot)com/ThePenetronGroup, email CRDept(at)penetron(dot)com or contact the Corporate Relations Department at 631-941-9700.

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The Penetron System as a Sign of Complete Protection in Italy - PR Web

Celebrated interior designer and film producer Gauri Khan will make her debut as an author with a book about her journey as a designer, announced publishing house Penguin Random House India on Monday. The coffee-table book, tentatively titled My Life In Design, will be released in 2021 under Penguins Ebury Press imprint, they said.

Khan said the book would be visually appealing, and guide both aspiring designers and people who want to learn about design in general. There are several experiences in my journey as a designer that I would like to record for posterity. The book will be very visually appealing with exclusive pictures and information that I feel could guide aspiring designers or those who are just generally interested in the art of design.

The lockdown has given me time to work on this coffee-table book and I will be extremely happy to see it published soon, said Khan, who owns Gauri Khan Designs (GKD), a well-known interior design company. She is also the co-founder and co-chairperson of the film production company Red Chillies Entertainment with her actor husband Shah Rukh Khan. According to the publishers, Khans journey as a designer -- be it renovating her own home, the homes of several Bollywood A-listers, including Karan Johar, Ranbir Kapoor and Jacqueline Fernandez, or designing commercial spaces such as retail outlets, restaurants, spas, hotels, show apartments and various turnkey projects -- has been an original and exciting story.

Beside giving readers an insiders view of her life and experiences as one of the most sought after interior designers in the country today, the book also promises to be a treasure trove with never-before-seen photos of her work, family and residence.

The pandemic has brought several learnings, and it has forced us to slow down, look around and ponder. As most of us are working from home there is renewed interest in creating our own happy space to keep us positive and motivated through these trying times.

I am delighted that Gauri Khan has decided to share her design philosophy and open up her home for all the readers. I am excited to be working on the book, and I look forward to publishing it, said Milee Ashwarya, publisher, Ebury Publishing and Vintage Publishing, Penguin Random House India.

(This story has been published from a wire agency feed without modifications to the text. Only the headline has been changed.)

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Gauri Khan sheds light on her journey as an interior designer in debut book My Life in Design - Hindustan Times

I asked if he remembered her being elated.

I do, he said. But also it was a project with a lot of problems. Stress. Deadlines. It was a design challenge, but also a business challenge. She had to get the project done. These things had to be manufactured.

She traveled to San Juan twice, the second time to supervise the installation. Among the attic discoveries was a Caribe Hilton postcard that she sent to her in-laws in Cleveland in January 1963. Here on business working like mad but enjoying the warm weather, she wrote, signing it Lonesome Helen.

The casino project was a triumph, but there were setbacks. While she was working on it, or shortly after, my father lost his job as the editor of an advertising media guide when the publisher folded. With her encouragement, he enrolled full time at Columbia University to finish his bachelors degree while she supported them. They downsized, trading their one-bedroom apartment at Bleecker and West 10th Streets for a studio in the same building.

My mother was also unsurprisingly, for a young working woman in the early 1960s a victim of workplace sexual harassment. One of her colleagues, an engineer, had a habit of getting in her personal space and saying inappropriate things, my father told me. There was no human resources department to deal with such things, which were more or less accepted then, so she was left to manage them on her own.

By 1965, my father had his degree and had been accepted into the Foreign Service. And just like that, my mothers career in lighting design was over. They moved to Martinique, and then to Paris, where they hung the Caribe Hilton fixture in the dining room of their apartment overlooking the Seine. It was packed away before I was born, and shifted in and out of storage as we moved from Virginia to Brussels and back, then again to Paris before we came home.

My mother returned to work for a few years in the 1970s, taking a job with a company that planned office space. And she found various creative outlets, learning to silk-screen as part of an artists collaborative in Marblehead, Mass., in 1969 and 1970, while my father was pursuing a masters degree at M.I.T. (Her handmade Christmas cards from that time survive, as do three silk-screened op-art shadow boxes.) Mostly, though, she threw herself into her role as a mother and, later, the spouse of a United States ambassador.

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The Lamp Was a Clue to a Life I Didnt Know My Mother Had - The New York Times

The coronavirus pandemic has slowed life to a different pace, but Houston interior designer Marie Flanigan is busier than ever.

In addition to publishing her first book, The Beauty of Home: Redefining Traditional Interiors (Gibbs Smith; $45; 240 pages), Flanigan has launched a new collection of lighting with Visual Comfort and a collection of natural stone slabs with Aria Stone Gallery.

Flanigans distinctive updated traditional style always showcases great lighting, so her collaboration with Houston-based Visual Comfort is a natural fit. It includes a variety of sconces, pendants, chandeliers and table lamps that can be seen on the Circa Lighting website now and will be in stock in December.

My inspiration was taking traditional fixtures and bringing them to life in a modern new way using the organic textures and refined metals and materials that are really representative of my work, said Flanigan, who is 38 and a mother of three. Just like the book is called Redefining Traditional Interiors, in essence, my collection is redefining light fixtures in a fresh new context.

Flanigan used some of the new lighting in a House Beautiful showcase house in Colorado, and it will be featured in the November issue of that magazine. Flanigan was in charge of decorating the library/tea room and used a deep red background with antique brass fixtures.

Oct. 7: at 11:45 a.m. during Fall Design Week events at James Craig Furnishings at the Houston Design Center, 7026 Old Katy Road (showroom 298)

More: Watch for announcements of other book signings at instagram.com/marieflaniganinteriors.

For the stone collection, Flanigans director of design flew to stone quarries in Italy to choose distinctive stone slabs that include a creamy white Bianco Dolomite, ruddy Breccia Pernice, veiny Calacatta Gold Borghini Diamond and Fume, a gray marble with spiderweblike veining.

The slabs arent just for kitchen and bathroom counters; Flanigan said that in projects shell choose marble for a tabletop or the surface of a side table. And while Cararra and Calacatta marbles remain go-to choices in home design, Flanigans a fan of out-of-the-box choices like green, rust or even deep charcoal.

Flanigan, a native of Lake Jackson, studied architecture at the University of Texas and later earned an MBA from the University of Houston, but learned the value of home from her mother, a gracious hostess, and learned to love materials when studying the centuries-old architecture of Italy.

Images from more than 20 homes several of them from the Houston area are featured in the book as Flanigan takes a master class approach, teaching the important elements of architecture, composition, character, palette, illumination, detail, simplicity, depth and surprise.

I dont want it to be Marie Flanigans view of how you should live. My mission in life is finding what beauty is for the people I work for and helping orchestrate that, she said. Getting to the heart and soul of what a homeowner is looking for is my favorite part of the job.

Throughout The Beauty of Home, natural materials shine through in every room, from construction materials to home furnishings. There are beautiful slabs of marble, onyx, travertine and other stone and wood applied in its many forms, natural grains in cabinets, the aging of antique doors, or various cuts in oak flooring. Natural light spills everywhere.

Much of Flanigans work is in new construction or dramatic renovations, working hand in hand with an architect and builder or contractor as plans for a home and its contents take shape.

I want a home to be a reflection of the people who live there and be a retreat from the world, Flanigan said. Nature is a huge inspiration for me, and I like to call on the texture of authentic materials, things you can run your hand across and experience true marble or real linen.

Architecture plays a big role in my work. You can decorate a home and fill it with furniture and only be at a certain level of design. If you consider interiors with architecture and weave them together, you can take it to an elevated level you would not have been able to, she continued.

Throughout her book, Flanigan emphasizes the importance of good architecture, elements as simple as placement of windows or more complicated, such as preserving the material details of an historic home.

Textures abound, from walls covered in panels of wool or suede, fireplaces surrounded by marble or cast concrete, wood floors topped with rugs of natural materials and fibers. Lighting finished with nickel or brass trim and chairs or barstools with cane backs or seats.

Natural stone repeats in kitchens and bathrooms, and Flanigan said that current projects feature slabs of stone on walls as much as tile.

And as beautiful as the homes in the photos are, nothings too precious to sit on or use. The era of rooms that people arent allowed to go into is behind us.

People are looking for more approachability today. They want to live in their homes and not cringe every time someone has a glass of wine on their rug, Flanigan said. They want beautiful things, but they want to be able to use them.

For some, that means lush interiors, fabrics you cant resist running your hand over, soft rugs beneath your feet and draperies that soften a room. In others, though, a more minimalist approach calls for a glass or acrylic coffee table that does its job in an almost invisible way or dining chars completely devoid of ornamentation.

Flanigan revels in wall treatments, whether its beautiful wallpaper, lustrous paneling or even stone treatments.

And you know were in an era of good self-care when closets are beautiful enough to make the pages of a design book. Flanigans closet treatments for men and women are worthy of any high-end boutique, with built-in cabinetry, lighted sections, chandeliers and furnishings.

I style every home we work on, and to be able to put this coffee-table book on their coffee tables will be a thrill, she said.

diane.cowen@chron.com

Excerpt from:
In Marie Flanigans new design book, theres beauty in every home - Houston Chronicle

Color and texture play equal roles in fabric design, a balance renowned textile designer Jack Lenor Larsen knows well, as doesSunbrella, a leading manufacturer of performance textiles. Though the two have a history of collaborating, the recently launched Larsen Performance Collection marks the latter's first foray into designing a full collectionwith Sunbrella. The collection features a colorful selection of multi-use performance textiles that have the look and feel ofluxury fabrics with inspired designs.

A pioneer of 20th century craftsmanship, Larsens inspiration comes from a desire to weave designliterallyinto unexpected places, showcasing individuality and global ideas from his own travels. Larsen's familiarity with performance fabrics stems from his work atLongHouse, the16-acrenature reserve and sculpture garden he founded in East Hampton, New York. Striving to incorporate art in everyday settings, Larsens collectionwith Sunbrella offers rich, intricate patterns, which also are long-lasting, fade-proof and easy to clean.

Using his extensive print archive, Larsen reinterprets multicolor statement floral and stripe prints into woven jacquard patterns with soft chenille textures, giving a new tactile comfort to indoor and outdoor living. "Midsummer [the floral] was my most popular print which we did in the 50s in many colors," Larsen notes, "I've now revived the pattern as a jacquard woven."

As an avid and long-time basket collector, Larsen constantly refers back to fundamental basket weave patterns. The Interlacing pattern presents as a study in drawing out the essence of a baskets construction into a woven textile."We need fabrics to resist fading for all kinds of purposes, whether it's for children's spaces, work spaces, or living spaces," Larsen says, noting that anothersignificantconnection between these textiles and a properly woven basket is the durability.

The cornerstone of Hieroglyphs design comes from its fabric pattern. The Sunbrella design team created the performance version of a horsehair yarn, with bi-colors mixing matte and shine that give luster and durability to the pattern. Similarly, the Chinoise fabric features an all-over matelass pattern, providing a subtle yet eye-catching motif in a soft textural manner."It has been a pleasure having jacquard facilities and abilities to use multicolorsto create patterned fabrics which is what I've tended to do because they give pleasure," Larsen says about his experience designing with Sunbrella.

"Fortunately today, we have fabrics that are resistant to fading in the sun, rot or mildew, rain and wear and that is very special," Larsen says, noting the rising importance of multi-use spaces . "From quite bold, to subtle, to crisp, we have great variety in this small collection," he continues, "the colors have a crispness, cleanliness, bright or not, which I think will work well in many places."

Available now through Larsen Fabrics.

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Jack Lenor Larsen Teams Up with Sunbrella to Create Textile Collection That Doubles as Art - Interior Design