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Hand Made Furniture
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Oak Flooring
Our solid oak flooring, comes in floorboards of varying widths and qualities. A quality oak floor can bring warmth and beauty to a room. French and English oak...
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Our Timber Titan Landscaping Screws are sold in packs from 10 to 250 (lengths from 100mm to 300mm). We also do offer superior quality deck screws 63mm long.
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We supply custom cut green & air dried oak, joinery grade products, planed all round oak boards and beams, simply select your product type and enter the quantity and...
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High quality constructional treated timber regularised for consistency and ease of use. Bark mulch and woodchip give a cost effective option to show off a garden to...
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We are able to provide bespoke and standard oak framed buildings in stock or custom sizes to meet any customer requirements.
Oak Beams and Oak Boards
We offer a range of beams including, structural green oak and air dried oak, douglas fir/larch as well as custom cut beams to your required dimensions.
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We are happy to introduce you to our range of environmentally friendly timber cladding in hardwood and softwood, a natural weatherboarding to clad buildings...
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We supply individual fencing materials in Pressure Treated Softwood & Freshly Sawn Oak ready for you to put together Post & Rail, Featheredge & Picket Style Fences....
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According to the AARP, 9 out of 10 Americans want to stay in their homes as long as possible. But how do you make a home accessible without having it look like a hospital room?
24/7 Listener Line: 1-888-MONEY-PIT
According to the AARP, 9 out of 10 Americans want to stay in their homes as long as possible. But how do you make a home accessible without having it look like a hospital room?
AOL Home Improvement Editor Tom Kraeutler, along with his co-host Leslie Segrete from The Money Pit, spent two days making over a Long Island home to deliver safety and style.
Working with experts from AARP, The Money Pit team took this home to three generations in Miller Place, NY and improved the kitchen, bath, foyer and the exterior so it was accessible for all.
Before the improvements, this kitchen was an inaccessible nightmare. With almost no countertop space and very limited cabinets, furniture was added to provide additional work surfaces. A portable dishwasher, countertop microwave and other dated appliances made a bad situation worse.
With limited space, appliances like this refrigerator were bumping into the furniture.
With so little cabinets, using every space became necessary but most were hard to reach.
The improvements began with new lighting and a simple coat of paint to freshen the old cabinets and make the space feel big.
Furniture was replaced by built-in counters at varying heights to deliver access when standing or sitting.
A Kitchen Aid drawer-styled dishwasher replaced the old portable unit. Besides delivering style and accessibility, drawer appliances are energy efficient as you can run "half" the dishwasher with only one drawer full.
This single lever Moen faucet, operable with just one hand, and large American Standard sink were a big improvement over the old sink which tool up too much counter space.
This stylish and very high-tech GE Profile induction cook top heats only metal pans and not the burner which is much safer for kids and adults alike. Amazingly, we were able to boil water while a stick of butter stood on the very same burner without melting.
This Sharp drawer style microwave can be mounted under a countertop or in a lower cabinet, as shown here. Traditional microwaves either take up lots of precious countertop space or are mounted high in wall cabinets where removing hot plates can be quite dangerous.
This GE Profile French door refrigerator takes up less space than full door models, yet stores the same amount of food. Thanks to the shorter door swing, more counters and wrap-around cabinets could be built to help visually join the space between the kitchen and living room.
Big and boxy, the old sink was hard maneuver around. The toilet was too low and a lack of grab bars made the space dangerous.
A new pedestal sink, accessible height Champion 4 toilet from American Standard started the transformation.
This teak bench and new grab bars makes the bathtub that much more accessible.
This stylish Moen grab bar, which can support up to 500 pounds, replaced the former flimsy towel bar.
The original staircase was a disaster waiting to happen. Due to the tight foyer, the homeowners had removed the original railings.
Handrails were added to both inside walls as well as the open side of the staircase. To increase space in the foyer, the post was set on the second instead of the first step, and anti-slip treads were added to each step.
The old hinged door was removed and replaced with a simple to use folding door. Eliminating the door swing made the traffic jam in this area vanish.
New lights added over the staircase and front door improved access. Furniture was styled for space and anti-slip pads were also installed under the carpets.
This narrow entrance made it difficult to access the house.
The new deck was built on top of the original stoop. Wide step was added to increase access.
The bigger deck allowed space for a bench, handy for packages or to take a rest.
Replacing traditional round door knobs with lever handles makes doors easier to open.
Enlarged house numbers and porch light makes this home more visible from the street and easier for emergency responders to find.
The single step rear door was accessible by a walkway from the front making it an ideal space to add a ramp.
This ramp was made of composite lumber and became a popular walkway for the crew during the project.
The garage was converted to a first floor bedroom.

subset: commoncrawl


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Saturday's global action begins with the suffering Highlanders hosting wildcard contenders the Crusaders in Dunedin.
Saturday's global action begins with the suffering Highlanders hosting wildcard contenders the Crusaders in Dunedin.
Enduring a season even worse than Super Rugby newcomers the Kings, 2013 will be quickly forgotten about by the Highlanders franchise moving forward.
Two victories out of 13 matches see them rooted to the bottom of the Super Rugby table, although their six losing bonus points have to some extent softened the blow.
So where has it all gone wrong? The Highlanders' attack after all is surprisingly impressive, with their total of 6640 metres made the second highest in the league and nobody has beaten more defenders – 341. The problem has certainly not been their scrum either, which boasts the best success rate in Super Rugby at 96 per cent.
A run of not winning a single match until May – eight games before their 25-22 victory over the Sharks – left the Highlanders firmly in the mire. Narrow losses, 33-34 against the Reds and 18-19 against the Force, have not helped their chances either.
Add into the depressing run of defeats eight yellow cards, two more than any other side, and the Highlanders at times have been their own worst enemy.
Two players though have shone through the dross – Ben Smith and Hosea Gear.
Enjoying a stellar season, Smith was impressive for the All Blacks in their Test series against France and only Charles Piutau has made more metres than Smith's 1189 this year.
Gear on the other hand will play his 100th Super Rugby game against the Crusaders.
Gear made his debut for the Highlanders in 2012 and has had a remarkable run, after making his league debut for the Hurricanes against the Chiefs in 2004. With 36 tries in Super Rugby and 42 tries at provincial level, he has proven himself as one of the best finishers in the game.
"I have seen Hosea develop into one of the best players in the world in his position," said Highlanders' Head Coach Jamie Joseph.
"He is one of the hardest workers both on and off the field. He always brings a professional approach to the Highlanders team environment and is highly respected by all the guys. Our team would like to congratulate him for reaching this remarkable milestone".
The Crusaders on the other hand are in the midst of an indifferent season of their own.
Second in the New Zealand Conference and still in contention for a Wildcard spot, their record of eight wins and five losses is not quite at the standard we expect from the seven-time champions.
Their opening day 34-15 loss to the Blues knocked them firmly on their backs and from then on they have often looked dazed.
Big wins have come over the Bulls, Blues and away from home against the Brumbies, but losses to the Hurricanes, Sharks and Force have been irregular.
Perhaps it is been down to the absence of Richie McCaw and Dan Carter, or the misplaced form of Israel Dagg.
Their attack has been respectable, coming up right in the middle of the pack for all key statistics apart from defenders beaten, where their total of 222 is someway off the Highlanders' 341.
In terms of the set-piece, the Crusaders remain a top-five team statistically and their proficiency at the breakdown is shared at the top at 96 per cent.
For whatever reason, the spark and cutting edge that has served them so well has been misplaced. Being so off the boil going forward leaves them open to an upset, as has been the case this season.
Despite his stint leading the All Blacks, the biggest surprise of Todd Blackadder's selection to face the Highlanders is the omission of first-choice number eight Kieran Read.
Read has been named amongst the replacements alongside fellow internationals Wyatt Crockett, Luke Romano and Corey Flynn while there's no place in the matchday squad for All Blacks tighthead prop Owen Franks.
Locks Tom Donnelly and Sam Whitelock make up the second row while the backs have a more familiar look with Tom Taylor moving to inside centre and Ryan Crotty wearing the number 13 jersey while Robbie Fruean is also included on the bench.
Prediction: Eager to secure their wildcard spot, a Crusaders victory appears on the cards in Dunedin. Crusaders by 6.
Highlanders: 15 Ben Smith, 14 Kade Poki, 13 Tamati Ellison, 12 Shaun Treeby, 11 Hosea Gear, 10 Colin Slade, 9 Fumaki Tanaka, 8 Mose Tuiali'i, 7 Elliot Dixon, 6 Jarrad Hoeata, 5 Josh Bekhuis, 4 Brad Thorn, 3 Ma'afu Fia, 2 Andrew Hore (c), 1 Tony Woodcock.
Replacements: 16 Liam Coltman, 17 Bronson Murray, 18 Jake Paringatai, 19 TJ Ioane, 20 Aaron Smith, 21 Liam Sopoaga, 22 Ma'a Nonu.
Crusaders: 15 Israel Dagg, 14 Tom Marshall, 13 Ryan Crotty, 12 Tom Taylor, 11 Zac Guildford, 10 Dan Carter, 9 Andy Ellis, 8 Luke Whitelock, 7 Matt Todd, 6 George Whitelock (c), 5 Sam Whitelock, 4 Tom Donnelly, 3 Nepo Laulala, 2 Ben Funnell, 1 Joe Moody.
Replacements: 16 Corey Flynn, 17 Wyatt Crockett, 18 Luke Romano, 19 Kieran Read, 20 Willi Heinz, 21 Robbie Fruean, 22 Adam Whitelock.
Date: Saturday, June 29
Kick-off: 19:35 local (08:35 BST, 07:35 GMT)
Venue: Forsyth Barr Stadium, Dunedin
Referee: Steve Walsh (Australia)
Assistant referees: Kane McBride (New Zealand). Sheldon Eden-Whaitiri (New Zealand)
Television match official: Keith Brown (New Zealand)


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Jun 17, 201306:12 PMPoint of View
A New Humanism: Part 23
Because the enveloping presence of light energy transforms our levels of competence, security or moods – our essential well-being and survival – the effective control of daylight, flames, and their replacements, naturally has long been part of the expertise of designers and engineers. And it's been obsession, too, of visual artists and poets. In Le Corbusier's familiar words, architecture is the "play of masses in light," and its history, "a struggle for light." And for all of us, light energy is an inescapable "material" in design – both as a content and as a context.
Light invites action. The eyes are automatically drawn to – alerted by – the places that seem to offer the most important and readily available information – moving lights, sudden changes, or the brightest spots. In verbal language we even use "light" as a metaphor for knowledge. It's a defining quality of any experience – orientation, exploration and peril – clarifying threats and opportunities, refuge and prospect, and unraveling "mysteries" in the shadows. And so we add skylights, build glass buildings, and open up entire land- and townscapes to become, in effect, larger and larger prospects – broader clearings in the forest – well-lighted by day and, by our ingenuity, at night.
The light we see is a mix of radiation from sources, diffusion in the atmosphere and reflections from a multitude of surfaces, including the shadows created by their forms and textures. At an intimate scale, it's largely those reflections that tend to make plaster or concrete read as "neutral," plants, fabrics or wood "alive," and polished marble, "perfection," before we touch them. And in larger forms, the artful shaping and detailing of places built in the brilliant sunlight of Greece, Italy, and deserts – now without their colors – the sculptural chiaroscuro illustrates the breadth of expressive potential, as light changes the geometry of space and masses through the seasons and through a day, both inside and out. In differing light, we live in a different environment.
The Acropolis in Athens – the "presence" of the gods, on a refuge and prospect high above the working city in the clarity and shadows of the brilliant Aegean sun
That is just the beginning, of course. In the creation of sacred places or performing arts and commercial settings, essentially all of the operations and limitations of human vision are being exploited. Toward one very effective extreme are such spectacles as the sparkling signs and saturated colors of entertainment places, or the scintillating light of a white ballroom or flashing disco mirrors, or the brilliant stained glass light in cathedrals. By simultaneously exciting every point on a retina and overloading the visual system – dazzling the eyes – the mind is disoriented as it struggles to find order in the bewildering flow of sensations and information.
Then, with senses on full-alert, but still confused, we seem to reach out – even if only for a short time – to imagine a new order – new rules – for a "new world" – one that does make coherent sense. The cathedral builders saw that "other world" in light itself – light as a divine "substance," a divine presence in super-natural soaring weightless space. For others, it's in the body chemistry of an intoxicating party-mood and earthy, hyper-natural world of Las Vegas, with its own rules –"What happens in Vegas stays in Vegas." Both create settings – environments – that invite experiences of rare pleasure – a release, an escape from habitual, imposed day-to-day patterns – in one case, a profound religious experience, and in the other, a new-found sense of wealth and uninhibited freedom of action.
The designers of theatrical and cinematic lighting do the same with great subtlety. First the audience is disoriented by darkness and then reoriented when combinations of lights "materialize" the new world. Then, the feeling of being for a time in a new reality is intensified by linking in the other senses: rhythmic sound that overflows the space – like an organ or drums that seem like the earth speaking, or the pulsating super-amplified sounds of a rock band – all given color and life in ritualized movement, secular or sacred dancing or touching.
As body chemistry evolved within the planet's cycle of sunlight and darkness, it came to produce parallel rhythms of survival-based hormones. Melatonin, prompted by darkness and inhibited by light, especially sunlight, and responding to receptors on the retina, induces a daily rhythm of waking and sleeping – a time when other exhausted receptors, muscles, and neural connections are typically refreshed by disengaging, by hibernating. Sensing that transition in a secure setting seems to be one of the pleasures of sunrises and sunsets. In any case, sleep brings on a very real vulnerability, and we seek out, often urgently, places where protection and warmth provide refuge. Sheltered resting-sleeping places are probably half of our indoor built environment, and, no matter what other symbols they embody, in daily life we tend to approach them with a narrow, demanding, survival-based mental set – a defensible perimeter, elevated and secluded, with enough light indoors and out to feel the security of the place.
A similar body-chemistry tends to be produced when we find ourselves temporarily confined in an unchanging setting. As sense receptors are fatigued by concentration and repetition, the drowsy consequences frustrate everyone involved. It's going to happen, but daylight alone can change the chemical mix – just as food and drink, coffee breaks and exercise do. Accordingly, in the otherwise handbook-perfected work places, conference centers, museums, and many new schools – places where people spend long hours staying alert – designers have been able to recharge a body-state within those spaces with exposure to natural light – to real sun, sky, and shadows and the refreshment inherent in the cycles of daylighting of the natural world.
"Light, open and airy" feels like a refreshing release, but the night has other pleasures. Darkness, when eyes are disabled, sharpens both the other senses and the "mind's eye" – inviting fantasy and imagination. And the presence of darkness and dimly lit places tends to arouse other predilections and stir other mixes of hormones – producing other priorities – that compete with, and can overwhelm the melatonin in a bloodstream. Both the fear-of-the-dark – the uncertainty about mysteries and hidden dangers – and a consuming ambition to extend the time we can work, move, and play in daylight, have resulted in brightly lit twenty-four hour habitats. But, at the same time, we build places with low light levels where we can "hide" ourselves from observation and distractions but without feeling confined. By "losing" the ceiling and walls of a larger space in darkness, and introducing a small, soft, warm source that lights up a foreground of faces – in candlelight, at a campfire, around a card table – designers create feelings of seclusion and a private intimacy with the accompanying body states that favor confidentiality and trust, daring and risk-taking, persuasion, and seduction. In other words, with changing light, sleep is overruled by more immediate challenges to survive, win, and prosper.
Breaking through constraints
Limits on seeing feel like limits on life, and we have a long history of technology designed to light up the dark or to deal with too much "blinding" light. Because the pupils adapt to the brightest light, they necessarily edit out whatever is dimly lit. Then unlighted colorful foregrounds become featureless silhouettes and signs, clues to orientation, work surfaces, food, and faces can be frustratingly – or intentionally – obscured by glare. In response, we have developed vocabularies of built environments to compensate for the pupils' natural limitations: selective shading and reflections, task lighting, balanced multiple sources and the focused highlights that signal "destinations" – the human purposes within a space, indoors and out. And we are continually exploring new forms that resolve conflicts – like those between functional night lighting and seeing stars in a dark sky, or between the desire for both daylighting and big-window panoramic views, but without glare and heat-gain. In a parallel way, too, we invent lenses that supplement our own, extending the range of focused vision.
The important point here is that, year by year, our ambition – our innate predilection – to keep extending our reach, brings into being more sophisticated science, design, engineering, and industries to manage light. We can – and many do – measure, model, control and predict human responses – emotions, associations, intellectual performance – to the light and color content of essentially any habitat we are building. Yet much more is known than is put to use. And that's what a new broader humanism is about: breaking through convention and out-dated "intuitions" and adopting more systematically than we do today, the advancing arts and sciences – in this case of vision and optics – into the everyday practice of architecture, landscaping, and urban design.
The presence of divinity in the dazzling light and color that fill the soaring space – once everyday practice in a gothic cathedral – this one in Mallorca.
We live wrapped in feelings aroused by colors. In a sense, they all – including black and white – tend to produce a range of moods – body states – and associations that prime responses to whatever we encounter. As raw color sensations follow paths into different parts of a brain, the meaning to us, the significance, is, as always, shaped by contexts; it can change as we're competing or courting, problem-solving or facing a moral judgment. And while often learned from our culture and experience our responses are naturally grounded in some basic, common physiology.
The red effect
In the retina, and concentrated within the central fovea three types of cone cells are sensitive to, and report on, light energy frequencies. The greater number by far senses reds and oranges, giving them more clarity and impact. Naturally, then, they draw the most attention, and seem to advance. They feel aggressive – possibly threatening – and tend to increase heart rates and blood pressure and thus a sense of warmth and impulse for action. We've all seen how that's exploited as the "red effect" in fashion and uniforms, or in a built environment, signs, signals and all kinds of eye-catching.
Blues and greens
…and especially violets, activating fewer cells tend to be perceived as less so, receding not advancing, leaving sensations of calm and cool. And blue, like yellow forms tend to become indistinct and immaterial, especially seen against the sky or water.
Essentially all tones of green tend to be associated with the natural settings they dominate, and beyond that, research is showing that, in a problem-solving context, greens can be refreshing, reduce stress and foster creativity – in a sense like the presence of nature itself. And along the same lines, in almost all contexts we respond to green as a symbol – a positive sign of approval and "go ahead."
When the question is asked, blues are typically selected as a "favorite" color. And research is showing that responses to blue – what seem to be innate associations – in social contexts are feelings of friendly or approachable, and in work situations open-minded, unconfined. At the same time, though in another part of a brain – in another context – we tend to respond to blue light – unless balanced by other colors – as "cold" and in another, it's the symbolic color of melancholy or in another, it's the UN and EU color of peace. Again, the context shapes the meaning.
White and black
This mix of all color wavelengths is rare in nature – except in the sky. And we tend to perceive it in ways parallel to geometric forms – as a distinctly human order – or a divine one – imposed on a less perfect natural world. Seeing pure, reflective white Carrara marble against the darker stones of Florence or bricks of Rome, or a white plantation house in the green/blue/brown of a wilderness, tends to lead toward sensing personal mastery, a place released from outside threats or aging, and as the most visible, these symbolic white human civilizing victories singled out as the most important, privileged places.
In a built environment, black, like darkness, is used to hide or minimize a presence. And in a social context, used sparingly, tends to be associated, like white at the opposite pole, the ultimate in formal authority.
Because it is the intensity of the impacts – of excitement of the receptor cells – caused by brightness, lighter values, sharp contrasts, and saturated colors, we give a high priority to finding and focusing on them as "first impressions." They structure the sequence of perceptions. And contrast is the key. Repeated, bright look-at-me light – and vivid colors – along a confined corridor like highway strip or in a carnival setting, can be energizing to exhaustion until the significant information in each individual "first impression" is communicated. Then it's absorbed in the identity of a larger district, a destination clearly set off from its surroundings.
When light energy reflects off surfaces, their physical textures and variations, creating changing shadows, naturally add a dimension to what we see. The reflections from natural irregularities in building materials, or weathered pigmentation, a patina of human use, or colors seen in firelight become flickering images on the retina. Unconsciously we tend to sense that as motion and, in turn, almost human life. Landscapes, especially in a breeze or dappled sunlight, or in the sparkle – and sound – of moving water can do the same.
As a language
With these few basics as a start, cultures – and individuals – have elaborated out of their own experience and associations, a range of "languages" of color that have been most effective for them. Like verbal languages they appear to evolve over time, becoming enormously complex and powerful. And sensitive, trained designers, artists and colorists, have used the historic color vocabularies of a culture together with the science behind them to develop an impressive fluency. In a sense, they've organized the visible spectrum into a vocabulary of hues, values, and uncounted distinct tones that we are readily able to perceive. And then, in a parallel with composing music, they can hold in their minds, and foresee colors in relationships with each other and with the other senses. And they can use combinations of mixes, textures, layering, lighting, harmonies and contrasts to evoke hundreds of predictable feelings – except, of course, in that +/- 10 percent of the population that the rest of us call color-blind.
In a built environment, colors are, of course, only one factor in a scene, but again experience has proven colorists in our culture able – on their own – to stimulate, or set the stage for such imagined sensations as: warm or cool; soft, smooth or harsh; excitement or serenity; harmony or confusion; formal or casual; refined or rustic; dignity or flamboyance; solidarity or conflict; natural or crisp and machine-like; old and prestigious or new and prestigious; and varying political and religious values. In other words, they have identified workable translations from colors to body states, and the expressive languages of color – from the cool white-black-gray of the Bauhaus to the intense rainbow of a Caribbean village – are as inevitable and forceful in a built environment as they are in love and in battle.
Local color
Alongside the clear, bright white pride in mastering an uncivilized place, often not far away are other settlements where color is not a choice but a given. The practical, cost-effective materials of architecture and landscapes are at hand in the earth itself – the warm sandstones of Bath and the Cotswold hills, red clays, the redwoods of California, the fields of lavender or tulips and native associations of plants everywhere. Then at all scales – in buildings, landscapes, cities, and regions – powerful, memorable color identities are valued because they tell stories of home, stable societies, roots in the land, and the larger, longer history of surviving and prospering here. In today's mixed national/global markets, color rarely plays that role except in places deliberately branded by their occupants or developers. Our lowest-cost, vernacular materials are as likely to have the colors of recycled plywood, plastic tarps, and corrugated metal sheets, and they tell their own stories of settlement and survival in an industrializing culture.
* * * *
Next: An overview of how the sensations of hearing, tastes, and smell are integral to experiencing the places we build.
This is the twenty third in a series of posts that spell out a set of ideas called A New Humanism: in architecture, landscapes, and urban design. They're about enlarging the way we think about design by applying, in day to day practice, a broader range of insights into the cutting edge sciences of nature and human nature — using them to understand how our evolved mind-and-body actually experience the places we design, and why people respond the ways they do.
Robert Lamb Hart is a practicing architect and planner educated at Harvard GSD and the University of Pennsylvania. He is a founder and a principal in Hart Howerton, a planning, architecture, and landscape design firm with an international practice out of offices in New York, San Francisco, London, Shanghai, Park City, and Boston. He believes that the design professions have been falling behind in their understanding of one of the defining enterprises of the Modern revolution, the application of the maturing, fast-moving sciences of ecology and human behavior — and the compromised results are showing.
Read more posts from Robert Lamb Hart here.
Another fascinating and delightful piece. Glad to see you started with Le Corbusier, who of course said the three indispensable 'building' elements were light, space and greenery, in strict order of importance, followed by glass and concrete at 4 and 5 in the hierarchy.
I'd be interested to know though, Robert, what you think of Junichiro Tanizaki's 'The Beauty of Shadows', which, partial polemic though it undoubtedly was, made a very seductive case that the mastery and enjoyment of light was an obsession that was not shared by all cultures. It's a point picked up recently by contemporary Japanese architects in Wachtmeister's excellent documentary 'Kochuu'.
To Dr Richards -- Just received your comment and will follow up on the Tanazaki reference. Thanks.
To Simon Richards -
Thanks very much for steering me to Tanazaki's "In Praise of Shadows." Wouldn't it have been great to spend some time in conversation with him? I have a lot to learn about Japan, but you asked for "thoughts," and three initial ones follow.
1. Beauty. The theme I read in this engaging little book is on page 18: "The quality we call beauty, however, must always grow from the realities of life," and he goes on to explain (maybe tongue-in-cheek, maybe not) his book's title, "our ancestors, forced to live in dark rooms, presently came to discover beauty in shadows, ultimately to guide shadows towards beauty's ends."
And in my upcoming Parts 31 – 32 on "aesthetic experience", I express what I think is a parallel thought – the idea that we "all share, in some measure, a parallel aesthetic awareness" and "the feeling we call beauty is not something outside everyday life." The point that I think we both make is that beauty is not intrinsic in an object – or in light or shadows – but that (in my words) there are certain experiences in the complexity "in-here" – derived from nature, memories and a moment – that lead us to feel and say, "beauty" or "art" (or "truth").
2. Sensibility. It's always a pleasure to encounter a person with Tanizaki's refined senses and the good novelist's – or poet's or hunter's – cultivated awareness of immediate physical surroundings. While we all share highly developed detection systems that have their origins as survival skills, we read through a "cultural lens," in his case a mid-twentieth century Japanese one; and that seems to a foreigner to include a predisposition to create order and meaning in domestic environments with formalized, understatement, simplifying and minimizing (even to darkness). In-born or not, it's an approach that opportunistically takes full advantage, aesthetically, of the subtlety of his perceptions – a precision of the lens – and economically, of limited resources.
In-born? It would be interesting to find out if his lens is inherent in a Japanese genome – as are the stature and skin color he describes. After all, the people who created Japanese culture, like the rest of us, evolved, in part, in isolation from other ethnicities. But look at the contrast of recent events – the long-standing influence of Japan on Western design – extending to today's cross-cultural global success of Japanese architects – and, reciprocally, the massive twentieth century influence of American culture on Japan. That, in turn, suggests to me that we share in-born complementary in conflicting predilections/capabilities; and then individually or interacting as a culture each of us comes to favor a different balance of priorities as our physical, social, political or economic conditions change.
3. Light. The rapid, radical efforts in Japan "to imitate America in every way it can" (page 35) – including our Western lust for light – suggests that the role of shadows may well have been a historical circumstance. In his words, (page 26) the contemporaneous, "court nobles and feudal lords" wore splendid, traditional "pattern and color…" – their "resplendent dress…gleaming" – and that suggests that light and color may have been signs of stature in an economic or religious hierarchy, as they were in feudal and Renaissance Europe – which brings us back to the point above: beauty is where you're able to find it.
Still, darkness, obscurity, anything we can't perceive clearly has elements of mystery that irresistibly draw our curiosity. And the act of finding usable information in them – discovering a "meaning" – is naturally another of those primal, survival pleasures. Equally important, it's our own imagination – the mind's eye – that fills-in the unknowns with our fantasies or desires; in a sense, we bring the shadows into our own spiritual (in the sense of non-material) life – into our personal stories. That's the power of the incomplete or seemingly unfathomable.
And that's also what I've been exploring, trying to understand why, and therefore how to use light and shadow in practice.
4. Finally, translator Harper points out, "…his insistence upon basic and natural causes contributes much to the eloquence of his argument." (page 40) And I think that's important, of course, because it's in the mainstream of my ecology/evolution-based argument. I plan to pursue this further. Any recommended reading?
In any case, I'd like to know what you think about this very appealing little book and hear more about your Ise studies.
Regards, Bob
Thankyou so much for you intriguing thoughts on the Tanizaki, and his sense of the beautiful in particular. As with many of your other readings in Metropolis, you seem always to be able to draw out the assumptions about underlying human nature that are implicit to the text. As you know I think these are the most important elements within all architectural discourse, even though there are few scholars and much fewer architects who acknowledge their presence.
I think there's a real polemic in the Tanizaki as well, not altogether veiled, against the 'taint' of Japanese style and traditions by Western efficiency, functionalism, light and detergent. It's quite interesting but many of these arch-traditionalists were originally pro-western cosmopolitans, often driking in the sights and sensations of cosmopolitan cities like Yokohama, and were only 'turned on' to their own national aesthetic by slightly over-enthusiastic, you might say, but certainly 'Romantic' foreigners like Lafcadio Hearn and Ernest Fenellosa in the late 19th century.
Another interesting aspect is the role played by these traditional aestheticians in the formation of the sense of imperial right and racial superiority that fuelled Japan's infamous adventures up to and including WWII. I'm still only a beginner in this field myself, I have to admit, but I recently published a chapter in a book called 'Peripheries' (Routledge, 2012), on Tanizaki and certain other thinkers in his circle, including Kakuzo Okakura, who wrote that other delightful little treatise on Japanese aesthetics, The Book of Tea. The chapter looks at the strange attractions and persistence of the idea of 'shadow' within Japanese architectural aesthetics. I have sent it to you...
Sorry, I've rambled off topic...!
Simon –
Thanks for sending the link to "Shadows in the Farthest Corner" last summer, with your thoughts on Japanese architectural aesthetics and Tanizaki in that larger perspective.
"Shadows" came to mind again when I was reading a very interesting recent book, "Design and Truth" – much more accessible than that title suggests – by University of Oregon professor (of English), Robert Grudin. The book opens with a brief story about Sen no Rikyu and Hideyoshi -- it may be a well-known one -- that describes the clashes between the famed tea master's "culture of simplicity, equality and integrity" with the warlord's "passion for ceremony rich in accoutrements of power: ornament, display and social inequality," followed by his demand for Rikyu's suicide that demonstrated the "puniness of a subject who needed a lesson in manners."
Grudin uses the story to dramatize one of the themes his book illustrates: "However grand designers' aspirations, they wait upon the will of people in power...." in almost any culture at any point in its history.
I also went back to re-read your closing thought about "the common paradox that attaches to traditional aesthetics" (p.38) in our tradition-deprived "global contemporary architectural styles" when
I came across a neat phrase from another context: "A sense of Japan hovers over [this fashion designer's] modernism (as it does, when you think about it, over modernism itself.)" (Janet Malcolm in The New Yorker).
It may be that the same impulse of modernists, early and late, that rejected historical styles – with their tendency toward everyone's-a-warlord architecture -- also opened minds to another of our latent human sensibilities, one that had found its most highly refined expression in the isolation of Japan.
Looking ahead, we may see ourselves again in the Japanese mirror. As we face a future with limited resources, we, too, may come to recognize that a fulfilling aesthetic experience is not an expensive frill available only to the trained or wealthy. Instead, the potential is "in-here" in all of us and can readily be an integral part of living well with less -- as it has been in Japan,
In this connection, I've spelled out some of these and other ideas about "architectural aesthetics" in the Metropolis POV "A New Humanism" posts, Parts 31 and 32. If you have time I'd very much like to hear what you think - and any news on the Ise studies.
Thanks for the reflections and recommendations, Robert. It'll be interesting to see how tradition fares at the Biennale next year under Koolhaas' injunction to research his pet/pre-emptive conclusion that tradition is dead. Will be especially interesting to see the Japanese pavilion - to be made, I believe, by an ex-employee of the OMA - haha!


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1001 Fannin Street
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Associate – Plaintiffs' Securities Litigation, White Plains, NY Saxena White P.A. Saxena White P.A. is a prominent national law firm specializing in plaintiffs' securities l...
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COMMERCIAL LITIGATION ATTORNEY FELLHEIMER & EICHEN LLP - Philadelphia Fellheimer & Eichen LLP is a well-regarded commercial litigation boutique with a varied and sophisticated practice. The ...
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A. Harrison Barnes is a well-known attorney throughout the United States. As a member of the Malibu community, Harrison is committed to serving the needs of Malibu residents and businesses in legal matters.
Benjamin P. Smith is a partner in Morgan Lewis's Litigation Practice. He is a trial lawyer with a particular focus on high-stakes disputes in the biotechnology, medical device, and internet industries.


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All of your precious spheres have been scattered far from the safety of the main sphere. It is up to you to gently guide them back.
To do this you must use your ability to attract the smaller spheres towards the rescue sphere. With a cluster of them in pursuit you must make sure they stay away from peril and reach their goal.


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Innovation in Peanut Policy Development Wins Tiffany Arthur an Economist of the Year Award
Tiffany Arthur knows peanuts.
Her command of the subject area not only allowed her to develop a new methodology to address issues in the peanut industry, but her ability to provide insight to Congressional leaders, USDA officials and market participants earned her the Economist of the Year award by the USDA Economists Group. Read more »


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What if you could update your Facebook and Twitter status without being too obvious? You know who you are! Italian denim brand Replay Jeans will release their Social Denim for men and women—in skinny and baby boot cut fits—for the masses in December. Using Bluetooth technology, the wearer simply clicks on a button to update various mood choices without having to look down. Sly! We think the jeans look pretty good, but we're not so sure about the device hanging in front of the coin pocket. Would you wear this?
Replay Social Denim will be available in December for US$193-$255. Via AMUSEMENT?.
—Kathy Ng Hassan
Tags: Apps, fashion technology, Replay Jeans, smart jeans, social apparel, social fashion, social media, tech


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Rialto Dalia Wedge Sandal
Sorry, this item is sold out!
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Item # 274521
Dress up your look in a subtle way with the Rialto Dalia. This wedge sandal is just the right height so you can be stylish on your feet all day!
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By: GeorgiaDawg
Location: Suwanee, GA
September 05, 2013
Stylish Sandal
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Location: MS
June 06, 2013
Not very durable
"Shoe looks nice but after only one day of wear the bottom of the shoe is tearing up."
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Steve Madden Rylan Wedge Bootie
Sorry, this item is sold out!
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Item # 236010
Turn heads in the Steve Madden Rylan. This wedge pump has a wild print that will take your look to the next level.
- Printed fabric upper
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By: cc812
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September 26, 2012
"very light and comfortable! not as flashy as they look online - in a good way. add just enough color to an outfit. good for wide feet like mine (as are most steve madden shoes)"
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September 22, 2012
"I am in love with the Rylan bootie! The bold colors, wedge heel and casual styling make this an excellent transition from summer to fall. The shoe runs true to size, and my size nine feet did not look gigantic! While the height may seem scary, the shoe is light weight and balanced. The toe hole is the correct size (not too wide or narrow) and shows off your Anise nail polish perfectly. These are a MUST for any fashionista's wardrobe."
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September 13, 2012
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Welcome to your morning dose of denim news, links, sales, and inside info! Catch up on what's happening and browse our personal picks for the most interesting what-not that turns up during our morning web crawl. Got a tip you think we should include, a sale you want to share, or a style you just saw and can't live without? Email us!
1. 50% off at Brooklyn Denim Co., final markdown on items in-store. If you're in Brooklyn, drop in! 85 N 3rd St. #101 Brooklyn, NY 11211 p. 718.782.2600
2. Check out photos of the Alexander McQueen McQ collection at Atrium NYC—the men's denim pieces are sporty-meets-punk rock.
3. Celebs Kristen Bell and Julianne Hough were spotted making a difference at the DoSomething.org and Aeropostale 'Teens For Jeans' launch party. The program raises awareness of the teen homelessness problem across the country.
4. Buffalo David Bitton announced that Kym Maas has joined the company as Chief Merchandising Officer. Read more about her new role at The Denim Guy.
5. Kult Magazine's September 2011 Issue features a pretty cool denim editorial, featuring Franziska Müller.
—Michelle Christina Larsen
Tags: Alexander Wang, atrium nyc, Brooklyn Denim Co., buffalo david bitton, DoSomething.org, Franziska Müller, Kult Magazine, Teens for Jeans


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Department Head: Damon Brown
Assist families with children by enforcing the collection of child support payments.
This department provides child support services to the public. The program involves the establishment of paternity for children born out of wedlock and the establishment of child support court orders. The purpose of this program is to ensure that non-custodial parents support their children.
If you see or know the whereabouts of a Deadbeat Parent please contact 911 or your local law enforcement.
Send an email to report a Deadbeat Parent
Visit the NC eChild Support website
eChild Support allows you to find find complete child support information and to conduct transactions, whether you are a parent or an employer.
- Child Support Enforcement
- Office Hours:
8am - 5pm M-F
- 355 S. Fayetteville St., Unit A
Asheboro, NC 27203 map


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Foreign high school students are scheduled to arrive very soon for academic semester and year program homestays, and the sponsoring organization needs a few more local host families. Castle Dale area families interested in learning more about student exchange or arranging for a meeting with a community representative may call P.I.E., toll free at 1-800-631-1818.
Although there has been a big push to provide conservation information to the general public and homeowners, there has been less assistance for larger water organizations. The workshops are intended to target facilities and maintenance managers of large institutional water users.
When adjustments are made to increase the overall efficiency of a landscape, there is a potential for up to 50 percent water reduction. These workshops also offer hands-on training and direct instruction from a Utah State University horticulture professor to get them by until major changes can be made.
They are held every Tuesday and Thursday from 9 a.m. to 3 p.m.. The remaining workshops will be held Sept. 5 at the Weber Basin Water Conservancy District; 2837 East Highway 193, Layton; and Sept. 10 Jordan Valley Water Conservancy District; 8215 South 1300 West, West Jordan.
For more information about the workshops contact Lori Johnson at (435) 797-2255. Registration must be received one week in advance and space is limited.
Back to School Night at San Rafael Jr. High School will be held Aug. 28 at 6 p.m. sharp. Parents will have time to meet with each of their student's teachers. They will hear a short overview of the things which will be taught this year and learn what is expected of each student. Be sure to bring a copy of your student's schedule.
Compressed charcoal and water colors, "Wood Water Rock," art work by Meredith Nemirov will be displayed at the Ouray County Historical Society Museum from Aug. 18 - Sept. 8, 10 a.m. - Noon and 2-6 p.m. The museum is at 420 Sixth Ave., Ouray, Colorado. For more information, call 970-325-4576.
USDA has developed an internet website for producers of livestock that "need/have" hay, haying or grazing available. The website is located at www.fsa.usda.gov and has a quick link titled FSA HayNet. This is available to assist livestock producers in finding needed hay or grazing.
Well actually they would prefer you be alive, but participants are wanted for the First Annual Utah Western Heritage Week to be held in Millard County Sept. 2-8. The event is being called a "gathering," because it will bring together those who love our Western Heritage from all across the west.
There is a full week of activities planned including a barn dance, golf tournament, rodeo, cowboy poets and musicians, riding club events, and Utah's Cowboy Christmas. Another highlight is the Old Capitol Arts and Living History Festival.
For more information call Delta Chamber of Commerce at 1-800-864-0345 or 435-864-4316. A website is also available at www.millardcounty.com.
Auditions for Joseph and the Amazing Technicolor Dream Coat will be held on Aug. 29 at 7 p.m. at the Ferron LDS Church, 200 North State Street. There will be roles for narrators, 12 brothers and solos. Audition packets are available at all libraries.
Nearly 20,000 little yellow ducks will float down the lazy river at Raging Waters in Salt Lake City on Aug. 31 for the Utah Make-A-Wish Foundation's 14th annual Rubber Ducky Derby.
The money raised at the fundraiser will help fulfill the wishes of Utah children with life-threatening illnesses. Come capture a piece of the ducky action beginning at 10 a.m. with the opening ceremony at Raging Waters, 1200 West 1700 South , Salt Lake City.
Lessons in song and dance, with emphasis on all areas of dance. Ages Pre-school thru Jr. High. To register, call 381-5425.Classes start Sept. 5.
There are eight quilts to be raffled to help with Monte Gee's liver transplant. The raffle will be held Sat. Sept 7 at Mayor's Park in Ferron at 12:30 p.m. immediately following the Peach Days Parade. For tickets or info call Frances at 384-2658 or Mila at 384-3267.
Sept. 3-Race Draw-6 p.m.-Fairgrounds
Sept. 6-Bike Ride-6 p.m.-Mayors Park-call 384-3399
OHV Poker Run-6 p.m.-Mayors Park-call 384-2264
Exhibits-Noon to 5 p.m.-City Hall-384-3282
Mens, Ladies & Family Golf Tournament-Millsite Golf Course-384-2887
Fund Raiser Dinner-5-8 p.m.-Fairgrounds
Fireworks-9 p.m.-Fairgrounds
Sept. 7-Breakfast-7-10 a.m.-Mayors Park
Fun Run-7 a.m.-Old Church Park-384-3133 or 384-3028
All Day Golf Tournament-Millsite Golf Course-384-2887
Parade-10 a.m.-State Street and Mill Road
Trap Shoot-11 a.m.-Emery County Landfill-contact Jason or Jeremy Jewkes
Raffle & Bake Sale-10:30 a.m.-2 p.m.-Emery County Care & Rehab. Center
Family Fun Day-Immediately following the parade-at the Mayors Park
Exhibits-Noon-5 p.m.-City Hall-384-2758
Horse Races-1 p.m.-Fairgrounds
Demolition Derby-approx. 6 p.m.-Fairgrounds
Dance-following Derby
The Huntington Camp D.U.P. will hold a meeting on Sept. 12 at 2 p.m. at the Huntington Senior Citizens Center.
Green River will host their 22nd annual men's slow pitch softball tournament on Sept. 20-22. This year we would also like to see the Coed tournament brought back to Melon Days weekend. So if you have a team and are interested in having some fun, pack up the family, load up the car, and join us for an exciting weekend of ballgames, great food, entertainment in the park, and don't forget all the free melon you can eat. Teams will be limited, so get registered early. For more info call (435) 564-8479.
Organizers of public lands day are looking for volunteers to help with the project at Swasey's Cabin on Sept. 28 at 9 a.m. Families, individuals, church groups everyone welcome. Call Margaret Fugate-Swasey to register and for more information at 381-5225.
A.W.A.N.A. Club will be starting back up again on Sept. 4, from 6-8 p.m. at the Desert Edge Christian Chapel in Huntington. There will be games, music, bible lessons, and treats. All children from age 3 through 6th grade are welcome. Everyone is welcome to attend. For more information call 687-2933.
Women can learn the basics of map reading and using a compass to navigate the backcountry by attending a Map and Compass Camp-out that will be held Sept. 20-21. To register for this camp-out, call Takeda at (801) 538-4710 no later that Sept. 1. The camp-out is limited to 15 participants and the fee covers food and all the equipment needed except sleeping bags and sleeping pads.
Effective July 1, our new address and location is: Department of Veterans Affairs, 550 Foothill Drive, P.O.Box 581900, Salt Lake City, Utah 84158-1900. The building is located on the Southwest corner of Foothill and Wasatch Drives, on the grounds of the VA Salt Lake City Healthcare System.
A service officer from the American Legion will be in your area to assist you in understanding and applying for VA benefits, including compensation, pension, hospitalization, education and other benefits. This is a free service and veterans need not be a member of the American Legion to receive assistance. The Service Officer will be at the Department of Workforce Services Price Employment Center, 475 West Price River Drive, Suite 256 on Wed. Sept. 11 from 9-10:30 a.m.
Utah State University is offering a Grant Writing Class for the fall semester. Classes will be held on Sept. 7, 14, 21 and 28 at the CEU campus, room CBB 103, from 8 a.m.-3 p.m. There will be a cost for the class and course materials. For more information contact Leila Andrews 613-5610 or Mandi Bryner 613-5617.
The American Society of Agricultural Appraisers is offering a 4 1/2 day Personal Property Apppraisal Seminar in Twin Falls, ID, Sept 18-22.
This seminar is designed specifically for those who currently are, or desire to become, a livestock, farm equipment or horse appraiser. This is an excellent opportunity for those who are looking to enter the appraisal profession and for those appraisers who desire to enhance their professional appraisal skills.
Topics covered include principles of appraising, valuation methodology, market research and analysis, appraisal report writing and the Uniform Standards of Professional Appraisal Practice.
For more information call 1-800-488-7570 or www.amagappraisers.com.
Tickets for two shows of Pioneer Theatre Company's 40th anniversary season will go on sale to the general public Mon. Aug. 19 at 10 a.m. The two shows available are the 2001 Tony Award-winning drama, Proof (Sept. 18-Oct. 5); and the family musical favorite, Peter Pan (Dec. 4-28). Ticket information and purchases are available by calling 581-6961 or visiting the PTC website at www.ptc.utah.edu.
This is the second year that the Utah Energy Office is loaning free anemometers to measure the wind. There may be enough to justify a wind turbine to make your own electricity to power your home, business or farm.
For more information or if you are interested in obtaining an application please contact Christine Watson at (801) 538-4792 or the Energy Hotline at 1-800-662-3633. To apply online, please visit www.wind.utah.gov.
Bringing hope to single moms support group and self-reliance class now being offered in Castle Dale. Open to the public free of charge. It will be held on Thursday evenings from 7-8 p.m. There will be on site child care available with prior notice. The course offers self-reliance skills, recourses, skills on setting up a safety net and starting a new life plan. For more information call Jennifer at 381-2827 or Jackie at 637-5542.
The Helping Utah Children Hear Program is accepting applications from families of children under the age of 21 years who are in need of hearing aids. Families whose income qualifies are eligible for a free set of hearing aids that the child may keep. For more information or to request an application, contact the Utah Schools for the Deaf and Blind, Marcia Knorr (801)629-4727 or send an email to firstname.lastname@example.com.
If you or someone you love is battling cancer, a free informational tool can help. The booklet, "A Helping Hand: The Resource Guide for People with Cancer, " is available in its newest version by calling 1-800-813-HOPE or on CancerCare's website at www.cancercare.org. The guide lists national and regional organizations that offer information; education and support services; programs that provide free medication; and commercial outlets for products. Local resource information can connect you with services such as transportation, financial aid, hospice and home care.
Active Re-Entry a community based program has a satellite office in Emery County at 40 South Center in Castle Dale. Many services offered; committed to promoting the rights, dignity, and quality of life for all persons with disabilities. Call 381-5410.
Southeastern Utah District Health Department is offering a clinic for women between the age 40- 64. Get a private check-up by a female provider. Get a pap test and breast exam. Receive a free mammogram voucher. Women must meet age and income guideline to qualify for a free exam and mammogram. For more information call 381-2252.


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καὶ αἱ γυναῖκες αὐτῶν τῶν παραβάντων ἀγγέλων εἰς σειρῆνας
Would the plural rather than the dual form of σειρῆνας exclude Homer as an influence for the word? If so, what influence would be likely?
Scott Lawson wrote:καὶ αἱ γυναῖκες αὐτῶν τῶν παραβάντων ἀγγέλων εἰς σειρῆνας
Would the plural rather than the dual form of σειρῆνας exclude Homer as an influence for the word? If so, what influence would be likely?
Ken M. Penner wrote:The influence would likely be from the Septuagint, Jb.30.29, Mi.1.8, Is.13.21, 34.13, 43.20, Je.27(50).39.
See "'Sirenen' in der Septuaginta," Biblische Zeitschrift 23 (1935–36): 158–165.
Scott Lawson wrote: I thought that the use of σειρὴν at Je.27(50).39 and Is. 13:21 came from Jerome and would have been after the earliest copies of 1 Enoch. Is that accurate? If it is, would that also be true of the other occurrences you sited?
It seems to me that the use of σειρὴν is more likely influenced by Greek mythology or am I off target?
Eusebius' Commentary on Isaiah 1.67 wrote:Therefore he prophesies that Babylon will be absolutely empty and no longer inhabited by the domestic and useful animals that had dwelt among her. And when he says wild animals, we read this as a prediction that there will be certain obscure and unknown creatures, certain wild and savage demons and spirits in her. Therefore, instead of wild animals, the other Greek translations have rendered this word sieim. Instead of sirens, they have ostriches, and instead of Donkey-centaurs, they simply transliterated the word iim from the Hebrew on account of the obscurity of the meaning. And in the same way, instead of hedgehogs, the three translations render this word sirens, perhaps on account of the deception of such demons, since the Greeks say that these sirens are sweet-voiced and deceptive spirits (trans. Jonathan J. Armstrong).
Ken M. Penner wrote:Scott, are you perhaps confusing the vulgate (Jerome, Latin) with the Septuagint (Greek)?
Nickelsburg wrote:Greek mythology appears also to have left its imprint at a number of points in 1 Enoch. None of the examples cited here in itself demonstrates such influence; however, taken together, they strongly suggest contact with material at home in the Greek world. The precise nature of that contact is uncertain, and dependence on material common to Greek and ancient Near Eastern myth is not to be excluded. ... The sirens mentioned in 96:2 are a staple in Greek mythology.
George W. E. Nickelsburg, 1 Enoch: A Commentary on the Book of 1 Enoch ( ed. Klaus Baltzer;, Hermeneia—a Critical and Historical Commentary on the Bible. Minneapolis, MN: Fortress, 2001), 62.
Nickelsburg wrote:Like their angel husbands, the daughters of men continue to have an evil influence. This is one of the few pejorative comments about these women in this book. Their function as seducing "sirens" appears to presume the long reading in 8:1 and the idea that the watchers were seduced by the daughters of men. According to Greek mythology, the sirens were half-women, half-birds, who lured men to their destruction. In the latter respect, they are fitting companions for the spirits of the angels. Cf. also 96:2.
ibid, 288.
Nickelsburg wrote:The meaning of the final lines of the verse is uncertain. The translation follows the best MSS. More appropriate, however, would be the idea that the sirens, the mythical mourners of antiquity, will weep over the death of the sinners. The text may be corrupt. In either case the reference to figures from Greek myth is noteworthy. Mention of the lament parallels Enoch's lament in 95:1.
ibid, 465.
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The Opening of the Tortorella Era
Jeff Angus
June 25 2013 09:11AM
The John Tortorella hiring has already been covered extensively here at the CanucksArmy (including this reaction coverage), but I wanted to weigh in with a few more thoughts on what is already a fascinating story to follow.
Will Tortorella succeed in Vancouver? Was he even the first choice of Mike Gillis? Can Tortorella change his ways with regards to his media interactions?
Read on for more.
Unsurprisingly, some in the media welcomed the news of Tortorella's hiring by brandishing their favorite carving knives. Ed Willes even compared this to the hiring of Mike Keenan? Really?
The Keenan era was a dark time in Vancouver, but it also brought with it Todd Bertuzzi and Bryan McCabe (who was used to acquire one of the Sedin draft picks). This current Canucks team is miles better than the team that finished out of the playoffs in 1996-97 (the season before Keenan replaced Tom Renney).
That isn't to say any criticism of this move is without merit, though. Is Tortorella the best fit? Does this team of gentlemen and "nice guys" need a coach who is going to motivate them and be much more of a hands-on presence than Alain Vigneault was (particularly during their last few years)?
It will be a huge adjustment. For many Canucks, Vigneault has been the only NHL/professional head coach they have ever played under. However, two things said and done over the past little while shed a little bit of light on why this may be the best fit for the team at this current moment in time.
The first was Kevin Bieksa's quote about what type of coach the team "needed" after Vigneault.
"I don't think we need somebody to come in and crack the whip."
Again. Really? Seems like a bit of a strange quote from a player. Vigneault let the veterans manage the dressing room themselves (for the most part). This worked for a while, and it worked particularly well with such a strong leadership core in place. However, after a while, perhaps a tiny bit of complacency set in (and the team really missed Manny Malhotra in this capacity, too).
And second are the words and thoughts from several people within (and outside) the Vancouver organization. Gillis talked at length with Markus Naslund about Tortorella. He did the same with Chris Higgins, who also played briefly with Tortorella in New York as well.
Another John Tortorella connection to Vancouver - was assistant coach in Phoenix when Laurence Gilman worked in the Coyotes front office.— Jeff Angus (@anguscertified) June 21, 2013
And the Gilman connection was a big factor, too. Most of all, Gillis talked to the Sedins. Even though they only have a year left on their current contracts, they will be back in Vancouver if they want to continue playing in the NHL. From who, I am not sure (Naslund? Maybe Henrik Lundqvist?), but the Sedins had heard good things about Tortorella, and pushed for his hire. I think that speaks volumes as to what kind of direction they think the team needs to go to get over the hump.
It isn't necessarily "now or never" for the Canucks (I think the window for the current core, without a bit of a shake-up, has already passed, though). Daniel Alfredsson is still very good close to his 40s. The Sedins have a lot of good hockey left. But I think this hiring is about more than the owner wanting a different kind of coach in charge (and I think Mike Gillis would quit tomorrow if he wasn't given the final say on any hockey-related matter). It's about the players wanting someone to hold them accountable.
Having a self-policing dressing room may work for a time (and the Canucks were one win away from a Cup), but after a while, it's hard to keep the same level of accountability and responsibility in there with so many new faces. Mikael Samuelsson was another guy who spoke his mind and was really respected by the team even though he had a low opinion of management. With each trade/sigining/transaction made, that dressing room identity became a little bit harder to maintain.
And how does that accountability (or lack thereof) affect the on-ice performance?
Some interesting thoughts raised:
@anguscertifiedI'm a bit perplexed that nobody is talking about penalties re: accountability. Canucks top ten most SH team— _Proto (@_Proto) June 25, 2013
@anguscertified Every single year under AV. Most times SH on aggregate in entire league. Torts teams consistently bottom 5— _Proto (@_Proto) June 25, 2013
And with a number of young players needing to step up (cap reasons, and the direction that the NHL is heading nowadays), it makes more sense to have a coach who is much more hands-on with all of his players. Tortorella had both successes and failures in New York, but one of his greatest accomplishments was developing so many of New York's young players (Derek Stepan, Artem Anisimov, Ryan McDonagh, and so on). Vancouver needs big contributions over the next few years from Zack Kassian, Chris Tanev, Nicklas Jensen, Frank Corrado, Brendan Gaunce, and Jordan Schroeder.
Will Tortorella lead the Canucks to the Cup? I'm not sure. The team still has several holes, especially up front. They need to find a way to bring some more offense to the table in the postseason. Will Tortorella flame out a la Keenan and lead the Canucks into another "dark era?" Again, I'm not sure. But I'll say that is very unlikely, mostly due to the fact that 22 and 33 will still be hoping over the boards every third or fourth shift.
This is going to be a fascinating case study playing out in real time over the next few years. I would say "sit back and enjoy the ride," but sitting back never really works out for the Canucks, now does it?
How about "Pass the popcorn?"
I'm sure the Tortorella era will be entertaining.
"Having a self-policing dressing room may work for a time (and the Canucks were one win away from a Cup), but after a while, it's hard to keep the same level of accountability and responsibility in there with so many new faces."
We have no idea whether or not the "self-policing dressing room" had a positive, neutral or negative effect on team performance.
It's a simplistic media narrative. When the Canucks are winning, it's because of their self-policing dressing room. When the Canucks are losing, it's because of their self-policing dressing room.
It's a talking point devoid of any meaning.
June 25 2013, 11:31AM
@NM00 I don't think that's necessarily true. Or any more true than blaming the coach for failure. Meaning that if you follow your logic one can nihilistically reason everything to zero. ;-)
Nice take in the article Angus. It is indeed the beginning of what could be an intriguing era.
The coaching change may or may not do anything, but I am really looking forward to seeing what this change brings (good or bad). This is a couple years overdo. Welcome Torts and good luck!
"I don't think that's necessarily true. Or any more true than blaming the coach for failure. Meaning that if you follow your logic one can nihilistically reason everything to zero."
I have no idea what you mean with that last sentence...
What I mean is that it's hard from the outside to know what, if any, affect AV's self-policing had on team performance.
Seemingly AV and Tortorella are both competent & adaptable coaches. One is a little more laid back and one is more of a hardass.
Aside from how they come off in the media, I don't think the Canucks made their coaching situation any better or worse with this swap.
And I don't see the point in suggesting AV's self-policing brought the Canucks to better-than-expected heights in 2011 or was the reason for the disappointments of the last 2 years.
It probably has a lot more to do with the players than with AV during both good and bad times.
I hope John can control his temper behind the bench and in front of the press. He has a not so bad record as a coach but now that he is in the west coast will the travel get to him, wait and see but till then welcome aboard John and GOOD LUCK as you will need it


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