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Topeak's sleek FlashStand FAT is a super parking/display stand that folds up for pocket-sized portability. This affordable, lightweight wonder securely holds your mountain bike by the non-drive side crankarm to keep it upright and safe. Take it along in your jersey pocket for those quick pit stops, too!
Topeak's LineUp Stand securely holds your bike by the rear wheel for storage or display. Its spring-loaded arm automatically adjusts to fit wheels from 20-inches to 29-inches in diameter. Use it at home to store your bike, or use it to hold your pit bike at your next cross race!
A pro-level work stand with a built-in closable small parts bin. Stable tripod design folds down small for travel or use at the races. Additional clamp lever for tightening/releasing the clamp with ease. Clamp Head: Non-marring rubber jaws, 360° rotation Clamp Height: 107cm to 178cm (42" – 70") Clamp Opening: 1.9cm to 4.5cm (0.75" – 1.8") Folding: Two QR clamps Base: HD folding 6061 T6 tubes Max Weight Capacity: 25kg / 55lb Added Features: Carry bag, Rubber base feet, Clamp lever, Closable small parts bin Size: 17.8 x 117cm / 7.0" x 46.0" (Folded); 135cm / 53.1" (Base Diameter) Weight: 6kg / 13.23lb
A pro level workstand with a built-in digital weight scale. Stable tripod design folds down small for travel or use at the races. Additional clamp lever for tightening / releasing the clamp with ease. Clamp Head Non-marring rubber jaws 360° rotation Digital weight scale Clamp Height 122 cm to 183 cm (48" - 72") Clamp Opening 1.9 cm to 4.5 cm (0.75" - 1.8")
- Professional quality folding repair stand - Telescoping center pole and folding base make it easy to transport and store - 360-degree clamp rotation with quick release lever - Includes: Work Tray
$9.14 - $22.04
Everyone wears out their Park Tool work stand clamp covers at some point. Find replacement covers for yours here. Each cover is constructed of soft, durable composite rubber. See below to determine which covers fit your Park Tool stand clamp: - 1002: fits 100-3X and 100-5X extreme range clamps - 1185: fits clamps on the repair stands PCS-9, PCS-10, PCS-11, and PCS-12 - 1259: fits 100-4X, 100-6X, 100-7X, and 100-15X clamps - 1960: fits 100-3D, 100-5D, and 100-25D Professional Micro Adjust Repair Stand Clamps - 468B: fits clamps with double cable reliefs, including 100-3C, 100-5C, 100-8C, 100-8Y, and 100-9C clamps - 467B: fits clamps with single cable relief, including PRS-2 through PRS-8 (for older-style clamps, non-current) - 468G: fits PCS-1 and PCS-2 clamps with double cable reliefs (clamp models: 100-1C, 100-1CA, and 100-2C) - 467G: fits PCS-1 and PCS-2 clamps with single cable relief (for older PCS-series stands only; not for current model stands) - 466: Rubber Replacement Clamp Cover Set (fits older clamps with plastic-dipped jaws)
Park Tool's Tool Tray Collar easily adapts the #106 Work Tray to fit the 41mm upright tube on 2011 and older PRS-20 and PRS-21 Repair Stands, as well as 1996 and newer PCS-1, PCS-4, PCS-4-1 and PCS-4-2 Repair Stands (each sold separately).
Park Tool's 106-AC easily adapts the #106 Work Tray or PTH-1 Paper Towel Holder to fit 35mm-37mm upright tubes on PCS-9 Repair Stands, as well as 2003 and newer PCS-1, PCS-4, PCS-4-1, PCS-4-2 Repair Stands.
Park's Paper-Towel Holder is an accessory for Park's Professional Race Stand (sold separately). It attaches easily and holds a standard roll of paper towels. It also works great for hanging clothes, wheels and tires.
Park's Work Tray attaches easily to most of Park's repair stands (sold separately) to keep your tools and small parts close at hand. It has deep sides so your small items stay put and many slots for holding your tools. The Tool Tray fits Park's PRS-2, PRS-3, PRS-6, PRS-11, PRS-12, PCS-1 and PCS-4 repair stands.
The RPP-1 offers simple but effective protection for your service area. This 32" tall pad prevents damage to bikes caused by being leaned against or knocked over onto your Park Tool professional repair stand. Covered with an attractive Park Tool blue vinyl finish for easy wiping off of dirt and grease. - Compatible with Park Tool Shop Repair Stands with a 2" diameter lower post, including all generations of PRS-2 and PRS-3 - Easily removed and installed with hook-and-loop material
The Travel and Storage Bag is a heavyweight nylon bag with a shoulder strap. This bag is designed for transporting and storing your Park Professional Race Stand. It makes travel easy and convenient, while also protecting your stand.
The Travel and Storage Bag is a heavyweight nylon bag with a shoulder strap. This bag is designed for transporting and storing your Park Team Race Stand. It makes travel easy and convenient, while also protecting your stand.
A 6-inch (15cm) extension that easily mounts to the main beam of any PRS-22 or PRS-22.2 to accommodate longer wheelbase bikes with bottom bracket-to-front axle lengths over 28.75 inches, including CX, gravel and enduro style bikes.
Permanently and securely attach your Park Tool Repair Stand (sold separately) to the floor of your shop with Park's Floor Mounting Plate. Made with an 8" square of steel, it attaches to the stand with four bolts, which are included.
Keep your most-needed bike repair tools and supplies close at hand with Park's Work Tray. It easily installs on your Park PRS-15, PRS-10, or PRS-11 Repair Stand (sold separately). And it features 2 separate compartments, a lube holder, a tool/towel bar, a tab system that holds plastic grocery bags and 2 receiver pods for extra accessories.
For wheels to perform properly, it's important that the rims be centered over the hubs. To check this, and to make precision adjustments, Park's Portable Wheel Dishing Tool is a must. It disassembles quickly for storage or travel and allows you to easily check centering on road, mountain and BMX wheels from 24 to 29 inches in diameter and it works with any hub. The Wheel Alignment Gauge is a necessity for every wheelbuilder.
The PCS-EXT is an extension that adds up to 21 inches (53 cm) of adjustable working height to any PCS-1 or PCS-4 repair stand manufactured between June 1996 and December 2001. The kit includes a quick-release collar and extension tube to raise the working height of the stand. The PCS-EXT is required for use of the 106-AC Accessory Collar.
For wheels to perform properly, it's important that the rims be centered over the hubs. To check this, and to make precision adjustments, Park's Wheel Alignment Gauge (also called a dishing tool) is a must. It allows you to easily check centering on road, mountain and BMX wheels from 16 to 29 inches in diameter. It works with any hub width and its innovative design even allows it to be accurately used with the tire still on the wheel. The Wheel Alignment Gauge is a necessity for every wheelbuilder.
Includes a new tray/motor shroud, USB ports and oversized buttons to upgrade a Park Tool PRS-33 or PRS-33 AOK into the PRS-33.2 version controls and electronics.
Mount the THS-1 Trailhead Workstation (sold separately) directly to this rigid steel post. Features: - 2-inch (5cm) square post plated then powder coated for long outdoor life - Includes THS-1 mounting fasteners - 6-inch (15cm) square base with holes to mount directly into hard surface or to Park Tool #130 Base Plate (fasteners not included) - Height: 62.25-inch (158cm) positioning cradle arms at 50.5-inch (128cm)
A bench-mounted version of our popular PCS-10.2 Deluxe Home Mechanic Repair Stand. Features our world-famous cam-actuated micro adjust clamp design, which securely holds bicycles in place while allowing quick installation and removal. - Cam actuated, micro-adjustable clamp allows quick entry and exit and fits 1-inch to 3-inches (25mm–76mm) diameter tubes and seat posts of any shape and material - Narrow clamping jaws (2.7-inch/7cm) fit into tight areas or on short seat posts - 360° infinite clamp rotation allows bike to placed in optimal position for specific repairs - All-steel structure for maximum stiffness and durability - Super strong glass-filled nylon-composite fittings and top tube internals enable smooth rotation and secure positioning - Mounts to any flat surface (mounting bolts not included) Distance from the center of the clamp to the center of the mount is approximately 11 3/4-inch (30cm). Height from bench to center of the clamp axis is approximately 9 7/8-inch (25cm). Weight Limit: The PCS-12.2 Home Mechanic Bench Mount Repair Stand has an 80 lb. (36kg) weight limit, provided the stand is securely mounted with appropriate fasteners to a solid and secure bench surface. The user is responsible for making sure the workbench and the fasteners are capable of handling this amount of weight.
A versatile and convenient way to keep tools, supplies and technology at arms length on a PRS-33 Power Lift Repair Stand. The PRS-33TT solidly mounts directly to either side of the stand's upright at any height. - 19 tool holding holes, slots and small trays in a variety of shapes and sizes - 14-inch (35cm) magnetic tool bar - Integrated mounting holes for PTH-1 Paper Towel Holder - Phone/tablet/clipboard holder - Pen and pencil holders - Adjustable utility hook to hang wheels, parts and scales - Height adjustable - Can be installed on a fully assembled stand
Park's Home Mechanic Wheel Truing Stand allows extremely accurate and reliable wheel truing and even building at an economical price. It's constructed from heavy-gauge steel and works with most wheel sizes and hub widths. It can be bolted to a bench for additional stability.
Park's Bench-Mount Repair Stand easily bolts to any workbench and includes Park's shop-quality Micro-Adjust Clamp that handles round and aero seatposts and frames from 7/8-inch to 3-inches in diameter and clamps securely with its quick-release cam and handle that fine-tunes the tension. The clamp also has protective rubber jaws and built-in slots for cables. Plus its jaws are only 2.7 inches tall so they easily fit in narrow areas like on seatposts that aren't raised much. This stand rotates 360 degrees for optimum bike positioning, too.
"The PCS-9.3 is a basic folding bicycle workstand designed and built for the home mechanic – a stable way to hold nearly any bike off the ground for adjustments, cleaning and repair. Features 18"" (460 mm) of height adjustment and 360 degrees of clamp rotation, positioning all parts of the bike within reach for any mechanic whether seated or standing. The stand's all-steel construction with teardrop-shaped tubing ensures maximum rigidity and stability, with a locking support yoke and upgraded internals for extra dependability. The PCS-9.3 is able to hold up to 80 lbs. (36 kg), which allows for compatibility with virtually all two-wheeled pedal-driven bicycles, including fat bikes and most e-bikes.* The PCS-9.3 quickly folds down for storage and transport with a smooth-operating leg support system that pulls both legs up in one simple motion. The PCS-9.3 is the perfect way to upgrade your home shop. NOTE: The maximum weight capacity of the PCS-9.3 assumes the weight is centered below the clamp and between the legs.? - Fully adjustable clamp fits 7/8"" to 3"" (22 mm–76 mm) diameter tubes and seat posts of any shape and material, including aero posts and dropper posts - Narrow clamping jaws (2.7""/70 mm) fit into tight areas or on short seat posts - Durable textured powder coat finish - Maximum weight capacity: 80 lbs. (36 kg) - Height adjustable from 39"" to 57"" (990 mm–1450 mm) - Base when open forms a triangle of 36"" x 36"" x 48"" (920 mm x 920 mm x 1210 mm) - Folds down to 44"" x 14.5"" (1140 mm x 370 mm) - Weight: 16 lbs. (7.2 kg) - #2848A quick-release collar with accessory pods required for use of PTH-1 Paper Towel Holder or 106 Work Tray"
Park's adjustable linkage shop clamp is found in more shops than any other professional level clamp. The 100-3C features solid cast aluminum construction and durable replaceable clamp covers. Clamp has reliefs on both jaws for cable routing. - Fits all generations of PRS-2, PRS-3, and PRS-4 stands, and PRS-5 stands manufactured before 6/96 - Fits bike frame tubes from 1" to 1-5/8" (25mm to 41mm) - The clamp jaws are nominally 4 inches (10cm) wide - Uses 468B jaw covers
$214.99 - $215.99
After years of research and testing, Park Tool's built what they consider the best shop clamp made. It's smooth, versatile and built to stand up to everyday shop use. • #100-3D fits the following repair stands: PRS-2, PRS-2 OS, PRS-2 OS-1, PRS-2 OS-2, PRS-3, PRS-3 OS, PRS-3 OS-1, PRS-3 OS-2, PRS-3.2-1, PRS-3.2-2, PRS-4, PRS-4 OS, PRS-4 OS-1, PRS-4OS-2, PRS-4W and PRS-33 • #100-5D fits PCS-4, PRS-7, some models of PRS-5 (with composite top tubes), and PCS-1 models manufacturer post 2002. (Note: Inspect top tube below lever for an embossed "939") • #100-25D fits PRS-25, PCS-10, PCS-11, PCS-12 (and PRS-15 with 1951-15 Adaptor Stud) • Grips nearly any tube from 7/8" to 3" (23–76mm), including aero tubes • Micro-adjustability allows perfect clamping pressure every time and prevents damage to thin-walled tubes • Long travel cam handle allows quick entry, adjustment and exit • Versatile: It grips nearly any tube including aero shaped tubing and seat posts 7/8" to 3" (23mm-76mm). Its narrow clamping jaws (2.7"/7cm) are designed to clamp securely yet fit into tight areas or on short seat posts. • Durable, replaceable jaw covers • Soft Touch saddle cradle provides a perfect spot to temporarily rest a bike by its saddle • Built to last: Powder coated, precision machined, die-cast aluminum main body parts and high quality small parts • Fast operation: Cam-actuated adjustment system for quick entry, adjustment and exit, plus handy "spinner" handle helps speed large size range adjustments
Park's adjustable linkage shop clamp is found in more shops than any other professional level clamp. The 100-5C features solid cast aluminum construction and durable replaceable clamp covers. Clamp has reliefs on both jaws for cable routing, and feature replaceable jaw covers. - Fits PCS-4, PRS-5, PRS-6, and PRS-7 stands made after 6/96 - Fits bike frame tubes from 1" to 1 5/8" (25mm to 41mm) - The clamp jaws are nominally 4 inches (10cm) wide - Uses 468B jaw covers
Perfect for taking to races and rides, the Portable Workbench is a bench that folds for easy transport and storage. It features a large work surface with specially sized slots, holes, and recesses and for holding tools, shop towels, lubes, beverages, etc. The folding steel legs provide a solid base for a toolbox and supplies, too.
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Her Loom of Light
Her Loom of Light that Becomes the Body
Born from light
into light
You return again to know yourself as light.
You are born from a precise order
a delicate balance
an eternal harmony
from the flow of the river
the cresting of the tide.
Born from the Mother of Mothers
the matrix
that nourishes and sustains.
are the exquisite expression of
Order, Balance, Harmony and Flow.
The perfection of all creation is yours.
You are woven into the shimmering fabric
of the starry night
the green of earth, blue of water
gold of sun, silver of moon.
A weaving of light and dark
skin and bone, heart and soul
an infinite vibration
a mandala of one arm span.
Light is the loom, love is the thread.
You are woven with love
a care and attention beyond imagining
from Her loom of light
that becomes
the body.
Do you know what that body is?
Look in the mirror of yourself.
The love you long for
the truth you seek —
You will find it in the whisper of your breath
the rhythm of your heart
the flow of your blood
the dance of your cells.
See your self as the pure and intricate reflection
of the cosmic Order
and love that self
with all your heart.
In this moment
just as you are
whole and complete
lacking nothing.
Art: Bob Schrei
Poetry: Donna Thomson
© 2013

subset: commoncrawl


text:
Tillbaka till översikt
The M550m is a mulcher for medium-heavy applications with a rotor diameter of 21.6 in (550 mm). It is suitable for carrier vehicles with 100 to 250 HP and CAT III/IV.
The M550m mulcher is designed for high-performance carrier vehicles in the power class of 100 - 250 HP for 3-point hitch CAT 3 and 4. With its new UPTs rotor concept, the M550m sets new standards in shredding technology. Adaptions according to application requirements are possible due to the availability of different types of tools. A hydraulic continuously variable follow-up and protective flap provides variable adjustment of the material quality. The double-sided rotor is driven by spring tensioned power belts that run at the optimum tension. The patented synchronization control of the drive shaft (W-Kinematics) enables full dig of the mulcher at full engine speed due to the optimal drive shaft operation.


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How to add things to the Eclipse doc
Adding new plug-ins and dependencies
To add new plug-ins and plug-in dependencies, you need to make changes in several places in the org.eclipse.platform.doc.isv plug-in (which is located in the eclipse.platform.common Git repository):
- platformOptions.txt
- the plug-in's source folder(s) must be included on the -sourcepath
- remember to remove the plug-in from -classpath if it was already there
- code of required plug-ins must be added on the -classpath (unless they are already on the -sourcepath)
- non-JARed plug-ins: Path(s) to the JAR(s)
- JARed plug-ins: <plugin>/@dot
- plug-ins not built during the platform build: path to the built JAR
Caveat: the JAR name typically contains a version:
- Either remember to update the version in the reference whenever a new version is used
- Or (since 3.8 incl. maintenance branches) replace the
_*if only one version of the JAR is present during the build.
- the API package names must be included in the (alphabetical) package list at the end of the file
- variables like
${eclipse.platform.resources.bundles}are resolved from
pde_basedirs.propertiesfor the old PDE-based build)
- the plug-in's source folder(s) must be included on the -sourcepath
- buildDoc.xml
- If a plug-in contributes extension points, it should be added to the list of plug-ins in the <convertSchemaToHTML> task in the buildDoc.xml of the corresponding documentation plug-in.
- plugin.xml
- If your plugin has Javadoc API, add a line to plugin.xml under the org.eclipse.pde.core.javadoc extension to associate your plug-in's Javadoc with the reference section for this doc plug-in.
Adding new API packages
- package.html
- Create a package.html or package-info.java file for your API package, and place it in the package alongside the source code
- topics_Reference.xml
- add a line for each API package
- reference/misc/overview-platform.html
- add the API packages to the corresponding section
- platformOptions.txt
- the API package names must be included in the (alphabetical) package list at the end of the file
Adding new extension points
- reference/extension-points/index.html
- add a line for each extension point
- topics_Reference.xml
- add a line for each extension point
JDT and PDE docs
For org.eclipse.jdt.doc.isv, the process is the same with these file location differences:
- platformOptions.txt -> jdtOptions.txt
- overview-platform.html -> /reference/misc/overview-jdt.html
For org.eclipse.pde.doc.user, the process is the same with these file location differences:
- platformOptions.txt -> pdeOptions.txt
- overview-platform.html -> /reference/misc/overview-pde.html
Missing API docs
org.eclipse.ua.tests.doc has an ApiDocTest that can help you detect missing API docs. The output generated by the test can be found in the Console Output Log, e.g.: http://download.eclipse.org/eclipse/downloads/drops4/R-4.6.2-201611241400/testresults/ep46M-unit-mac64_macosx.cocoa.x86_64_8.0/org.eclipse.ua.tests.doc.AllTests.txt
Back to Eclipse Documentation


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Integrating BaseLinker with Glami allows you to quickly list multiple offers in selected product categories. During listing process you can use any product source like BaseLinker warehouse, store warehouse, wholesaler or ERP. Thanks to BaseLinker's integration with Glami, stocks and prices in your offer will always be up-to-date and consistent with data you have in stock. Clear layout of information in BaseLinker panel will allow you to quickly verify which products already have offers on Glami platform. Additionally, you can download offers previously listed directly on the marketplace to BaseLinker and manage them all from our system. After a simple integration connection in your panel in section Integrations → Marketplace, you can immediately use the possibilities of the module.
BaseLinker provides you with the tools to efficiently issue and handle invoices and, for some of the accounting integrations, also receipts. Generate documents with ease for multi-channel orders and forward them to lexoffice.de. Issue invoices for single orders or in bulk for the entire list. The system may do this task for you - just set up an appropriate automatic actions so accounting documents can be generated automatically. If you sell across foreign countries markets, BaseLinker will help you issue invoices in different languages, with different numbering series and VAT rates.
Integration with lexoffice.de allows you to:
Glami + Marketplace
Glami + Shops
Glami + Couriers
Glami + Accounting systems
Glami + SMS applications
Glami + Other
Glami + Fulfillment


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Former Megachurch Pastor Goes Church Hopping as a Newcomer
Geoff Surratt Says Churches Need to Be Friendlier, Navigable Like 'Target'
When finally given the opportunity to simply attend, and not preside or preach at a given church on Sunday, two notable Christian leaders found out just how difficult it was to fit into and connect to a new church today.
Having no current pastoral obligations, Geoff and Sherry Surratt, who have both served extensively at churches like Seacoast and Saddleback, visited over the past few months nine different churches, attending as anonymous visitors.
"It has been an eye-opening experience," Geoff Surratt shared on ChurchLeaders.com. Discovering firsthand the obstacles of connecting with a new church, the former Seacoast Church executive pastor shared a few pointers on how to "make your church stickier" and retain visitors.
"None of these ideas are new or revolutionary, but I bet you think your church is a lot better at each one than you really are," the father of two noted. "Trust me on this; they're not."
For example, though most churches thought they were a friendly and welcoming group, in actuality, they had minimal contact with newcomers outside of the front door greeting.
From an outsider's perspective, a church could come off cold and unwelcoming because more often than not their greetings were never extended beyond the initial exchange.
The only interaction newcomers would get after their first step through the door would be during the "forced greeting time," when neighbors only acknowledged their presence whe
n they were directed by their leaders to do so.
"Feeling alone and disconnected is the one experience we've had at almost every church we've attended," Surratt shared, also stating that his wife, an extrovert, felt the same way.
In order to extend the welcome and "friendliness" of the church, he suggested teaching on hospitality, dividing the congregation into sections with chosen leaders responsible for the people who sat in their section, and creating things like a "gorilla greeter" team, made up of people who purposefully sought to find those who were disconnected and connect with them.
Many people seek connection and relationships when they come to church, but are often left alone and desperate for a friend.
"People want to connect, you want people to connect; let's put significant time and energy into making this happen," the Denver resident advised.
Although he was not pushing "consumer Christianity," he felt that churches should be more like car lots, not in an overbearing or forceful way, but with the mentality of "How can I put you in this car today?"
"If the main reason people are showing up at church is to find relationships, there has to be a way to help them connect today. Not next month, not at the pancake breakfast on Saturday, but today."
While friendliness and maintaining relationships are important, clear signs and directions are just as vital for first-timers, Surratt stated.
Marking where the parking lots, worship rooms, restrooms, and other places are located while also detailing programs for guests are things that help visitors navigate the church better.
Though regular churchgoers have ingrained the layout and worship schedule into their memories, no longer even needing to think about where to go and what to do, visitors are usually lost from beginning to end without guidance.
"The bottom line is we should do everything we can to make our church at least as easy to navigate as the local Target."
Additional ways Surratt felt churches could be made "stickier" included better applicable and practical Gospel-centered preaching and more readily accessible volunteer opportunities and resources for newcomers as well.
All in all, Geoff and Sherry Surratt's reflection on their personal experience with the church today is aimed at creating a warmer environment for the first-time visitor, guest, and attendee who feels lonely, needs comfort, or is discovering God for the first time.
Surratt not only seeks to help newcomers but the church as a whole as well to function in love and unity.
Geoff Surratt is currently a freelance Church Catalyst and Encourager and has written three books including Ten Stupid Things That Keep Churches From Growing. His wife, Sherry, was recently named the new president and CEO of MOPS International beginning January.


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This busy bee hasn't got time to type too much so I'll post some pictures to tell the story. I'll be doing a Google Hangout on Air to tell you about my experiences.
|That's our boat - taken from the Cahill Expressway
|Registration in the Conference Center
|Backing up for another geneacruise - Rob (Victoria) and Diane (W.A.)
|All fuelled up and ready for take off
|Not a bad view from my balcony
|Coffee with Marg from W.A.
|Safety First - Lifeboat Drill
|Lifeboat Station B11
|Shauna Hicks is ready to cruise
|Dinner Table mates - Alan and Ann (S.A.)
|Peter and Irene (Victoria)
|Tucker Time - a bit tough
|Genealogy Rockstars - Thomas MacEntee (USA), GeniAus and Kirsty Gray (UK)
|Orientation Session
|Ahoy there Geneabloggers


text:
Why is a BERG Trampoline the best choice?
Many trampolines are offered in various shapes and sizes around the world, but BERG is the best choice because you are not just choosing BERG, you are also choosing quality, safety and loads of fun!
Has Elfje Trampolines been taken over by BERG Trampolines?
Yes, Elfje Trampolines was taken over by BERG in 2006.
How to find my batch number?
Is it possible to mount gears on a normal go-kart?
Unfortunately not. A go-kart with gears has a specially designed frame. For that reason, a BERG dealer cannot mount gears on a 'normal' go-kart.
Can I assemble a go-kart myself?
The Gokart is supplied with instructions which explain how to assemble the Go kart . You can also go to your BERG Service Dealer, who will be happy to help.
The reset button of the on-board computer is difficult to access. Can BERG adjust this?
The reset button has been installed so that it is deliberately difficult to reach, to avoid the button from being accidentally pushed by children. It will therefore not be adjusted.
How do I make my BERG Go-kart look even better?
You have found your perfect go-kart but are still missing something? You can make your go-kart look even better and have much more fun with all kinds of BERG Accessories. Are you going on an adventure together? Go for a passenger seat! Or make sure you can take all your things with you in one of the BERG Trailers. The possibilities are endless!
Why is a BERG Go-kart the best choice?
Many go-karts are offered in various shapes and sizes around the world, but BERG is the best choice because you are not just choosing BERG, you are also choosing quality, safety and loads of fun!
Why is there only one traction wheel on a go-kart?
When taking a turn, the outer wheel makes more rotations than the inner wheel. For example, when turn to the right, the left wheels make more rotations than the right wheels. When both wheels have traction, there can be no difference in rotations and you will not be able to turn smoothly.
How to find my batch number?
Can a BERG trampoline be entrenched in the ground?
Yes, most of the BERG Trampolines have an InGround variant. These InGround trampolines are specially designed low trampolines, which are placed in a hole in the ground.
How can I practise trampolining safely?
To be assured of safe trampolining, it is important that you jump on a dry jumping mat. This will prevent you from slipping. As a trampoline specialist, BERG has listed some more tips for safe trampolining.
How does BERG test trampolines?
Each BERG Trampoline is extensively tested in various ways, such as tests on safety and quality. During these tests, the quality of the trampoline is assessed to see how this can be further improved for optimum jumping pleasure.
Does trampolining contribute to a healthy lifestyle?
Studies have shown that trampolining is suitable for people who do fitness training or who want to lose weight. Trampolining is therefore good for your health and certainly contributes to a healthy lifestyle!
Is there a difference in the springs on BERG Trampolines?
BERG has developed various springs for the trampolines for optimum jumping experience. All our springs are so flexible that both children and adults can jump safely and easily on the trampoline. BERG's TwinSpring Gold technology consists of double springs placed at an angle. The extra long springs enable you to make higher jumps on an even larger jumping surface. Read more here about how BERG's other springs contribute to even more jumping pleasure!
How can I prevent weeds from growing under my sunken trampoline?
Before you can enjoy bouncing on one of our InGround or FlatGround trampolines a hole has to be dug in the garden. Weeds often grow fast in holes underneath trampolines and they will prevent you from making nice jumps.To prevent weeds from growing underneath the trampoline, weed control (or anti-root) fabric can be placed in the hole. This fabric allows rainwater through but keeps the light out and therefore prevents roots from growing. This will considerably reduce the risk of weeds. How does it work?
- • Weed control fabric can be bought at DIY stores, garden centres or online. The fabric is available in black or white. The black version is the best choice for preventing weeds.
- • When buying weed control fabric take the following into consideration: the heavier the fabric, the stronger it will be.
- • After you have bought the fabric it can be cut to size. If you place more than one piece of fabric in the hole it is advisable to allow it to overlap by at least 10 centimetres.
- • Once the fabric has been placed in the hole it can be fastened down by covering it with soil or stones.
Water is so often coming out from below the protection padding, through the drain holes, even after 3 days of only sun. How is this possible?
It is a fact that water is coming into the padding:
• Partly because of rain and moist from external. Water is leaking through the stitches of the padding to the inside.
• Partly because of condensation within the padding
I don't understand the position of the drainage holes. Is that a error with this model?
It is inconvenient that the drainage holes lead to the jump mat. Unfortunately, an alternative with the best possible drain characteristics, does not exist. Drain holes are placed at the inside of the padding, underneath. This is because this is the lowest point of the padding (the padding runs a bit towards the middle). Water always needs to be eliminated from the lowest point and in this case, falls down on the jump mat.
After a period of rain, water can accumulate inside the padding. It will take some days before all the water has disappeared. It helps when the water is lead towards the drainage holes to get rid of the largest part of the water. By doing this proactively, it will reduce the water streams during the jumping. How to lead the water towards the drain holes is a challenge and cannot be explained with a few words. Just doing it is the best.
Any water remaining in the padding will disappear by means of the "ventilation/breathing" of the padding.
There is water standing on the jump mat of my InGround BERG trampoline. Is this normal?
Water on the jump mat is not a problem. Usually this happens with fairly new trampolines. The jump mat is to some degree water resistant. Because of that, the water is not immediately leaking through the jump mat. Over time this will improve.
There is water in the hole underneath the trampoline. How is this possible?
Ensure good drainage, also described in the BERG installation manual (can be found on the product page), if water is remaining in the hole beneath the trampoline. This can be done in several ways and depends on the kind of soil. In many cases no action is needed and the water will sink into the ground automatically. Simple drainage on the deepest point of the hole in the shape of a cylindric hole size diameter 30-40 cm, approx. 1 meter deep, filling with gravel, will be sufficient.
Check if the size of the hole is according instructions. Are the sides too steep? Over time the sides will cave a bit.
Check if the feet of the frame are supported well.
Can I convert my regular (high) BERG trampoline to an InGround trampoline?
Can I convert my regular (high) BERG trampoline to an InGround trampoline?
The BERG InGround trampolines are specially designed to be buried. It has been taken into account that the air can escape well during jumping. But also that the trampoline stands firmly on the ground with its short legs. In addition, the legs are covered with zinc treatment so that they last extra long.
This is not the case with a regular trampoline, which is why we do not recommend digging in a regular trampoline.
If you still want to lower an existing regular (high) model to an inground model, there are 2 options:
1. Replace the needed frame parts of the current trampoline and reuse the springs, the jumping mat and the protective edge. The extra needed inground frame parts are quite expensive, so we recommend opting for a completely new InGround trampoline instead. Our local dealers can offer you the individual parts. Please check our Dealer Locator for their contact details: https://www.bergtoys.com/en/storepickup
2. If possible remove the straight middle posts from your regular (high) trampoline. This already makes the trampoline lower. This does not make it an official BERG Inground trampoline, but the hole you have to dig may become less deep. In the appendix you will find the dimensions for digging a trampoline. Add the length of the intermediate tubes to this dimension. Then you know how deep the hole for your inground trampoline should be.
With this option you can use all other parts of your current regular trampoline. Our inground trampolines have a frame net on the protective edge. You can consider replacing the protective edge with an inground protective edge with frame net. This net prevents children, toys or animals from getting under the trampoline.
What is the best way to mow the grass around my trampoline?
Always be careful when mowing the lawn around the trampoline. We recommend removing the protective edge of the trampoline while mowing to prevent damage to it. Always keep sufficient distance to the trampoline when mowing the lawn and carefully trim the grass around the trampoline with grass shears.
For robotic mowers, we recommend that you set a boundary wire around the trampoline as recommended for your robotic lawnmower. Maintain a distance between the cable and the trampoline of approximately 30 cm, or more if recommended for your robotic lawnmower. The remaining grass around the trampoline can then be carefully trimmed with grass shears. Damage caused during mowing, in whatever way, is not covered by BERG's warranty. Therefore, always be careful and keep sufficient distance from the trampoline.
Can I convert my BERG trampoline to a different height (Regular / InGround / FlatGround)?
Think carefully about the desired height of the trampoline before purchasing the trampoline, as changing it afterwards is not a good option. Although the trampolines look the same (except for the height), it is not that easy to convert them to a different height. Many parts must be renewed for this. An important example is the protective edge. There is a specific one for each height, which has to do with the fixings and the safety, which is different for each specific height. In addition to the protective edge, a complete or partial new frame is also required. All these new parts quickly make it a difficult and expensive job. We strongly advise not to convert your trampoline to a different height. If you nevertheless want to change your configuration, we recommend that you always have this guided and carried out by a BERG dealer.
What is a suitable surface for a trampoline?
Always place the trampoline on a soft surface, such as grass or artificial grass. Good damping rubber tiles are also a suitable surface. Hard surfaces such as stones, tiles or concrete are not suitable for placing a trampoline. When installing an InGround, and especially when installing a FlatGround, always take the type of surface into account. The soil must be firm to prevent the digged hole from collapsing due to rapid erosion of the soil. If necessary, reinforce or smooth the sides of the hole to avoid this. Are you unsure about your surface? Then contact a (local) professional earthworker.
Is there a difference between the jumping quality of a Regular, an InGround and a FlatGround?
The jumping quality of our Regulars, InGrounds and FlatGrounds are almost the same. The basic construction and the springs are the same for all heights. Therefore the jumping quality can only be influenced by limited air displacement. This air displacement occurs when jumping, when the jumping mat collapses and the air under the trampoline is pushed away as a result. The more freedom there is to move the air, the less the resistance occurs and the more jumping quality increases. Traditionally this was a limitation for buried trampolines. However, we have solved this problem for our buried trampolines. With the InGrounds, the necessary air displacement is possible because the trampoline is 20 cm above the ground and is provided with netting material all around which makes the air easily escape. For FlatGrounds this was a bit more difficult, but due to the introduction of the AirFlow material, the air displacement caused was already a lot lower and by keeping the padding horizontal, space is created between the jump mat and the padding where the other air can escape. As a result, we have reduced the difference in jumping quality to a negligible difference.
We have also tested this extensively in real life. In addition to extensive user tests with professional test persons, we also do a "bounce test" in which we measure the bounce of a trampoline in various scenarios. This allows us to optimize the jumping quality of our trampolines during development. These tests have also shown that the jumping qualities of the Regulars, InGrounds and FlatGrounds are almost the same. Small side note: there are many factors that can influence the jumping quality, which, especially with the InGround and FlatGround, can quickly lead to less air permeability and therefore less jumping quality, such as incorrect installation, dirt, water and neglect.
Does the protective cover also fit on a trampoline with a safety net?
Yes that is possible. There is enough space between the posts of the Safety Net and the frame of the trampoline to install a BERG Weather Cover. It may be necessary to fold the padding skirt upwards to create enough space. Click here to view the range of trampoline covers.
Is there a difference in jumping quality between a regular and an inground trampoline?
No, there is no difference in jumping experience. The same jumping mat is used for both trampolines, and the air can escape with an InGround trampoline just as well as with a regular trampoline.
My go-kart has a flat tyre but there is no inner tube. How can I repair it?
You can repair a flat tyre by inserting an inner tube. Inner tubes can be ordered from the BERG Sales outlet, or via the spare parts searcher.
Is there an extra passenger seat available for the BERG Buzzy go-karts?
An extra seat does not fit on a BERG Buddy. This is a small, light go-kart. Mounting an extra seat could cause the front wheels to rise from the ground.
Is it possible to buy the go-kart stickers separately?
BERG guarantees the supply of replacement parts as stated in the BERGcatalogue to enable the go-kart to function. However, functionality does not include stickers. There are also strict rules concerning the trademark of the models produced under licence (e.g. Ferrari, Jeep, John Deere, Fendt and Claas). BERGis therefore not permitted to supply these stickers separately.
Which inner tube do I need for my BERG Go-kart?
All inner tubes for the various BERG GO-KARTS can be found on this page.
The reset button of the on-board computer is difficult to access. Can BERG adjust this?
The reset button has been installed so that it is deliberately difficult to reach, to avoid the button from being accidentally pushed by children. It will therefore not be adjusted.
For which go-karts is the passenger seat suitable?
All passenger seats are only suitable for the XL platform (XL models). All XL models are robust enough to bear the weight of several people and the distance to the ground leaves enough room for legs. With the Rally and Buddy models, this is not the case. These models are not suitable or equipped for a passenger seat. In addition, the steel pin of the passenger seat doesn't fit the seat hole of this model.
Can you put a cover over a trampoline with a safety net?
Yes. The safety net poles are attached to the frame leaving a three-centimetre space. This space is sufficient for a protective cover.
Can a Weather Cover also be installed on a BERG InGround or BERG Flatground trampoline?
A weather cover can be used to keep the trampoline free from leaves, twigs, dirt etc. In all situations BERG recommends to use the cover in situations where the trampoline is not used for a shorter period of time. When the trampoline is out of use for a longer period (e.g. the winter time) we recommend to take the protection cover from the trampoline, to dry is thouroughly and to store it in a dry place. The weather cover has holes for drainage thus preventing a large amount of water to stay on the trampoline. Through the holes the water can be eliminated gradually through the jump mat. The weather cover is not directly intended to keep the trampoline dry.
Usage on a Regular trampoline:
Usage on an InGround trampoline:
Usage on Flatground trampoline:
Is there a difference in the springs on BERG Trampolines?
BERG has developed various springs for the trampolines for optimum jumping experience. All our springs are so flexible that both children and adults can jump safely and easily on the trampoline. BERG's TwinSpring Gold technology consists of double springs placed at an angle. The extra long springs enable you to make higher jumps on an even larger jumping surface. Read more here about how BERG's other springs contribute to even more jumping pleasure!
What could be a possible cause of stains or discolouration on the padding?
UV radiation environmental factors: The protective edges have been developed to resist UV radiation from the sun, but over the years UV radiation will contribute to discolouration of the protective edge. In comparison: when you apply suncream you can lie in the sun for longer without getting sunburnt, but after a while you will still burn, even after using suncream.
What can I do to prevent stains on the protective edge?
The trampoline is outside in all kinds of weather and has a lot to endure. Naturally, it is unavoidable that traces of use and weather effects can be seen on the product over time, but with our advice you can keep the protective edge clean and fresh for much longer.
Water is so often coming out from below the protection padding, through the drain holes, even after 3 days of only sun. How is this possible?
It is a fact that water is coming into the padding:
• Partly because of rain and moist from external. Water is leaking through the stitches of the padding to the inside.
• Partly because of condensation within the padding
There is water standing on the jump mat of my InGround BERG trampoline. Is this normal?
Water on the jump mat is not a problem. Usually this happens with fairly new trampolines. The jump mat is to some degree water resistant. Because of that, the water is not immediately leaking through the jump mat. Over time this will improve.
What is a pre-order?
Items are sometimes out of stock temporarily, so we offer the option to order these items as a pre-order. Your order will then be handled as a priority for processing once the item ordered comes back into stock. This means you can always be sure of the fastest possible delivery.
Delivery times for pre-orders
Items often show an estimated delivery time. A number of factors influence this delivery time. It could therefore be the case that something goes less than smoothly at the factory, or that there is a delay in delivery to our warehouse. Therefore delivery times are an estimate. We always do our best to process pre-orders as quickly as possible. We will send you an email immediately after processing your order, giving despatch details and delivery date.
How to find my batch number?
Can I assemble a go-kart myself?
The Gokart is supplied with instructions which explain how to assemble the Go kart . You can also go to your BERG Service Dealer, who will be happy to help.


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Judicial Council Members Hear Budget Solutions
Contact: Leanne Kozak, 916-263-2838
January 25, 2012
Judicial Council Hear Budget Solutions
Council Oks Suspension of CCMS Due Diligence Process
San Francisco—At its first meeting of the year, Judicial Council members heard a report on the Governor's judicial branch budget for fiscal year 2012–2013 and the severe impact that four years of budget cuts are having on the public, which will only increase unless part of the General Fund budget is restored.
"The judicial branch budget is a very small part of the state budget, yet the courts have been pushed to the wall," declared Presiding Judge David Rosenberg, chair of the council's Trial Court Presiding Judges Advisory Committee. "Every judge is a constitutional officer who is entitled to a courtroom and staff to do that job, yet our branch has been pushed to the point where it is sometimes difficult to function. Enough is enough." Judge Rosenberg was one of several council members who expressed concern over the deep cuts in public services that are resulting from ongoing budget reductions.
Over the past four fiscal years, the judicial branch has experienced a cumulative ongoing budget reduction of $653 million. The General Fund portion of the budget has been cut by nearly 25 percent during that time. The Governor's judicial branch budget for fiscal year 2012–2013 does not contain any new reductions, and it has authorized $50 million in new fee revenue. If the Governor's plan for new taxes is not approved in the November 2012 election, an automatic budget cut of $125 million will be triggered.
At a presentation, several budget solutions were outlined to deal with long-term term impacts of the funding shortage. Those solutions include advocating for restoration of some part of the General Fund budget, seeking an increase in various civil fees, and seeking statutory changes to allow further efficiencies in court operations. (listen, 1:08:44)
Chief Justice Tani G. Cantil-Sakauye, chair of the council, thanked the State Bar, the Bench Bar Coalition, and the Open Courts Coalition, for their work to protect and maintain critical court services for the public. The report was an informational item on the council's agenda, so no action was taken.
New Judicial Council Member Takes Oath
In other actions, Chief Justice Cantil-Sakauye administered the oath of office to a new council member—Judge Emilie H. Elias, of the Superior Court of Los Angeles County. Judge Elias, who began her term last week, fills the vacancy created by the retirement of Judge Burt Pines, also from the Superior Court of Los Angeles County. Her term ends September 14, 2014.
Appointed to the Los Angeles trial court in 2000 after serving as a commissioner, Judge Elias is the Supervising Judge of the Complex Civil Litigation Panel. In that position, she presides over complex civil cases, including all law and motion matters, settlements, and trials.
(listen: Judge Elias is administered the oath of office, 1:40)
Other Meeting Actions
CCMS Due Diligence Process: The council approved a recommendation by two council committees to suspend the council's due diligence process during which the council explored a collaboration with the Chan Soon-Shiong Family Foundation and the State Bar of California on deploying the California Court Case Management System (CCMS) and other technology activities. The two committees that made the recommendation were the Executive and Planning Committee and the California Court Case Management Internal Committee. (listen, 9:55)
In a report to the council, Justice Douglas Miller, chair of the Executive and Planning Committee, and Judge James Herman, chair of the council's CCMS Internal Committee, said that by late December 2011, all the parties had reached the conclusion that a collaborative relationship was too complex to pursue at this time.
Contract Report: The council approved the first semiannual Judicial Branch report detailing contract information for contract payments and amendments made by judicial branch entities during the period of October 1, 2011 through December 31, 2011. The report will be submitted to the Joint Legislative Budget Committee and the State Auditor, consistent with the requirements of Public Contract Code section 19209. (listen, 13:18)
Consent Agenda: The council approved ten items on its consent agenda, most concerning changes to rules and forms as required by recently enacted legislation or otherwise recommended by council advisory committees. Also approved was a report on the allocation and disbursement to court and county collections programs of $500,000 received from the California State Department of Finance to offset costs of the statewide amnesty program. (listen, 7:14)


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Views of the Pacific Northwest
Went out for a bit of a drive out to John Day National Fossil Beds last weekend...lots of rain so everything is still green. It was the most beautiful day and as the sun set over Bend the clouds started coming back in to make a glorius sunset. We drove through Spray, Madras, Redmond, Prineville, Dayville and a few others that are really in the country.Read More


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For deep laps at the ski area, remote backcountry tours and everything in between, the Black Diamond Spark Finger Gloves combine a premium three-finger construction for extra warmth with a soft, cozy feel. Featuring a super-tough goat leather shell with a BD.dry™ waterproof insert and added EVA padding, the Spark stands up to wet storms, rogue tree branches, and the prolonged abuse of the skiing life. A buttery-soft fleece lining and PrimaLoft® Gold insulation keep your hands toasty and comfortable, while the hook-and-loop wrist closure keeps snow out and makes for a secure fit.
– 100% waterproof BD.dry™ insert
– Full goat leather shell with hook-and-loop closure
– Fixed lining features super-soft fleece and 60 g PrimaLoft® Gold on palm and back of hand
– EVA padding on back of hand and knuckles for added impact protection
– Goatskin leather palm patch for added durability
– Suede leather nosewipe on thumb
– Size: XS-XL


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"Isn't it nice, mother?" he said.
"Yes, it's pretty," she answered.
"I think it means something," returned Diamond.
"I'm sure I don't know what," she said.
"I wonder if it's the same boy--yes, it must be the same-- Little Boy Blue, you know. Let me see--how does that rhyme go?
Little Boy Blue, come blow me your horn--
Yes, of course it is--for this one went `blowing his horn and beating his drum.' He had a drum too.
He had to keep them out, you know. But he wasn't minding his work. It goes--
There, you see, mother! And then, let me see--
So I suppose nobody did wake him. He was a rather cross little boy, I daresay, when woke up. And when he did wake of himself, and saw the mischief the cow had done to the corn, instead of running home to his mother, he ran away into the wood and lost himself. Don't you think that's very likely, mother?"
"I shouldn't wonder," she answered.
"So you see he was naughty; for even when he lost himself he did not want to go home. Any of the creatures would have shown him the way if he had asked it--all but the snake. He followed the snake, you know, and he took him farther away. I suppose it was a young one of the same serpent that tempted Adam and Eve. Father was telling us about it last Sunday, you remember."
"Bless the child!" said his mother to herself; and then added aloud, finding that Diamond did not go on, "Well, what next?"
"I don't know, mother. I'm sure there's a great deal more, but what it is I can't say. I only know that he killed the snake. I suppose that's what he had a drumstick for. He couldn't do it with his horn."
"But surely you're not such a silly as to take it all for true, Diamond?"
"I think it must be. It looks true. That killing of the snake looks true. It's what I've got to do so often."
His mother looked uneasy. Diamond smiled full in her face, and added--
"When baby cries and won't be happy, and when father and you talk about your troubles, I mean."
This did little to reassure his mother; and lest my reader should have his qualms about it too, I venture to remind him once more that Diamond had been to the back of the north wind.
Finding she made no reply, Diamond went on--
"In a week or so, I shall be able to go to the tall gentleman and tell him I can read. And I'll ask him if he can help me to understand the rhyme."
But before the week was out, he had another reason for going to Mr. Raymond.
For three days, on each of which, at one time or other, Diamond's father was on the same stand near the National Gallery, the girl was not at her crossing, and Diamond got quite anxious about her, fearing she must be ill. On the fourth day, not seeing her yet, he said to his father, who had that moment shut the door of his cab upon a fare--
"Father, I want to go and look after the girl, She can't be well."
"All right," said his father. "Only take care of yourself, Diamond."
So saying he climbed on his box and drove off.
He had great confidence in his boy, you see, and would trust him anywhere. But if he had known the kind of place in which the girl lived, he would perhaps have thought twice before he allowed him to go alone. Diamond, who did know something of it, had not, however, any fear. From talking to the girl he had a good notion of where about it was, and he remembered the address well enough; so by asking his way some twenty times, mostly of policemen, he came at length pretty near the place. The last policeman he questioned looked down upon him from the summit of six feet two inches, and replied with another question, but kindly:
"What do you want there, my small kid? It ain't where you was bred, I guess."
"No sir" answered Diamond. "I live in Bloomsbury."
"That's a long way off," said the policeman.
"Yes, it's a good distance," answered Diamond; "but I find my way about pretty well. Policemen are always kind to me."
"But what on earth do you want here?"
Diamond told him plainly what he was about, and of course the man believed him, for nobody ever disbelieved Diamond. People might think he was mistaken, but they never thought he was telling a story.
"It's an ugly place," said the policeman.
"Is it far off?" asked Diamond.
"No. It's next door almost. But it's not safe."
"Nobody hurts me," said Diamond.
"I must go with you, I suppose."
"Oh, no! please not," said Diamond. "They might think I was going to meddle with them, and I ain't, you know."
"Well, do as you please," said the man, and gave him full directions.
Diamond set off, never suspecting that the policeman, who was a kind-hearted man, with children of his own, was following him close, and watching him round every corner. As he went on, all at once he thought he remembered the place, and whether it really was so, or only that he had laid up the policeman's instructions well in his mind, he went straight for the cellar of old Sal.
"He's a sharp little kid, anyhow, for as simple as he looks," said the man to himself. "Not a wrong turn does he take! But old Sal's a rum un for such a child to pay a morning visit to. She's worse when she's sober than when she's half drunk. I've seen her when she'd have torn him in pieces."
Happily then for Diamond, old Sal had gone out to get some gin. When he came to her door at the bottom of the area-stair and knocked, he received no answer. He laid his ear to the door, and thought he heard a moaning within. So he tried the door, and found it was not locked! It was a dreary place indeed,--and very dark, for the window was below the level of the street, and covered with mud, while over the grating which kept people from falling into the area, stood a chest of drawers, placed there by a dealer in second-hand furniture, which shut out almost all the light. And the smell in the place was dreadful. Diamond stood still for a while, for he could see next to nothing, but he heard the moaning plainly enough now, When he got used to the darkness, he discovered his friend lying with closed eyes and a white suffering face on a heap of little better than rags in a corner of the den. He went up to her and spoke; but she made him no answer. Indeed, she was not in the least aware of his presence, and Diamond saw that he could do nothing for her without help. So taking a lump of barley-sugar from his pocket, which he had bought for her as he came along, and laying it beside her, he left the place, having already made up his mind to go and see the tall gentleman, Mr. Raymond, and ask him to do something for Sal's Nanny, as the girl was called.
By the time he got up the area-steps, three or four women who had seen him go down were standing together at the top waiting for him. They wanted his clothes for their children; but they did not follow him down lest Sal should find them there. The moment he appeared, they laid their hands on him, and all began talking at once, for each wanted to get some advantage over her neighbours. He told them quite quietly, for he was not frightened, that he had come to see what was the matter with Nanny.
"What do you know about Nanny?" said one of them fiercely. "Wait till old Sal comes home, and you'll catch it, for going prying into her house when she's out. If you don't give me your jacket directly, I'll go and fetch her."
"I can't give you my jacket," said Diamond. "It belongs to my father and mother, you know. It's not mine to give. Is it now? You would not think it right to give away what wasn't yours-- would you now?"
"Give it away! No, that I wouldn't; I'd keep it," she said, with a rough laugh. "But if the jacket ain't yours, what right have you to keep it? Here, Cherry, make haste. It'll be one go apiece."
They all began to tug at the jacket, while Diamond stooped and kept his arms bent to resist them. Before they had done him or the jacket any harm, however, suddenly they all scampered away; and Diamond, looking in the opposite direction, saw the tall policeman coming towards him.
"You had better have let me come with you, little man," he said, looking down in Diamond's face, which was flushed with his resistance.
"You came just in the right time, thank you," returned Diamond. "They've done me no harm."
"They would have if I hadn't been at hand, though."
"Yes; but you were at hand, you know, so they couldn't."
Perhaps the answer was deeper in purport than either Diamond or the policeman knew. They walked away together, Diamond telling his new friend how ill poor Nanny was, and that he was going to let the tall gentleman know. The policeman put him in the nearest way for Bloomsbury, and stepping out in good earnest, Diamond reached Mr. Raymond's door in less than an hour. When he asked if he was at home, the servant, in return, asked what he wanted.
"I want to tell him something."
"But I can't go and trouble him with such a message as that."
"He told me to come to him--that is, when I could read--and I can."
"How am I to know that?"
Diamond stared with astonishment for one moment, then answered:
"Why, I've just told you. That's how you know it."
But this man was made of coarser grain than the policeman, and, instead of seeing that Diamond could not tell a lie, he put his answer down as impudence, and saying, "Do you think I'm going to take your word for it?" shut the door in his face.
Diamond turned and sat down on the doorstep, thinking with himself that the tall gentleman must either come in or come out, and he was therefore in the best possible position for finding him. He had not waited long before the door opened again; but when he looked round, it was only the servant once more.
"Get, away" he said. "What are you doing on the doorstep?"
"Waiting for Mr. Raymond," answered Diamond, getting up.
"He's not at home."
"Then I'll wait till he comes," returned Diamond, sitting down again with a smile.
What the man would have done next I do not know, but a step sounded from the hall, and when Diamond looked round yet again, there was the tall gentleman.
"Who's this, John?" he asked.
"I don't know, sir. An imperent little boy as will sit on the doorstep."
"Please sir" said Diamond, "he told me you weren't at home, and I sat down to wait for you."
"Eh, what!" said Mr. Raymond. "John! John! This won't do. Is it a habit of yours to turn away my visitors? There'll be some one else to turn away, I'm afraid, if I find any more of this kind of thing. Come in, my little man. I suppose you've come to claim your sixpence?"
"No, sir, not that."
"What! can't you read yet?"
"Yes, I can now, a little. But I'll come for that next time. I came to tell you about Sal's Nanny."
"Who's Sal's Nanny?"
"The girl at the crossing you talked to the same day."
"Oh, yes; I remember. What's the matter? Has she got run over?"
Then Diamond told him all.
Now Mr. Raymond was one of the kindest men in London. He sent at once to have the horse put to the brougham, took Diamond with him, and drove to the Children's Hospital. There he was well known to everybody, for he was not only a large subscriber, but he used to go and tell the children stories of an afternoon. One of the doctors promised to go and find Nanny, and do what could be done-- have her brought to the hospital, if possible.
That same night they sent a litter for her, and as she could be of no use to old Sal until she was better, she did not object to having her removed. So she was soon lying in the fever ward-- for the first time in her life in a nice clean bed. But she knew nothing of the whole affair. She was too ill to know anything.
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The Order was instituted by King William I in 1815 and is the highest military Order in the Netherlands. It is awarded to military personnel of all ranks and services as well as to civilians for 'most conspicious acts of bravery, leadership and extreme devotion to duty in the presence of the enemy'. The badge is an eight-pointed Maltese cross of white enamel, each point being tipped by a golden pearl. On the arms, the words 'Voor moed, beleid en trouw' (For Courage, Conduct and Loyalty). The cross rests on a saltire of laurels. The reverse shows a medaillion of blue enamel with the letter 'W' on it and a laurel wreath.
The badge is suspended from the Royal Crown with a ring on top through which the ribbon passes. The ribbon is yellow with two broad stripes of purple.
A Commander wears the star on the left breast and the badge round the neck;


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Philippe Rahm, born in 1967 studied at the Federal Polytechnic Schools of Lausanne and Zurich. He obtained his architectural degree in 1993 and currently works in Paris, France and Lausanne, Switzerland. In 2002, he was chosen to represent Switzerland at the 8th Architecture Biennale in Venice and is one of the 20 manifesto's architects of the Aaron Betsky's 2008 Architectural Venice Biennale. In 2007, he had a personal exhibition at the Canadian Centre for Architecture in Montreal. He has participated in a number of exhibitions worldwide and was a resident at the Villa Medici in Rome (2000). He was Head-Master of Diploma Unit 13 at the AA School in London in 2005-2006, Visiting professor at the Ecole Nationale Supérieure de Beaux-Arts of Paris in 2003, Mendrisio Academy of Architecture in Switzerland in 2005 and 2006, at the ETH Lausanne in 2006 and 2007 and at the School of Architecture of Paris-Malaquais in Paris in 2008. He is currently a Professor at the ECAL Lausanne and is working on several private and public projects in France, Poland, England, Italy and Austria.
Answers translated from French to English by Sarah Jazmine Fugate
Philippe Rahm's work can currently* be seen at the Guggenheim NYC , Pratt Manhattan Gallery, and at the Daniels Faculty of Architecture in Toronto. * at the time of publication
In this two-part feature Archinect's Aaron Plewke chats with Philippe Rahm. The first half of this interview discusses Rahm's leap into practice after graduating from architecture school, his work as a product of his unique set of guiding principals, and touches on his day-to-day responsibilities as the leader of a contemporary architecture practice.
Before we discuss how you began your private practice, Philippe Rahm Architects, I'm interested in discussing briefly your early partnership with Jean-Gilles Décosterd.
What gave you the confidence to initiate Décosterd & Rahm, associés immediately upon obtaining your architectural degree?
I studied architecture at the federal polytechnic school of Lausanne in Switzerland and also in Zurich for a year in the atelier of Miroslav Sik. When I sucessfully defended my thesis project and was awarded my diploma in 1993, we were at that point in a time of crisis in the building industry in Switzerland and it was very difficult to find a job. I had the opportunity almost immediately to become employed in a loval office in Lausanne. In parallel, I started doing some freelance work under my own name with Jean-Gilles Décosterd who was a friend with whom I shared an apartment. We started to make ourselves known by winning a couple of competitions in Switzerland and we opened our own office two years later, in 1995. This work as Décosterd & Rahm associés started from certain principles that I had defined during my schooling: the idea that architecture is organic, that it is inscribed within ecological cycles, that it is one of the links in the mineral, chemical, and biological chains, and also the food chain, which form and deform materials and substances over time and through space.
This work as Décosterd & Rahm associés started from certain principles that I had defined during my schooling: the idea that architecture is organic, that it is inscribed within ecological cycles, that it is one of the links in the mineral, chemical, and biological chains, and also the food chain, which form and deform materials and substances over time and through space. My hypothesis from the start was that architecture is entropic because construction is submitted inevitably to the dissipation of its energy, the corruption and the degradation of its form and its materials. There is first of all which, which tends to make heavy, to pull down, to undo, to the point of ruin, the whole of the light movements which the architect directs toward the heights. It is, furthermore, heaviness which is given the leading role in the status of architecture according to the German philosopher Hegel. Because of its dependence formally upon this natural force, precisely because of its heaviness, Hegel demotes architecture among the Beaux-arts, putting it at the lowest level of art. If Le Corbusier talked of architecture as "a pure creation of the mind" in a typical aspiration of the modern aesthetic for dematerialization, weightlessness, and the disavowing of the connection to the ground. Hegel, on the contrary, called architecture "the imperfect symbol of the mind" because weight gives architecture its physical laws, threatening at every instant to make its forms which were so painfully erected toward the sky fall to the earth. In the system of arts conceived by Hegel, architecture is placed at the lowest level as the poorest art because it is the least free to represent ideas. Architecture is described as the first of the arts, primary, because it is too strongly constrained by the external forces of nature which impose its lines and its forms. If walls are straight, if the column is vertical, it is above all because the force of gravity is vertical, and not because the architect decided that it should be so. For Hegel, the forms of architecture are above all the outcomes of the perceivable world, of weight, of the physical properties of the materials used, independent of human will. The architect, without room to manoeuvre, can only prescribe its forces, and be their agent according to the rules of symmetry, proportion, regularity, as classical architecture was able to do. Hegel's system of art is based on a hierarchic system of value, simultaneously historical and artistic, between a lowly material art--architecture, and the highest art, intelligible and pure--poetry. The purpose of art is clearly articulated by Hegel as the transformation of the exterior world perceivable to man into a representation of himself. Through art, man projects the forms of his mind beyond himself, in the manner of the 17th century French gardens where the human force of mathematics of composition, of symmetry and regularity come to contradict--through pruning, alignment, and through perspective--the irregularity and natural instability of the forms and the vegetal materials generated by the climatic and geologic forces upon which they depend. At the lowest level of Hegel's system of arts is, therefore, architecture, because it is dependent upon weight and material constraints. Above, because it is more free formally, is sculpture. Above sculpture is painting, where matter progressively makes itself less resistant and more malleable, for example the oil colors of classical painting which one mixes, which one masters until matter and pigment disappear to the reveal only color and light and an image. In this implacable progression towards the pure intellect, by the historical overcoming of its carnal condition, art loses little by little its materiality in order to become sounds and waves in music, then only words with poetry, before dying, replaced by scientific prose and religious thought.
If Hegel classified architecture as the lowest of the arts, it was also because the materiality of architecture is submitted to the corruption of its material state according to the uncontrollable and involuntary processes of pollution, contamination, alteration. The development of the life sciences and of ecology in the 20th century invalidates the hierarchical system of Hegel, which is founded on an ontological separation of man from his environment. Biological, chemical, and electromagnetic exchanges tie man to his environment through the intermediary of ecological, physiological, and neurological processes, though respiration, ingestion, through conduction, and through radiation. Furthermore, the extension of the domain of knowledge of the invisible, at the microscopic or nanometric scales, transforms the validity of an aesthetic judgment which is happy to distinguish only the phenomena which can be perceived by own five unaided senses. The field of art and artifice deploy themselves in the invisible dimensions, imperceptible to the eye, which emerge from, for example, genetics or the study of electromagnetic forces. In the case of the French garden, a garden can have a disorderly, irregular, or natural appearance and be nonetheless a pure construction of the mind by being composed of genetically modified plants. The principle of the dematerialization of art, a sign of the elevation of the mind according to Hegel, is no longer valid today when even the notions of thought and morality are incarnated forevermore in the baseness of material, neurological, and physiological processes. Similarly, the ecological sciences have made visible the invisible chemical and biological mechanisms which are necessary for life and for our own survival. Accordingly, the landscapist Gilles Clément, through his praise of decay and of weeds, renewed the aesthetics of the garden by pushing the rails of the visual reading towards the biological: weeds acquired a positive value for their presence and their growth attests to a neg-entropic dynamism of the living and to the augmentation of the richness of the ecological exchanges of a place.
This trend from the visual towards the invisible is also at work in a line of thought on entropy in architecture which concerns the degradation of its materials. In the same manner that the form of architecture is submitted to natural physical forces like weight, its materials are submitted to a slew of exchanges with the environment and of modifications of its substances, the most evident of which--chemical, physical, and biological--are erosion, corrosion, oxydation, and rotting. If Hegel classified architecture as the lowest of the arts, it was also because the materiality of architecture is submitted to the corruption of its material state according to the uncontrollable and involuntary processes of pollution, contamination, alteration. If music and poetry come out as the highest of arts for Hegel, it is because their material dimension is reduced to almost nothing and almost to purity: a sound, a word, a wave.
What can be kept of the Hegelian system of the arts today is not its dimension moral or philosophic but the precision of the designation of the field of action of each of the arts. Architecture is characterized then by its submission to the force of weight, and to the corruption of its materials, its material baseness, its heavy and tangible incarnation in the perceptible world, its chemical, biological, and electromagnetic links with the environment. What comes out of the aesthetically poor and negative in Hegel, the unpure and the lowly, can today be interpreted in the inverse and positive fashion by way of an ecological and physiological reading. Rather than tending toward a false dematerialization of architecture, as a certain form of modernity has done since El Lissitzky, we remain jubilantly--and in contradiction to Hegel--among the lowly, the material, the unpure. The natural forces rejected by the field of classic art according to Hegel such as weight, photosynthesis, or oxydation, become the efficient forces of the project of archtitecture.
From the modern struggle to go beyond weight to the erasure of physical materiality in favor of the narrative sign in post-modernism, architecture can today inverse its movement which tends toward a dematerialization of its appearance, in order to reengage in the physical world, take on thickness again, sink itself into the responsive ground, in the obscurity and the humidity, a certain lukewarmness, a rate of emissivity of matter. Architecture becomes then geological and mineral, but of a reformulated geology. Second geology, second minerality, which is built by taking certain mineral substances from the natural ground, certain ecological and physiological linkages, often impoverished, reduced to a few elements but nevertheless efficient. From an entropic status, architecture becomes neg-entropic. Accepting to no longer be the end end of the ecological chain as the moment of consumption and unproductive expense, architecture becomes a link, it acquires a nutritive, physiological, and intermediary status in the whole of the movements and processes of transformation of matter and of forms in time and space.
This theoretical point of view generated the first part of my work, from 1993 to 1998. After 1998, this point of view expanded, integrating additionally the question of the inhabitant, and opening itself to the idea of a "physiological architecture."
What types of projects did you undertake in those early years (1993 through 1998) with Jean-Gilles Décosterd? Were you working primarily on competitions and speculative projects, or did you also have clients (in the traditional sense)?
But very few of these projects got built, all for different reasons, but they helped us to make a living for all those years and to have our office. When we got out of school in 1993, we worked on competitions immediately and we won two and we had a commission from the city of Lausanne for the landscape design of a neighborhood. We found success in French-speaking Switzerland, as a young development office, with a project conceived as an ecosystem and a project on the physiology of matter. We also had commissions from private clients and then other prizes in public competitions in Switzerland. We were also one of the teams competing for one of the arteplages for the Expo '02 at Neuchatel. But very few of these projects got built, all for different reasons, but they helped us to make a living for all those years and to have our office. And it was then, around 1996, that we started being more demanding, to distance ourselves from certain Swiss models of architecture, to invent new processes. And then it was no longer in competitions that this work was getting done, but in expositions, in publications, and with this interest for the links between architecture and biology, science, hormonal and electromagnetic relationships, all of which can be found in the book Physiological Architecture published by Birkhauser in 2002 which presents all this work from 1997 to 1998. For certain people, these years were risky and provocative with respect to a local context which was forcibly a little bit sensitive and even my associate Décosterd found it painful to follow me. But in reality, everything developped in an exponential manner and another type of success arrived, which was more personal, more important, and more international, to the point of being invited in 2002 to represent Switzerland in the Venice Biennale. My goal at the time was not to cast myself into the mold of the architecture of the moment, but to invent new modes of composition, to redefine new elements of architecture. For me, architecture is not only a practice, it is not only building buildings, doing projects, it is also inventing a world, opening new fields, discovering new spatial qualities, writing a theory. Architecture also has a theoretical side. You've got to do architecture projects, but you've also got to do architecture's project. For me, architecture is doing architecture projects, but it's also doing the architecture of the project, in other words thinking the language of architecture, redefining its elements. In the USA, it is possible to do that in the universities who accept and encourage research because it permits the invention of the forms of tomorrow, to be in the avant-garde of what is going to happen later. And this worked well, with digital architecture, and the paperless studio. This was not the case in Switzerland at that time where the university was very oriented toward the practice and the professional. This has changed a bit since, at the ETH in Zurich, for example, where people like Gramazio and Kohler were invited, which success, to do real research work. The physiological architecture that I defined during these years remains active in my current work.
For me, architecture is not only a practice, it is not only building buildings, doing projects, it is also inventing a world, opening new fields, discovering new spatial qualities, writing a theory. It seems clear that the work you pursued in the late 90's led to you being asked to represent Switzerland in Venice's 8th Biennale of Architecture. How did the prestige of the invitation, the exposure the event provided, and the Hormonorium project itself affect the trajectory of your practice?
In 2002, when we were chosen to represent Switzerland in the Biennale, we were in a really exciting period. The idea of an architecture as physiology was truly a fascinating subject and permitted us an escape from the predominance of narrativity, of analogy, and of stylistic and formal reference which predominated then. This permitted us additionally to rediscover an entire side of architectural history (notably of modern architecture) which had been swept away with the discovery of antibiotics, the history of a certain necessity, an architecture in relation to the body, the history of work on the void, the history of the immaterial, the invisible, the impalpable, they had for a long time been set apart from the architectural language based on the notion of full*, immediately perceptible, divisible, composable, and manipulable. There has been, we know, a sort of misunderstanding in the history of architecture since its origins. It has been written through the history of the full*. The void, however, is the subject of architecture. The full* itself is secondary. The very mission of architecture is to define this hollow which is space, to describe a void which contains a quantity of air from which one withdraws certain properties from which one wants to protect us like rain, cold, wind. The very mission of architecture is to define this hollow which is space, to describe a void which contains a quantity of air from which one withdraws certain properties from which one wants to protect us like rain, cold, wind. Until the 18th century, the void remained a unique and indivisible element, the element of air, in the theory of Aristotle of the four elements of the universe. Along with water, fire, and earth, the air was one of the four principle elements of an imprecise and empirical chemistry. It was not until the second half of the 18th century that an understanding of the real nature of the void began, describing no longer a unique element but a fluid, lighter and more transparent than water, composed of different gases which English chemists began to break up, catalogue. This chemical revolution which followed, a century earlier, the discovery of the physical properties of air, its elasticity, would be followed in the second half of the 19th century by the biological revolution of Louis Pasteur. The French scientist showed that the air is composed of microscopic elements in suspension: dust, micro-organisms, germs, microbes. Today we are still continuing to expore the void and to discover within it other properties, be it electromagnetic or electric. This ignorance of the reality--physical, chemical, biological--of the void up until only very recently certainly explains its absence in the field of architectural history.
We had excellent working conditions for the Venice Biennale in 2002. We collaborated with the great Swiss universities--in Lausanne, in Zurich, in Bale, and we met truly extraordinary people, some doctors like Anna Wirz-Justice who really permitted us to develop our work fully. We developed the Hormonorium project within the Swiss pavillion of Giardini of the Venice Biennale.
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The hormonorium is a work on the disappearance of the physical limits between space and the organism revealed by biology and neuroscience. Going beyond visual or metric meditation, establishing a continuity between the living and the non-living, the Hormonorium opens to the invisible, to electromagnetic and biological determinations. Understanding of physio-chemical mechanisms governing organisms engenders a modification of the understanding of space and equally the understanding of our occupation of the environment.
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The Hormonorium offers itself as an immediate space, no longer resorting to semantic, cultural, or plastic methods for the fabrication of architecture. In exercising an influence on this side of the senses and of the skin, the Hormonorium establishes a synthesis of the organic, of mood, and of space by establishing a continuity between architecture and human metabolism, between space, light, and the endocrine and neurological systems.
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The Hormonorium presents itself as an interior public space, the size of a pool, a hammam, or a church: climatically determined spaces, by light, by temperature, by air quality, which imply the body but where certain functions stay indetermined: resting, working out*, breathing, meeting, flirting, discussing, looking at each other, gathering, washing, refreshing, etc. The Hormonorium gives itself as a climate, close to that of high mountains, but also as a collection of physiological devices, acting on the endocrine and neurovegetative systems. One can see in this as sort of physiological representation of the high mountains, to introduce, through respiration, through the retina, through the skin.
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A luminous, dazzling false floor constitutes the sun, made of plexiglass to allow the UV rays to pass through. It is made of 528 fluorescent tubes which emit a white light reproducing the solar spectrum with UV-A and UV-B. Because of the inversion of its radiation, coming from the ground as is the case with snow, the eye lids, the eyelashes, and the natural inclination of the head no longer act as an obstacle for the luminous radiation. This very intense light, between 5000 and 10000 lux, stimulates the retina, which transmits to the pineal gland information resulting in a reduction of the secretion of melatonin. In lowering the levels of this hormone in the body, fatigue is diminished, sexual desire is likely to increase, and moods become more regular. Through the presence of UV-A, tanning happens in the Hormonorium, while UV-B permits the synthesis of vitamin D.
By raising the levels of nitrogen in the Hormonorium, the quantity of oxygen is reduced from 21 percent to 14.5 percent, which corresponds to the level one finds in high altitudes of around 3000 meters. The space with rarified oxygen engenders a slight hypoxia capable first of all of manifesting itself as clinical states such as confusion, disorientation, or bizarre behavior, but also a slight euphoria through the production of endomorphine. After about twelve minutes, it is possible to measure a "natural" augmentation of the level of Erythropoïetine (EPO), the level of hematocrite and a strengthening of the cardiovascular and respiratory systems. EPO is produced by the kidneys. This protein-based hormone goes to the bone marrow where it stimulates the production of red blood cells, which increases the delivery of oxygen to the muscles. The reduction of the oxygen levels will therefore have an doping effect which could improve the physical capacity of the body up to 10 percent.
The Hormonorium was a very strong project, also because we could feel immediately the effects upon entering, but above all because it created a sort of blinding white day, a space where all visual limits disappeared, where one no longer perceived the corners of the room. One had the impression of floating in space, of no longer knowing up and down. The Hormonorium constitutes, therefore, a climate which stimulates the organism physically all while offering a new model of public space which is decontextualized, degeographized. A physico-chemical place, a partial deplacement of the climate of the higher altitudes to the sea side, for well being, for health, for the equilibrium of the organism through the regulation of the neurovegetative system, but also a place of potential transformation of our bodily performances, by doping, by physiological modification of human nature. An infra-functionalist architecture, a place for which the visibility expands to the higher and lower wavelengths of the visible spectrum, in the invisibility of the chemical composition of the air, an endocrine architecture, to breath, to dazzle. The Hormonorium was a very strong project, also because we could feel immediately the effects upon entering, but above all because it created a sort of blinding white day, a space where all visual limits disappeared, where one no longer perceived the corners of the room. One had the impression of floating in space, of no longer knowing up and down. It was very impressive and the photographs, which are much darker, do not allow an understanding of the real quality of the room. We had many positive reviews and notably Hedi Slimane, the former fashion designer of Dior Homme, contacted us to get us to do a big store in Paris for Dior.
Personally, what I would note between 2002 and today, seven years later, is that the subjects we were bringing up then which seemed very strange for certain people in the context then, have become almost normal today. Designers but also commercial companies set to work as well on these subjects where the physiological and sanitary aspects is taken into account again. I must admit that we personally have always approached this subject with a critical mind. Human liberty, free-will, its free choice are always priorities for us.
How does the nature of your work impact the size and make-up of your practice? Do you employ people without "architectural" backgrounds?
I have from the beginning worked a lot with exterior collaboration. When we were in Lausanne, the proximity of the university and the Ecole Polytechnique Fédérale de Lausanne permitted us to engage easily in dialogues with scientists. I am thinking in particular of questions related to electromagnetism, geology, and physiology above all. This dialogue was important in my work, because it validated hypotheses that I was positing while simultaneously opening me to new problems that I wouldn't have been familiar with otherwise. In my office, there are currently only architects, but they are trained on the software which we use, notably for climatic modeling. I have also worked with musicians and writers. What interests me with them, is to see how my work as an architect can be interpretted. In reality, the work of scientists is upstream from my work in architecture. The work of the musicians or writers is downstream. Which means that with scientists, I see how to open architecture to other knowledge, other perspectives, other fields of reality, to explore other dimensions. I apply that in an architectural work, without assumptions, without censure, without limits. Then I test, in a certain way, these new spaces with writers and musicians by asking them to interpret the spaces, to imagine how one could live there, what one could do there, how one resides in them.
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Interior Weather
Accordingly, Alain Robbe-Grillet wrote fifteen texts for "Interior Weather" which interpreted in fiction the abstract climatic conditions such as: "What might happen in a space where there is 80% relative humidity, 550 lux luminous intensity, and a temperature of 36 degrees Celsius?"
Interior Weather was a study of the possibilities of introducing, into the interior habitat, concepts from meteorology as formal and programmatic elements of architecture. The interior of the house is here no more composed as an artificial, homogeneous, and functional space, but as an atmosphere, a climate, fluctuating and sensual. Onto the concepts of colors, structures, materials, we superimpose the concepts of temperature, light, relative humidity, which become new tools of the architectural design. If the space looks neutral in appearance, in reality, the variations of light, moisture, and temperature actually create a true richness and spatial diversity. Interior Weather was presented the first time to the Canadian Center of Architecture in Montreal in 2007 and in 2008 in Italy for the International Biennial of Contemporary Art Manifesta 7. Marie Darrieussecq wrote a history of ghosts on a project for an apartment in Japan where explored other dimensions. Ghost Flat is a project of living in unknown dimensions by amplifying the current spectrum of the perceptible to new extents, dissimulated in the folds of time and space. Bilocation, ubiquity, channeling, it's through the synchronic presence of various spatial dimensions, but in wavelengths other than the visible ones. Occupying at the same time the same surface, intermingling their mass and their volumetry, each part of the program (bedroom, living room, bathroom) spreads itself in a specific fraction of the electromagnetic spectrum. The bedroom appears between 400 and 500 nanometers, the living between 350 and 400 nanometers.
I have also worked with musicians, such as the group AIR or Syd Matters, recently at the 2008 Architecture Biennale.
How do you organize and manage projects within your office?
In reality, I have a work structure which is rather classic, in other words I work according to the mandates and commissions that I receive for different programs, different situations, different sites. But what makes my approach singular I think is that there is a sort of permanent internal development of my work according to the problems and a philosophy which is mine and which uses different projects in order to grow. That is to say, for example, that between May 2008 and May 2009, all the projects that we did were linked to the principal of thermodynamic asymmetry that we began to define with the installation "Digestible Gulf Stream" in the 2008 Venice Biennale.
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Digestible Gulf Stream
Likewise, the house for Dominique Gonzalez-Foerster or the competition for a new museum in Wroclaw in Poland were based on this same principle of an architecture which is no longer built of spaces but of temperatures and atmospheres.
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Museum in Wroclaw
The idea is to have two radiators which are deployed at two different heights. The radiator on the bottom heats to 28 degrees Celsius. The radiator on the bottom cools to 12 degrees Celsius. Like a miniature Gulf Stream, their positions generate a movement of air by the natural phenomena of convection where the rising hot air is chilled by the cold plate above to descend again then heat up again on the hot plate, creating in this way a continuous thermal flux as an invisible landscape.
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Museum in Wroclaw
What is interesting for us here is no longer to create homogenous and determined climates but on the contrary to create an airborne plastic dynamic, to put into place forces and a polarity which generates a landscape and to conceive of architecture as the construction of metereologies. Between 12 degrees Celsius and 28 degrees Celsius, the inhabitant can migrate within this thermal landscape and to chose freely a climate as a function of his desires for clothing, food, sports, his social desires, and his activities. Architecture is structured here literally on a current of air deploying a fluid airborne, and atmospheric spatiality.
This idea is found again in all the projects of the year. It has become an element in my architectural language, in the same way that melatonin and light which I studied from 1998 to 2002, water vapor or the values of the thermal coefficients that I approached between 2005 and 2008, among other elements on which I worked. Today, two subjects interest me: urban form as a consequence of physiological necessity and food as a source of heat or cooling, as a form of edible architecture. We use, therefore, projects as a place to research new problems all while applying those that we have already studied, trying each time to ameliorate them, to do them better, to arrive at a perfect project. At the moment we are working on a project for a cinema in Berlin and an exposition in Copenhagen which bring up the question of food. In Slovenia for a sports hall or for a housing competition in Genova, we studied the question of the quality of urban space as a function of ecological and physiological values.
→ Continue to Part 2
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Aaron Plewke is an associate at Deborah Berke Partners. He designs and manages projects in all sectors, distilling each client's needs into unique, transformative solutions. Aaron began practicing architecture in 2005 and has worked in Florida, St. Louis, and New York, on projects ...
I am particularly interested in this;
Today, two subjects interest me: urban form as a consequence of physiological necessity and food as a source of heat or cooling, as a form of edible architecture.
Hopefully, you cover this with him in more detail in Pt 2?
Thanks for this interview, it has been a refreshing look at practice and architecture that I had not seen for quite a while. I think the relationship between philosophy and his work toward our perception of how architecture fits within the discussion of nature is way above any other green ideas of the moment.
BTW..."In lowering the levels of this hormone(melatonin) in the body, fatigue is diminished, sexual desire is likely to increase, and moods become more regular." I thought it was the opposite!
Nice one, AP.
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