Wednesday, March 25, 2009
Saturday, March 21, 2009
Anorexia Nervosa More Condition_symptoms
18 rue du General Beuret (15th arrondissement)
It is probably not easy to get a place in the arts, to have a patronymic rather mundane. The name of Eugene Petit - unlike Theo Petit, met several times already here, whose work is much more identifiable by a name evidently rare - seems, indeed, have been worn by at least three architects to era of Art Nouveau. This does not ease the identification of the work of the man who built the building in the very rue du General discrete Beuret. At least can we know he was controlled by Mr. Hirsch, who made publishing the permit application July 6, 1911. The architect then living at 101 rue d'Alesia.
084.jpg)
Thanks to the publication of plans in "The Modern Construction", shortly before the declaration of war, this building caught my attention, both because of the general structure of the building of an Art Nouveau and unbridled visibly demonstrative, that by the very unusual shape of his front door: indeed, it is, on a drawing, under the guise ... a perfect circle! How could this door it opened easily and allow easy access in the lobby of the building? That immediately aroused my imagination.
Among other interesting details that foreshadowed the rise comic, decorative arches are noticed, quite similar to those employed by Lavirotte in its beautiful buildings from the early 1900s, and a carved animal - cat or owl - between Twin two bay windows that adorn the center of a very symmetrical composition, only broken by the presence of a pretty storefront shop.
Curiosity led me naturally to want to know a little more. But that building was there forever? And in what state? I must confess here a certain anxiety that assails the irreparable quite regularly from the time I discovered traces of an interesting building - but on which literature is not very talkative - and when, there, I discovers he has never been built or has disappeared, it is denatured or just disappointing. Fortunately, sometimes the wait is positively rewarded. It's almost the case for building before us today.
For the gate is, in fact, and it is circular. Except it does not open completely: the shift is by two rectangular wings, which are only part of the circle. The mystery finally was fairly simple but the reality seems almost too banal. If the work of wrought iron is quite remarkable, and quite close to the original drawing, part sculpture, which is responsible for framing it appears much simpler and disappointing, reduced to the windings and a simple simulation of fish scales. But the illusion remains despite everything, still original.
The bow-windows, surrounded by heavily large balconies, are not salient if they promised to be, and animal, familiar or more worryingly, does not occupy the place reserved for him. But the work of sculpture, rather naive in its exaggerated proportions, like a sort of rustic little town: the decor leaves alternate thistles and sunflowers, plants fairly commonplace for the time, but rarely appear on the same facade. In places, especially in the second-floor balcony, ornamentation comes down to curious patterns, stylized to the extreme and reduced to simple incised friezes, odd windings plant where we could recognize the vague evocation of human faces.
Apparently, the upper part of the building has been greatly simplified compared to the initial project, since one sees not merely decorative arches that were provided, nor the strange round window was crowned at its center, the entire composition. As for the shop, if it existed, it is now only structure quite commonplace perfectly forgettable.
While the building does not appear today with all the promise hinted that his drawing. A visible because of reasons of economy, its structure and decor have been simplified to make it almost trivial yet interesting effect of the circular door. Ultimately, Eugene Little appears to be an interesting architect, but the reality of his works seems to be not exactly in tune with his imagination. Through his address, unchanged during this long period, it is possible to find, in 1902, as the author of another building, located at the corner of 16 rue des Plantes and Rue de la Sabliere. The front door shows a scene just as naive and stylized, curious but strangely a private firm that could have ensured its author a higher profile. 
It is probably not easy to get a place in the arts, to have a patronymic rather mundane. The name of Eugene Petit - unlike Theo Petit, met several times already here, whose work is much more identifiable by a name evidently rare - seems, indeed, have been worn by at least three architects to era of Art Nouveau. This does not ease the identification of the work of the man who built the building in the very rue du General discrete Beuret. At least can we know he was controlled by Mr. Hirsch, who made publishing the permit application July 6, 1911. The architect then living at 101 rue d'Alesia.
084.jpg)
Thanks to the publication of plans in "The Modern Construction", shortly before the declaration of war, this building caught my attention, both because of the general structure of the building of an Art Nouveau and unbridled visibly demonstrative, that by the very unusual shape of his front door: indeed, it is, on a drawing, under the guise ... a perfect circle! How could this door it opened easily and allow easy access in the lobby of the building? That immediately aroused my imagination.
Among other interesting details that foreshadowed the rise comic, decorative arches are noticed, quite similar to those employed by Lavirotte in its beautiful buildings from the early 1900s, and a carved animal - cat or owl - between Twin two bay windows that adorn the center of a very symmetrical composition, only broken by the presence of a pretty storefront shop.
Curiosity led me naturally to want to know a little more. But that building was there forever? And in what state? I must confess here a certain anxiety that assails the irreparable quite regularly from the time I discovered traces of an interesting building - but on which literature is not very talkative - and when, there, I discovers he has never been built or has disappeared, it is denatured or just disappointing. Fortunately, sometimes the wait is positively rewarded. It's almost the case for building before us today.
For the gate is, in fact, and it is circular. Except it does not open completely: the shift is by two rectangular wings, which are only part of the circle. The mystery finally was fairly simple but the reality seems almost too banal. If the work of wrought iron is quite remarkable, and quite close to the original drawing, part sculpture, which is responsible for framing it appears much simpler and disappointing, reduced to the windings and a simple simulation of fish scales. But the illusion remains despite everything, still original.
The bow-windows, surrounded by heavily large balconies, are not salient if they promised to be, and animal, familiar or more worryingly, does not occupy the place reserved for him. But the work of sculpture, rather naive in its exaggerated proportions, like a sort of rustic little town: the decor leaves alternate thistles and sunflowers, plants fairly commonplace for the time, but rarely appear on the same facade. In places, especially in the second-floor balcony, ornamentation comes down to curious patterns, stylized to the extreme and reduced to simple incised friezes, odd windings plant where we could recognize the vague evocation of human faces.
Apparently, the upper part of the building has been greatly simplified compared to the initial project, since one sees not merely decorative arches that were provided, nor the strange round window was crowned at its center, the entire composition. As for the shop, if it existed, it is now only structure quite commonplace perfectly forgettable.
While the building does not appear today with all the promise hinted that his drawing. A visible because of reasons of economy, its structure and decor have been simplified to make it almost trivial yet interesting effect of the circular door. Ultimately, Eugene Little appears to be an interesting architect, but the reality of his works seems to be not exactly in tune with his imagination. Through his address, unchanged during this long period, it is possible to find, in 1902, as the author of another building, located at the corner of 16 rue des Plantes and Rue de la Sabliere. The front door shows a scene just as naive and stylized, curious but strangely a private firm that could have ensured its author a higher profile.
Lactose Intolerance More Condition_symptoms
112 ter avenue de Suffren ( 7th district)
few months ago, a reader of this blog informed me of the existence of a rather curious Paul Auscher building on Avenue de Suffren. It may be remembered: Auscher is the author of the strange and almost "trickling" building at 140 Rue de Rennes, which figures prominently among the most emblematic works of the "noodle" in Paris.
Chance introduced me to my turn the building in question. And, in retrospect, I remembered the information given to me, perfectly stored in a corner of my memory, but unfortunately not followed by an immediate effect. Amazing
Paul Auscher! By dint of its achievements discover Paris through my walks, I realize that it leaves you unmoved, both in its Art Nouveau period in his later work. Capable of inspiration overwhelming, bordering on bad taste, but ultimately pretty marginal, in fact it is characterized by an elegant simplicity and sophistication, a sign that his forays into the Modern Free Style were the result of very specific commands.
122b The Suffren was asked by a number of Cohen, whose application for a permit was issued August 5, 1912. Auscher already lived then at 5, rue de Talleyrand, in Hotel already very surprising - its austere simplicity and almost aggressive - he had built in 1910 and that dared to present elsewhere in vain to contest next year's facades. Here, after a series of very simple structures, where the rigorous structure avoids any recourse to any decor, the architect begins to play again in the ornament. But we see nothing comparable to the bake rue de Rennes, since the reasons are very simple incision, leaving the curious choice to notice or to pass without even paying attention.
How can we describe these ornaments mostly geometric, sometimes extended by highly stylized floral motifs, frieze of small bouquets to mark an edge or clusters of aquatic plants, mostly visible in the various balconies? Their style ranges from a Japanese strangely tinted with a character "Aztec" difficult to define precisely. And their technique of sgraffito Belgian closer willingly if there was not a deliberate absence of color adopted by the party singled Auscher, the reasons are hardly highlighted by a muted gray. They are, in any case, the only concession, almost perverse in their stylistic ambiguity, the world of Art Nouveau, the building itself is already owned entirely to the world of Art Deco. We want to show the highly angular architectural forms, where the balconies are placed as a sort of cantilevered prisms, the angle, or developed as open wings on the little Mario-Nikis Street, giving the side elevation genuine originality, a beautiful harmony.
The main facade, meanwhile, is more austere, both volumes less complicated and more massive than a setting less abundant. But it should be noted at the attic, and in general, the surprising multiplications windows outgrowth and orientation apparently disordered.
The building is unfortunately not in a wonderful state: the rosettes that decorate the underside of the top floor balcony are partially erased, a phenomenon that will only increase if not stopped quickly. But for this, perhaps he should go to the Auscher certainly rightful place in the world of Parisian architecture, and not just one building in the Rue de Rennes ... Because it ultimately remains very marginal and much uncharacteristic of his true style. 
few months ago, a reader of this blog informed me of the existence of a rather curious Paul Auscher building on Avenue de Suffren. It may be remembered: Auscher is the author of the strange and almost "trickling" building at 140 Rue de Rennes, which figures prominently among the most emblematic works of the "noodle" in Paris.
Chance introduced me to my turn the building in question. And, in retrospect, I remembered the information given to me, perfectly stored in a corner of my memory, but unfortunately not followed by an immediate effect. Amazing
Paul Auscher! By dint of its achievements discover Paris through my walks, I realize that it leaves you unmoved, both in its Art Nouveau period in his later work. Capable of inspiration overwhelming, bordering on bad taste, but ultimately pretty marginal, in fact it is characterized by an elegant simplicity and sophistication, a sign that his forays into the Modern Free Style were the result of very specific commands.
122b The Suffren was asked by a number of Cohen, whose application for a permit was issued August 5, 1912. Auscher already lived then at 5, rue de Talleyrand, in Hotel already very surprising - its austere simplicity and almost aggressive - he had built in 1910 and that dared to present elsewhere in vain to contest next year's facades. Here, after a series of very simple structures, where the rigorous structure avoids any recourse to any decor, the architect begins to play again in the ornament. But we see nothing comparable to the bake rue de Rennes, since the reasons are very simple incision, leaving the curious choice to notice or to pass without even paying attention.
How can we describe these ornaments mostly geometric, sometimes extended by highly stylized floral motifs, frieze of small bouquets to mark an edge or clusters of aquatic plants, mostly visible in the various balconies? Their style ranges from a Japanese strangely tinted with a character "Aztec" difficult to define precisely. And their technique of sgraffito Belgian closer willingly if there was not a deliberate absence of color adopted by the party singled Auscher, the reasons are hardly highlighted by a muted gray. They are, in any case, the only concession, almost perverse in their stylistic ambiguity, the world of Art Nouveau, the building itself is already owned entirely to the world of Art Deco. We want to show the highly angular architectural forms, where the balconies are placed as a sort of cantilevered prisms, the angle, or developed as open wings on the little Mario-Nikis Street, giving the side elevation genuine originality, a beautiful harmony.
The main facade, meanwhile, is more austere, both volumes less complicated and more massive than a setting less abundant. But it should be noted at the attic, and in general, the surprising multiplications windows outgrowth and orientation apparently disordered.
The building is unfortunately not in a wonderful state: the rosettes that decorate the underside of the top floor balcony are partially erased, a phenomenon that will only increase if not stopped quickly. But for this, perhaps he should go to the Auscher certainly rightful place in the world of Parisian architecture, and not just one building in the Rue de Rennes ... Because it ultimately remains very marginal and much uncharacteristic of his true style.
Monday, March 16, 2009
Shiny Pokemon Umbreon Emerald
roof on. . . Under
Beautiful work of our carpenters
end of their mission this week
Our job superintendent told us that our windows and doors arrive early April, or about 15 days of downtime ...
Soon afterwards!
Beautiful work of our carpenters
end of their mission this week
Our job superintendent told us that our windows and doors arrive early April, or about 15 days of downtime ...
Soon afterwards!
Saturday, March 14, 2009
Autism More Condition_symptoms
roof and paint the woodwork this weekend
Unfortunately I could not paint the trim before installation.
I assure you that this is not the same kettle of fish. . .
Unfortunately I could not paint the trim before installation.
I assure you that this is not the same kettle of fish. . .
Wednesday, March 11, 2009
Staff Infection More Condition_symptoms
Framing
Part framing has started Monday afternoon (first photo)
Tuesday:
Wednesday: raises Chaineau and fascia boards.
Part framing has started Monday afternoon (first photo)
Tuesday: 
Wednesday: raises Chaineau and fascia boards.
Monday, March 2, 2009
Darmowy Hosting Stron
And now? Suite and Masonry
Well we went to see our builder for our quote wall fence.
I said that his work will end tomorrow and that he had the info that our framework would be delivered tomorrow as well.
We therefore believe that the sequence will fully and without delay, subject, however, since delivery of the equipment does not mean the simultaneous presence of Carpenters.
short, soon after! 
Well we went to see our builder for our quote wall fence.
I said that his work will end tomorrow and that he had the info that our framework would be delivered tomorrow as well.
We therefore believe that the sequence will fully and without delay, subject, however, since delivery of the equipment does not mean the simultaneous presence of Carpenters.
short, soon after!
Sunday, March 1, 2009
Qumili Per 8 Mars 2009
. . . almost late! The walls rise
And although progress is surprising, happy!
And although progress is surprising, happy!
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