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Cordonian Wags
Part 12- Crazy Kids
In a world full of Professional footballers and their demanding wives- can their football team nicknamed the ‘Cordonian Apples’ succeed? An American female physiotherapist joins the club. Will this cause issues with the footballers wives?
*This series is based on The Royal Romance characters who belong to Pixelberry - AU Plot switch*
Tags: @annekebbphotography @burnsoslow @drakesensworld @ladyangel70 @kingliam2019 @bbrandy2002 @butindeed @bascmve01 @drakewalker04 @pedudley @captain-kingliamsqueen @duchessemersynwalker @insideamirage @of-course-i-went-to-hartfeld @kozabaji @texaskitten30 @ibldw-main @kimmiedoo5 @nikkis1983 @dangerouseggseagleartisan @gnatbrain @walker7519 @lodberg @cmestrella @hopefulmoonobject @addictedtodrakefanfic @angi15h @liamxs-world @rafasgirl23415 @notoriouscs @whenyourheartskipsabeat @jovialyouthmusic @nz1091 @yukinagato2012 @indiacater @seriouslybadchoices @rainbowsinthestorm
******
Bastien dragged Riley and Lindsey to Constantine, furious with the chairman for this inconsiderate decision.
“Constantine- What the fuck? You knew about Riley’s marriage and then you bring him here!”
“Bastien, please don’t swear at me. This is good. Riley and Xavier can work together not only professionally, but they can save their marriage. Excuse me, myself and Regina have to mingle.” Regina looked at the three people stood in front of her with sorrow in her eyes. Bastien thought back to the time that he convinced Constantine to employ Riley.
Constantine was in his study, a scotch in his hand. There was hardly any interest in the new physio position. Bastien entered the room, feeling guilty that he left the club in the shit.
“Sir, have you found someone to replace me yet?”
“Not as yet. The few applicants haven’t got the experience required for this role.”
“I may have someone suitable for the role. She’s my goddaughter. She is the physio for a premier league team in the UK. She’s erm. She’s looking for a change.”
“Why would she want to leave such a good job?”
“Well. She’s married to the clubs striker- but they are calling time on their marriage.”
“Oh. Why is that?”
“The press perceive him differently to what he actually is. He has been unfaithful, hurt her in many ways. But she’s a good physio, she’s determined. I can stay and support her until she gets used to the role, if you’ll give her a chance.”
“Isn’t that the typical stereotype of a footballer though Bastien- being unfaithful? I don’t condone it, but they all do it. Tell her to send me a covering letter and CV.”
“I will do. You won’t regret it. She just needs a new start and a chance.”
“If I give her this chance, we will look after her, make her feel welcome. Support her. You have my word Bastien. You don’t know anyone looking for a managers job by any chance do you?”
“No Sir. But I think Bertrand will be a successful permanent manager.”
“Yes, I do believe that myself.”
******
“Uncle Bastien, just leave it. It’ll be fine. I’m not saving my marriage. I’m going to get my divorce one way or another. And if that means work with him for the rest of the season, I’ll have to do it. You know what he’s like- he will probably be in the press sooner or later for something negative.”
“How can you be so calm about this? I’m due to be going back home in a few days. You’ve been well and truly stitched up, Ri. I don’t know what his intentions are with him bringing him here. But you’re putting yourself in danger!”
“Linz. It’ll be fine. Just trust me. Bast I might need your help at some point though.”
Bastien and Lindsey looked at each other concerned, but Riley’s smirk had them questioning what she was planning. Returning to their table, everyone remained silent- not knowing what to say.
Riley sat next to Drake, attempting to hold his hand - brushing her hand away he held his head in his hands.
“What’s up Drake?”
“Oh I don’t know Riley. Maybe the fact that your husband is here.”
“No shit Sherlock! Why won’t you hold my hand?”
“Because he’s here.”
“Oh but you can kiss me and fuck me when your girlfriend was here!”
“Riley I didn’t mean it like that.”
“I’m going home.”
Riley stood up, concealing the tears that were forming in her eyes. Bastien and Lindsey followed- Lindsey apologising to Leo, suggesting that he stayed at home or with Liam. Her sister needed her. Drake stood up abruptly to follow them before Leo advised him to stay put.
****
Finding Riley outside smoking, Bastien knew she wasn’t calm or strong as she made herself out to be. Pulling her in for a hug, he couldn’t breathe with the smoke surrounding them.
“Both of you are coming home with me tonight. I’m not taking any risks.”
Riley wasn’t sure. Since she had been in Cordonia she seemed to have ‘sofa surfed’ rather than stay at her own apartment. Arriving at Bastien’s house, the girls wondered why a single man would need such a big house.
“You girls came here when you were both younger- you probably won’t remember. You’ve both got a room each.”
Walking into the kitchen, they smelt coffee and an aroma consisting of food from New York.
“Hi girls, Bastien informed me of what had happened. Are you okay Riley? I hope you don’t mind- I thought you’d appreciate it.”
Riley and Lindsey tucked in to the food that Bianca had provided them all. Both smiling having the reminder of home, they both forgot about that drama for a bit.
“Thank you Mrs Walker, I’m fine. Arsehole men for you.”
“Not all men are arseholes Riley.” Lindsey stated, she was missing Leo already. She knew he was married but she couldn’t help fall for him even with her sister warning her not to fall for a footballer.
“The ones I seem to choose are. Excuse me. I’m going to go to sleep. Night everyone.”
Bastien explained how Drake was cold towards Riley, he believed that was bothering her more than the fact that her estranged husband had unexpectedly turned up. The three of them agreed to contact Drake to come over.
*****
Drake arrived shortly after, receiving a stern expression from his Mom and Bastien. Lindsey poured him a whiskey knowing that his Mom was going to berate him after Bastien explained the events that had occurred.
Bianca berated him explaining to not mess with Riley’s feelings and that she would need him more now than ever.
“Mom, I’m not messing her about. I just thought she might want to give her marriage another shot now he was here in person.” Lindsey spat the drink out, laughing uncontrollably, Bastien shook his head in disbelief that Drake would even think that.
“I know we’ve only just met, but the first night I kissed her- she made me weak at my knees. I’ve never felt like that before. It made me realise that Kiara wasn’t the one.”
“Damn right she wasn’t the one. She hurt you Drake! Every type of abuse. You don’t deserve that. You deserve to be happy, so does Riley.”
“What do you mean ‘every type of abuse’?” Lindsey’s eyes widened, wondering how much alcohol she had consumed - assuming she misunderstood Bianca.
“Kiara, she Erm. She was unfaithful... she did things to me that I don’t really want to talk about it, Lindsey.”
“You two are like peas in a pod. Xavier made my sisters life hell. He was unfaithful, he abused her, he made her miscarry my nephew. You both need each other.” Lindsey slurred, regretting what she said the moment it slipped out of her mouth.
“He did what?” Bianca said in astonishment.
“Too far Lindsey! She doesn’t want people knowing that!” Drake thought about his words from his sister a few days ago, and linked them to what Lindsey had just said. His heart sunk at the thought of Riley confiding in Savannah.
“Savannah... she... when me and Riley slept together, Sav had spoken to Riley and later told me that she knew more about Riley’s past and to not hurt her. Why would she confide in Savannah? I need to see her, which room is she in Bast?”
*****
Knocking on the door quietly, he wasn’t sure what to expect- would she still be angry? Would she have finally calmed down? Drake knew he was in the wrong.
“Bast, I’m fine. Please just leave me alone.”
Opening the door, Drake saw that she had been crying. She looked so defeated which broke his heart, especially after finding out about her past due to Lindsey’s slip of the tongue.
“Can I come in?”
“Sure. I thought you was Bastien.”
Sitting on the edge of the bed, he wanted to keep a distance in case she decided to throttle him.
“Ri. I’m sorry.”
“Why are you sorry?”
“When I realised that it was him. My brain froze. I just thought because he was here in person, you may want to save your marriage.”
“Drake- trust me. I’d rather be dead than save that marriage. I was young and naive when I met him. Biggest mistake of my life. At times I just wished I had stayed in the states. He was a different man when I first met him. A charmer. I felt safe. I thought somebody actually liked and loved me....”
*****
Riley was studying Sports Rehabilitation degree at the University of Salford. She had moved to the UK from New York after her parents tragically died- needing a fresh start.
One Friday night, her room mates arranged to go out to celebrate finishing their second year. Riley was intending on returning to New York to spend time with her older sister- so intended to make this a night to remember.
Entering the club, it was full of students. Walking near the VIP area, there was a crowd of screaming women. Riley and her friends rolled her eyes back, their mouths were dry and needed to get to the bar. Eventually pushing their way through the crowd- they ordered champagne. Go big or go home. Standing up to go to the toilet Riley accidentally elbowed a man in a suit.
“I’m so sorry!” Riley stood frozen. She knew who he was but needed to not act starstruck.
“Don’t worry Miss.” Riley softly smiled at him, trying to avoid the man everyone had a crush on.
“Enjoy your night.”
“Wait! Do you want a drink?”
“No, thank you.”
“Please. I’d be honoured if you joined me for a drink.”
“I’ll join you for a drink if it’ll make you happy after I’ve been to the toilet.”
“Fabulous. Come to the VIP area afterwards.”
It’s just a drink. He just wants a drink. Accept the gesture, then leave. He’s the captain of Manchester City- what would he see in a poor student?
Checking her hair and topping up her lipstick, she decided to make her way to her friends- hoping to try and avoid the VIP area.
“What took you so long?”
“Oh... there... there was a queue. You know what women are like. I was honestly tempted to just go in the men’s toilets.”
Xavier gestured her into the VIP area, all the men smiled at her. But none was admiring her like he was.
“What’s your name? I assume you’re not from around here.” Winking at her, she laughed at his poor flirting skills.
“My names Riley. You assume correct. I’m from New York. I’m actually here studying Sports rehabilitation. Ive just finished my second year. We’re all celebrating.”
“Nice to meet you Riley. I’m Xavier. Oh you are? You could work with us when you qualify.”
“I’m actually going back to the States when i qualify.”
“That’s a shame. You’re beautiful you know that?”
Riley and Xavier spoke for the remainder of the night. Both getting to know each other. He was charming towards her, her heart fluttered everytime he spoke or held her hand.
“Thank you for the drinks. I should really get going.”
“Thank you for the company. You’ve really made my night.”
Riley felt herself blushing- hoping he wouldn’t see due to the dark lighting. As she was about to leave he pulled her into his embrace before cupping her cheeks. Fixating his eyes on her baby blues- he lent forward. As his lips touched hers, she closed her eyes- wondering if she was dreaming. Breaking the kiss, his eyes contained need and desire.
“Do you need an escort home? I don’t want this night to end. I want to get to know you. Do you believe in love at first sight?”
*****
Riley finished explaining how she met Xavier- she didn’t want to talk about her love life in front of Drake. It just slipped out.
“If he stayed like that. The man I fell in love with. We would probably still be happily married. Funny how life chances isn’t it.”
Drake fully understood how she felt, Kiara wasn’t the women he had once fallen in love with. He wanted to inform her what Lindsey had said downstairs- but didn’t want her to think they were all gossiping.
“Not all marriages last until you are 80 odd Ri. I mean look at Leo. Finally he’s divorcing Maddy- and that’s because Lindsey came into his life. He’s known her all of a few days and she’s changed his life.”
“He does know that Linz is going back to New York in a few days right? And I’ll probably be joining her.” Drakes felt as if he had been stabbed through the heart. She was giving up.
“You can’t leave. Neither of you.”
“Lindsey has a job. She has a house there- our parents house. I’m sure Uncle Bastien could cover me for a few matches. Nine months, I will have to work with him. Nine fucking months Drake. That’s nearly a year. I can’t even move on with my life because he’s not signed the papers yet. I can’t be free from him. I don’t give a shit about money or whatever I’m entitled to. I can’t even get married ever again if I wanted to. I can’t start a family, without him being a burden. I’m 24 on Saturday- what 24 year old gets married and potentially divorced at that age? I’m really living the life of Riley.”
She laughed sarcastically before pulling her knees up to her chest, she couldn’t conceal her true feelings and strong attitude anymore. Drake reached out for her hand, slowly rubbing his thumb over her knuckles- she fixated her gaze on him, smiling for the first time since he arrived.
“We all make mistakes, it doesn’t mean that you have to stop living. You’re young Ri, you have a fantastic future ahead of you wherever that will be. And it’s your birthday?”
“So do you, you’re amazing. Have you rest your ankle by the way?”
“Sort of- don’t worry I’ve been following your advise ma’am. The pain from my ankle is nothing compared to the pain you’re going through. If I could take it away I would. Don’t avoid the question about your birthday.”
“I’ll be checking your ankle, Walker. We need you back on the pitch as soon as possible. I’m not avoiding it, when you get past 21 a birthday is just another day reminding you that you’re a year older.”
Drake stood up, and slid into bed next to Riley- putting his arm around her. Turning her head towards him she smiled, before nestling her head onto him.
“Riley... Lindsey said some things downstairs before I came up to see you.”
“What?”
“She explained how he hurt you. If you ever want to talk about it- I’m here for you. Always. I lo-like you a lot. You’re the first thing on my mind when I wake up and the last thing I think about when I fall asleep. I will protect you.”
Riley shot out of bed, furious - wondering how much Lindsey had told him. Running downstairs, she hoped her sister was there. Drake followed her downstairs regretting what he had said.
“Linz! How could you!”
“What? This thing between you isn’t some fling. I’ve seen how you both look at other. It’s adorable. If you are both going to move on from your fucked up relationships you both need to talk about it - open up to each other. The only difference between the two of you was that you was pregnant. Everything else was the same.”
“Hardly the same! Kiara only cheated on him.”
The room went silent, Lindsey realised that Riley didn’t know the full truth about Kiara. Realisation hit Riley like a ton of bricks after witnessing everyone’s expressions fade. Turning to Drake, she had sorrow in her eyes.
“That night you split up with her... that wasn’t the first time she’s hurt you was it?”
“No.” Drake bit his lip- feeling embarrassed, with a lack of masculinity. Riley hugged him tightly, his arms went around her tiny frame. Staying in that position, they both held other lovingly. Bastien, Lindsey and Bianca gave each other a knowing look- the look suggested to leave the two alone to talk.
“Oh is it that time already? It’s a bit late. I think it’s time we all went to sleep.” Bianca suggested.
Continue here
#theroyalromance#choices trr#riley brooks#drakewalker#trr bianca walker#trr bastien#trr au cordonian wags#drake x riley#cordonian wags xavier
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President Trump's shutdown will stand alone Saturday as the longest in American history.
In the first instance, this is a problem directly created by President Trump. But his outrageous misbehavior is powerfully enabled by America's ailing and outdated constitutional structure. The structural design of democracy has come a long ways in 250 years; in more sensible countries this sort of shutdown is simply not possible. Probably we will muddle through, but the possibility of constitutional collapse is an increasingly live possibility.
Let's review: Trump caused this shutdown, as he stated forthrightly himself on national television, by demanding over $5 billion for his border wall. There are many reasons why this was a stupid fight to pick — the wall is a pointless idea, $5 billion would build only a tiny fraction of it, most unauthorized immigrants don't even jump the border anyway — but perhaps the clearest one is that the Republican Party had unified control of government for two years and Trump barely tried to get big money for it.
The shutdown is continuing for two main reasons, both of them Trump's fault. First, as Matt Yglesias argues Trump can't shut up about the wall, which is polarizing both the left and right and making any kind of deal harder. Democrats would probably give him the $5 billion if Republicans gave them something good in return, like permanent legal status for the DREAMers. But the right-wing media is wildly extreme and thrives on conflict, and so the Republican base always demands zero compromise. Meanwhile, the Democratic base is logically demanding the same thing, to prevent the (sadly not unimaginable) idea of Democrats simply folding. Any deal would probably have to be hashed out behind closed doors away from the media, but Trump keeps inserting himself into everything and making bargaining impossible.
Second, Trump is so ignorant and narcissistic that it's nearly impossible to negotiate with him in the first place. His administration can't explain what it is going to do with the $5 billion (at a guess, he just made up a big-sounding number), and even with pathetic sycophant Sean Hannity interviewing him he can't explain what he wants exactly or even what sort of emergency powers he might invoke to break the impasse. Blustering nonsense might get you through a press conference but it doesn't work for executive orders.
This brings me back to constitutional design. In most modern democracies, this kind of preposterous standoff is simply not possible. In Canada, for instance, failure to pass a budget is an automatic vote of no confidence that triggers new elections (bracketing some complexity). In the meantime, the previous budget is basically rolled forward until the new government can get a chance to pass a fresh budget. Simple, clean, and logical.
By contrast, the American Constitution not only allows for this sort of thing, but encourages it. Democrats just won a sweeping midterm victory on the strength of a strongly anti-Trump message. Yet Trump also won in 2016. Both sides can thus at least claim democratic legitimacy (less convincingly in the case of Trump, since he did not win the popular vote, but still), and as political scientist Juan Linz famously pointed out, it's easy to get stuck there:
Since both derive their power from the votes of the people in a free competition among well-defined alternatives, a conflict is always possible and at times may erupt dramatically. There is no democratic principle on the basis of which it can be resolved, and the mechanisms the constitution might provide are likely to prove too complicated and aridly legalistic to be of much force in the eyes of the electorate. [The Perils of Presidentialism]
Sheer self-preservation would probably be weighing heavily on any other president right now. The Secret Service, the TSA, and the FBI are not being paid — and the latter agency is furious that ongoing investigations are nearly out of cash. Even the most dimwitted dictator would think twice before letting hundreds of thousands of security guards and law enforcement go without pay — let alone one's personal bodyguard, which is basically like stamping "overthrow me" on one's forehead.
(Continue Reading)
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( sophie turner, cis-female ) did you hear how EDEN VON HOLTEN is applying to columbia university as an ASTROPHYSICS major ?! the 21 year old is living in the WATT HALL. i heard that they got in because they are + LOYAL and +WARM, but honestly i think SHE can be -INSECURE and -APPROVAL SEEKING. they’re a real PARACOSMIC. oh well, only time will tell if the JUNIOR will make it til the end.
connections ● stats ● full bio (probably not written yet)
eden was born and spent the first ten years of her life in linz, vienna. her father is an architect while her mother is a former housewife turned real estate agent.
the von holten last name was a distinguished surname back in the day as they were part of the austrian nobility. however, eden never really enjoyed the lifestyle lavish life of being part of royalty as her part of her family is known as the descendants of 'bastards'.
this meant that while her family could carry the von holten surname they didn't have access to the family's name, except for a trust fund to cover college expenses.
despite this, eden had a rather comfortable life as her father was a young promising architect that through his hard work managed to provide a good life to his family.
when eden was ten years old, his father decided to leave austria to work in the united states in a prestigious architecture firm in chicago. the family only lived there for roughly two years before they made a permanent move to montpellier, vermont where her father opened her own architecture firm and became involved in the renovating business with his wife as a real estate agent
many would think that the youngest of the von holten clan had it easy, no event in her early life was enough to cause what would happen in the following years.
at sixteen, eden made the decision of finishing her schooling in new york, against her parents' wishes, but being the supportive pair they were, they had no choice but let their daughter move to the big city.
TW: eating disorder
something changed in those first weeks in new york, maybe it was being surrounded by the royalty of the city or the constant bombarding of slim models that prompted a switch in her.
at first it was not obvious, she reduced calories and signed up to the gym but as the months went by her obsession with calories and exercise only increased in an alarming way.
the teachers at school were the first to notice. and when they told her mother, she became very angry as she didn't want to accept the fact that she had a serious mental illness and needed help.
the summer before starting at columbia, her parents took her to the doctor where she was given an ultimatum, either she gained weight during the summer or would be sent to an eating disorder clinic but that didn't change anything and eventually was sent to the clinic, causing her to lose her first semester.
eden pushed herself to fight her anorexia, not wanting to be hospitalized and manage to be discharged before the start of the semester. despite her parents' reluctance to let their child alone again, she started studying astrophysics at columbia.
the past three years have been difficult for her, many times she has relapsed but on her own, she has managed to pull through but the increasing anxiety only gets worse, especially in finals time.
—. quick facts
from a young age, eden has felt a fascination for stars and space. she never thought of studying anything related with that until she was interned in the clinic and spent most of her time reading books about the subject
speaks fluent german and she still has a slight austrian accent as she speaks in that language with her family
loves Pomeranians, and if you see her Instagram is filled with pomeranians blogs
she's been to fourteen Elton John's concerts, the last one a few days ago on her birthday. safe to say she is a fan
fan of any hgtv show, her crushes are both property brothers
she has 'bought' stars for herself since no one does it for her lmao
betelguese is her favorite star
actually believes in horoscope
favorite song: freaking tiny dancer ofc
has watched the theory of everything too many times
used to firmly believed she was anastasia as a child, now she is happy watching the movie or musical
*** she is blonde rn but maybe at some point she will be a redhead (dont mind the gifs)
—. connections
here are some connections that at some point will be on a page or not, who knows?
older brother; i dont know how much older he is but probably around 2-4 years older.
best friend; if you are her best friend she'll name a star on your behalf and also look what it could be: x or x
enemies: i mean she's not one to create them but she cannot be liked by everyone and i need someone to get out her sassy side bc it's probably rusty from being nice
roommates: she lives in watt hall
first love; maybe it happened during her freshman year, you know i'm a hoe for angst so we can make it angsty af
friends with benefits; but really they would be very good friends that ended up sleeping together because she would need that sort of emotional connection to do it
person who took her virginity; okay, so i have this idea that before her first love eden was feeling a lot of pressure of being a virgin in college and went out on a date with this person and one thing led to another and she ended up losing her virginity. she felt very guilty and regretted the whole thing bc it's not what she would have wanted but what is done is done
awkward date; they went on a date that was so awkward that now they avoid each other
unrequited love; she could either have a crush on your character or viceversa, but lemme tell you that my girl can be shy so she probably just suffer and admire your character's perfection from afar
tutor or study buddies; someone that helps her in some of her classes or the other way around
club buddies; she is in various clubs like volleyball team, the german cultural society, model of the un and writes for the columbia lion
sorority sisters; yes pls i don't know which one she's part of but we can fit it to your character's.
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June, previously. The end of the month rundown of what was best in June: but in July. June: July. There’s plenty where June came from. Christ’s Kingdom is eternal. June (July)
Was on vacation at the end of last month and forgot to upload this June rundown. So here it is. I’m better than Pitchfork. I’ll fight everyone at Vice HQ. I unearth more underground music than The Wire and The Quietus combined. I’m the best. Down with all with music mags, sites for profit, music content subsidiaries of Old Spice, Monster Energy Beat Camp etc. Bring info exchange to the fans, build the community, Patreons for our celebrated writers, donations for our artists, down with the for-profit content factory. Long live the independent, community-oriented content factory. I’m #1.
Here, this:
Rock, hard rock, rock music, rock and roll, heavy hard rock
Full-Lengths
Acolytes - Rupture LP (Alter)
Al Doum & The Faryds - Spirit Rejoin LP (Black Sweat)
Alameda 4 - Czarna Woda CD (Instant Classic)
Big Blood - Operate Spaceship Earth Properly LP (Feeding Tube)
Boyhood - Bad Mantras LP (Shuffling Feet) [nice follow-up to their underappreciated lp from a few years back, although a bit more traditionally pop]
Brian Case - Plays Paradise Artificial LP (Hands In The Dark)
Chaos Echœs - Mouvement LP (Nuclear War Now!)
Danielle Dahl - Loosening Orion's Belt CS (Abstract Tits)
Dreebs - Forest of a Crew LP (Ramp Local)
The End - Svårmod Och Vemod Är Vardesinnen LP (RareNoise) [complete rager]
Eugene Chadbourne, Steve Beresford, Alex Ward - Pleasures Of The Horror LP (Bisou)
Flesh Narc - Pillow Talk CD (Heavy Baby)
H E X - BLDG CS (Wetwear)
Ivan The Tolerable - Le Monde Inversé 10" (Vinyl, Ack! Ack! Ack!) [far removed from prior Ben Wallers homages, Ivan brings something unexpected to every new release]
Jukka Nousiainen - Ei enää kylmää eikä pimeää CD (Jukan Musiikki) [the only rock star on earth]
Larry Wish & His Guys - The Mouth is the Most Promising CS (Bumpy)
Maxine Funke - Home Fi CS (Brierfield Flood Press) [lo-fi folk, every song a winner]
Palberta - Roach Going Down LP (Wharf Cat)
Patois Counselors - Proper Release LP (Ever Never)
Slushy Guts - The Blasted Stump CS (Cusp Recordings) [most underrated band in the UK]
Society's Decline - No Angel On The Shoulder Of The World LP (Skrammel / Kibou) [favorite hardcore record in quite some time, pretty straightforward, thuggish. Brainbombs approved]
Stefan Christensen - City Code LP (Knotwilg)
Überkrøppling - Sådan Ka' Det Gång Gadagång (Mastermind)
Uniform & The Body - Mental Wounds Not Healing LP (Sacred Bones)
VA - Para Cuando En Mi Te Mueras 20 Unearthly Sissy And Sassy Hits CS (Comidillo Tapes)
Yunclas - De lingua ad mortem CS (Grabaciones Autobombo)
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Singles, EPs, Demos
Alienation - Bitter Reality 7" EP (Warthog Speak) [best hardcore band in north america]
Chloe Alison Escott - Hard Femme in Argyle EP (Self-Released)
Cremalleras - Mercado Negro 12" (Thrilling Living)
Dead C - On The Outbreak Of Civil War 7" (I Dischi Del Barone)
Dame Area - Immagina il passato- ricorda il futuro CS (U-Bac)
DEAFKIDS - Espiral da Loucura (Self-Released)
Full of Hell / Intensive Care - Split 7" EP (Anthems of the Undesirable)
HEX [UK]- TOUR DEMO 2018 (Self-Released)
Ivan The Tolerable - Ring Around The Country 8" EP (Endless Records)
La Misma - Negociac¸o~es De Paz Continuam Como As Fabulas 7" (Toxic State)
Lion's Cage - Lion's Cage 7" EP (Heavy Dose)
Perverted Ceremony - Perverted Ceremony 12" (Nuclear War Now!)
Pig Frenzy - Pig Frenzy CS (Smikkelbaard)
Pineapple RnR - Pineapple Rik n Roll 7" EP (Lumpy)
Puke Puddle - Detox CS (Epileptic Media)
Pumice - Platelets 7" (Soft Abuse)
Sect Pig - Crooked Backs CD (Nuclear War Now!)
SSRi - SSRi CS (Sexy Romance)
Stef Ketteringham - Marcos' Bomber Jacket 8" (Endless)
Thackery Earwicket - Lost My Heart In Space CS (Un je-ne-sais-quoi)
Urbanoia - Nådeløs Vold 12" (Byllepest Distro) [*Pictured]
YOR - YOR THE FUTURE CS (U-Bac)
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Experimental, Avant-Garde, who even knows
◉ ╋ ◑ Stefano Pilia & Massimo Pupillo - κένωσις (Kenosis) LP (Soave)
Black Crumbs - Black Crumbs CS (Chthonic )
City Dragon - Owl Drugs CS (Andesground Label)
Dan Olsson - Relaxing and Stress Relieving Music for Smartphone Users CS (Zeon Light)
Embassador Dulgoon - Hydrorion Remnants LP (Nonlocal Research)
Gate - Winter Songs LP (8mm)
Gonçalo F Cardoso - Impressões De Uma Ilha (Unguja) LP (Edições CN)
Helicopter Quartet - Last Death of the Phoenix (Self-Released)
i_like_dog_face - Sleepless Illusions LP (Hot Releases)
Lärmschutz - Fruits CS (Faux Amis)
Laurie & Olly - Ample Profanity LP (Slip)
Micromelancolié - Streaming CS (Never Anything)
Monopoly Child Star Searchers - Make Mine, Macaw II LP (Discrepant)
Noel Meek and Cameron Stallones - ADVENTURES IN OBJECT-HOOD! CS (Ikuisuus)
Officina Errante - Recorder! Ricorda CS (Linear Obsessional)
Ophüls - The Demons (Sentencia) [*Pictured]
Stilluppsteypa - Beach Jolanda LP (Ultra Eczema)
Sunk Heaven - Where All Sides Collapse LP (Hot Releases)
URBI-FLAT - 8 Petites Pièces De Variété LP (Replica)
VA - Studies On Regression Of Organic Substances And Sounds CDr (Sounds Against Humanity)
Will Guthrie x TSAATAN - Will Guthrie x TSAATAN (Noise Bombing)
Yngel - Indonesia CS (Insula / Abstract Tits)
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Free Jazz, Fake Jazz, music with instruments and no vocals, etc
BACZKOWSKI ∕ PADMANABHA - Mastoid Process 7'' (Iron Lung)
Charlie Morrow - Toot! Too LP (Recital)
Didi Kern & Philipp Quehenberger - LINZ LP (Shameless Rocks)
Evan Parker & Eddie Prévost - Tools of Imagination (Fundacja Sluchaj)
Flamingo - LOUD CD (Relative Pitch)
Grabek - Day One CD (Gusstaff)
Konstrukt - Oryantal 12" (Holidays)
Les Conférences Bunker - Malédiction / Bénédiction (Self-Released) [*Pictured]
Madalyn Merkey - Happy Birthday Julie Moon! (Self-Released)
Malaikat dan Zoo - Malaikat dan Zoo (Noise Bombing)
Marc Sinan & Oguz Buyukberber - White (ECM)
Michel Kristof and Vinnie Paternostro - A Place You Could Not See... (Muteant Sounds)
Nathan Corder and Tom Weeks - Anaconda (Noise Pelican)
Oiseaux-Tempête - طرب TARAB LP (Sub Rosa)
R A I C - Symbiosis- Vol. 1 CS (Lurker Bias)
Sam Weinberg, Teté Leguía, Weasel Walter - Weinberg / Leguía / Walter CD (Buh)
Toad - Toad LP (La Nòvia)
Verneri Pohjola & Mika Kallio - Animal Image LP (Edition Records)
WIG - Music For Birds (CRAM)
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Reissues, Archival
Agathocles - If This Is Gore, What's Meat Then LP [Rec. 1988-1990] (Nuclear War Now!)
Anima - Anima [Orig. 1972] (Pilz)
Anima - Der regt mich auf [Orig. 1982] (Ohr)
Anima - Stürmischer Himmel [Orig. 1971] (Ohr)
Basa Basa - Homowo LP [Orig. 1979] (Vintage Voudou / Bombay Connection)
Blurt - Blurt / Singles CS [Rec. 1980-1984] (Post-Materialization Music)
Carsickness - 1979-1982 (Get Hip)
Crack Cloud - Crack Cloud LP [Rec. 2016-2017] (Meat Machine)
Dimitris Kamarotos - Electromagnetic Landscapes (Unreleased Recordings 1983-2016) LP (Intersonik)
Dive - Concrete Jungle 2xLP [Orig. 1993] (Mecanica)
Frank Hurricane - Holy Archives Vol. 1 LP [Rec. 2010-2012] (No Fidelity Audio)
Graham Lambkin - No Better No Worse (Vol 2) [Rec. 2001-2007] (Self-Released)
Happy Rhodes - Ectotrophia 2xLP [Rec. 198x] (Numero Group)
Heroin in Tahiti - Casilina Tapes 2010-2017 LP (Boring Machines)
Jean-Marie MASSOU - La citerne de Coulanges LP [Rec. 1978] (Vert Pituite La belle)
John Foxx - Metamatic 3xCD [Orig. 1980, Remastered] (Metamatic)
Jonah Dan - Intergalactic Dub Rock LP [Orig. 1995] (Bokeh Versions)
Joanne Forman - Cave Vaults of the Moon LP [Rec. 1987] (Séance Centre)
Mercy - Mercy LP [Orig. 1984] (Nuclear War Now!)
Mercy - Swedish Metal / Session 1981 LP (Nuclear War Now!)
Morgen - Morgen LP [Orig. 1969] (Replica)
Muziekkamer - II - Popmuziek LP [Orig. 1983] (Contort Youself)
Pacewon - The Pacewon Affect [Rec. 1999] (Roc-a-Blok / Ruffhouse / Blingnot)
Plastic EP & The Records - Best Of 7" EP [Rec. 1981-1982] (Xerox Music)
Plastic EP & The Records - Well You Want To Make A Record 7" EP [Rec. 1981] (Xerox Music)
Poulson Studio - Poulson Studio CS [Rec. 200x] (Albert's Basement)
Pseudocode - Next One's Called LP [Rec. 1980-1982] (Sub Rosa)
Sam McClellan - Music of the Five Elements LP [Orig. 1982] (Séance Centre)
Shahara Ja - I'm An Arabian Knight (Egyptian Lover Remixes) (Left Ear)
Sprung Aus Den Wolken - The Story of Electricity LP [Orig. 1986] (Vestibular) [*Pictured]
Sprung Aus Den Wolken - Sprung Aus Den Wolken EP [Orig. 1981] (Vestibular)
VA - Crumbling Concrete and Rusted Iron? A Soviet Punk Cassette, 1985-1992 CS (No Label)
VA - Polish Dark Wave 1982-1989 CS (No Label)
VA - Satan In Love - Rare Finnish Synth-Pop & Disco 1979-1992 2xLP (Svart)
VA - Studio 12 (Recordings 1980-1984) 5xLP+7" (Blowpipe / Vinyl-On-Demand)
UTON - See You On The Other Side [Rec. 2012-2016] (Lactofermented Subconsciousness)
Electronic
Afrodeutsche - Break Before Make CS (Skam)
Asger & William Kudahl - Tilnærmelser II 7" (Resonans)
Asger Kudahl - Sketches for Revolution LP (Resonans)
Bary Center - Betrayal CS (Always Human Tapes)
Bead - Deploy Tomorrow's Rations (Self-Released)
Belp - Hippopotamus LP (Jahmoni Music)
Benedikt Frey - New Now 12" (Live At Robert Johnson)
Bill Westerby - KL02 CS (Kavalanic Languages)
Boothroyd - Pure Country LP (Fnord Communications)
CAPELO - Baby Boom LP (Le Syndicat Des Scorpions)
Cosmic Force - Transmitting Illicit Logic 12" (Something Happening, Somewhere)
Cleveland - Tusk 12" (ESP Institute)
Dravier - Height CS (Jungle Gym)
Fluxion - Ripple Effect 2xLP (Vibrant Music)
Foodman - Pokopoko CS (Plastic Bags)
Graham Dunning - Way Too Much Time 12" (Adaadat)
Grøn - Ingen Skår I Frosne Haver CS (Infinite Waves)
Haircuts For Men - Possessions LP (Self-Released)
HMOT - Inside the Black Box EP (Self-Released)
HMOT - Permanent Imbalance 12" (oqko)
Jako Maron - The electro Maloya experiments of Jako Maron (Nyege Nyege)
Jigga - lillllill LP (Bedouin)
Krypton 81 - Concorde (Blind Allies) [*Pictured]
Laksa - Delicates 12" (Ilian Tape)
L/F/D/M - X-Enter-O 12" (Midnight Shift)
Lee Noble - Q EP (Longform Editions)
Lokier - Last One 12" (Squirrels On Film)
LQ & Headland - Fat Neck 7" (ZamZam)
Magic From Space - Ioeoular CS (Plastic Response)
Oscar Mulero - Electric Shades 2xLP (Token)
ótimoKaráter - Da Clínica CS (Meia-Vida)
Théo Spécial - Ivory 12" (Bordello A Parigi)
VA - The Black Wig Throw Off 12" (Contort Yourself)
VA - Nein To Five (Nein Records)
VA - Patina Echoes 2xLP (Timedance)
Violent Quand On Aime - Violent Quand On Aime LP (Knekelhuis)
Zuli - Trigger Finger 12" (Haunter)
Hip-Hop Rap
(Liv).e & 10.4 ROG - hoopdreams EP
03 Greedo - God Level
70th Street Carlos - Loosies (Download C/0)
A.G. - The Taste Of AMBrosia
ALLBLACK - Outcalls
Bandgang Lonnie Bands - Loosies (Download C/0)
Bisk - Hardcorepimpfunk
Cash Click Boog - Indictment Music
Cdot Honcho - Head Honcho EP
Chief Keef - Ottopsy EP
Chris Crack - Let's Just Be Friends
Chris Crack - This Will All Make Sense Later EP
Co Cash - Foolhardy
DSR Splurge - Hollywood Dopeboy EP
E L U C I D x Haj of Dumhi - No Edge Ups In Uganda
Eludem - Films for the Mind
IAMSU - 06 Solara
Larry June - Sock It to Me, Pt. 2
Lil Blood - Ndugu
Lil Yase - Winners Circle
MIKE - Renaissance Man
Rico Nasty - Nasty
Shootergang JoJo - Free Jojo
Ski Mask the Slump God - Get Dough Presents EP
The Skull Eclipses - The Skull Eclipses
Snypa, Rx Peso, Scarfo Da Plug & Drugrixh Hect - Wraith Talk Rx Drug Rixh
SOB X RBE & Big Money - Tutuland EP
Spitta - Let Me Eat 3
Starlito & MobSquad Nard - Open Cases EP
Westside Gunn - Supreme Blientele
ZachBlackDiamonds - FreezaMode: All This Ice [Awful-affiliated. Taken down off SNDCLD/BNDCMP, DL HERE] [*Pictured]
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(Also made six mixes in June, which cover much of the ground presented in this post: check them out HERE)
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European Prize for Architecture 2020
Henning Larsen European Prize for Architecture Winner 2020, Danish Architect, Prize News
European Prize for Architecture 2020 Winner
15 Aug 2019
European Prize for Architecture 2020 News
Wolfgang Tschapeller – Laureate of The European Prize for Architecture 2020
Austrian Architect And Architectural Philosopher And Theorist Wolfgang Tschapeller Wins The 2020 European Prize For Architecture
One of Europe’s Leading Architectural Practitioners Who Has Pushed the Boundaries of Design and Theory is Commended for his Decade of Achievements with Europe’s Highest Distinction for Architecture.
Wolfgang Tschapeller has been selected as this year’s 2020 European Prize for Architecture Laureate, announced Christian Narkiewicz-Laine, architecture critic and President/CEO of The Chicago Athenaeum: Museum of Architecture and Design, which co-sponsors the award that has become to be known internationally as Europe’s highest honor.
“Wolfgang Tschapeller’s works are stunning, dense, multifarious, complex, and remarkable achievements of the highest complexity,” states Narkiewicz-Laine, “that complement the longstanding history of the craft and mastery of the architectural form and purpose; balancing strength and delicacy and upholding the reverence for pursuing the intellectual qualities inherent in design that has made architecture, as the ancient Greeks believed, the first and highest art form.”
“This is a rare practitioner of the utmost intellect and vision; and although he has regretfully to date built so very little, his works are much grander designs and ideals and much larger visions of what the most pure and virtuous architectural idea can truly achieve.”
“He designs with exemplary, uncompromising radicalism, turning with daring virtuosity even the most insignificant project, from a house to an urban plaza, into a startling and elaborate Utopian vision. He never compromises in his intellectual approach for unflawed perfection.”
“The words ‘brilliant’ and ‘provocative’ are understatements in describing this architect’s work.”
“Tschapeller is a ‘thinking architect’ alongside Piero della Francesca, Leonardo da Vinci, Albrecht Dürer, Wenzel Jamnitzer, Abraham Bosse, Girard Desargues, and Père Nicon.”
“He is the ultimate architect-philosopher.”
“Not since Louis Sullivan, the father and inventor of modern architecture, has there been an architect in our time of such amazing inventiveness and fresh new thinking about the definitions and purposes of building,” Narkiewicz-Laine continues.
“At the core of his practice is a real belief that architecture matters. It is a cultural spatial phenomenon that the architect has the sole power to invent.”
“His avant-garde approach is fluid, concise, and brilliantly astonishing, adjusting to the needs and influences of each environment that he crafts and through a concept of interrelated time and architectonic space.”
“Tschapeller has a one-of-a-kind architectural genius and intellectual voice that is starting to resonate inside Europe and across the globe.”
Organized by The Chicago Athenaeum, together with The European Centre for Architecture Art Design and Urban Studies, The European Prize for Architecture is given annually to any living architect whose built work exemplifies the highest ideals of European civilization and embodies vision, commitment, and a profound respect for humanity and for the social and physical environment.
The European Prize for Architecture is not a “lifetime of achievement award,” but rather serves as an impetus to support new ideas, to encourage and foster more challenge-making and forward-thinking about buildings and the environment, and to prompt the pushing of the envelope to obtain an even greater, more profound result.
The Prize also honors the commitment and achievements of the best European architects.
Previous Laureates include: Bjarke Ingels (Denmark); Graft Architects (Germany); TYIN Architects (Norway; Marco Casagrande (Finland); Alessandro Mendini (Italy); Santiago Calatrava (Spain/Switzerland); LAVA Laboratory for Visionary Architecture (Germany); Manuelle Gautrand (France); and Sergei Tchoban (Russia/ Germany).
Last year, the Prize was bestowed upon Henning Larsen Architects (Denmark).
Wolfgang Tschapeller was born in Dölsach, Austria in 1956 and initially trained as a carpenter. He studied architecture at the University of Applied Arts in Vienna and at Cornell University in Ithaca, New York, USA and received a Master of Architecture degree in 1987.
He has taught as a visiting professor at Cornell University, the University of Art and Design in Linz, Austria, and the State University of New York in Buffalo, New York where, in 2004/2005, he was named a McHale Fellow.
Since 2005, he has been a professor of architecture at the Academy of Fine Arts in Vienna.
He has also served as the Head of the Institute of Art and Architecture in Vienna since 2012.
In 2014, he was Research Fellow at the University of New South Wales, Australia and in 2015 Visiting professor at Cornell University.
In 2019, Wolfgang Tschapeller was re-elected as Head of the Institute of Art and Architecture at the Academy of Fine Arts in Vienna.
His firm Wolfgang Tschapeller ZT GmbH., based in Vienna, was opened in 2007. In 2012, he created a branch office in Belgrade.
As a researcher, he has published numerous books and catalogues.
In 2012, he collaborated with Simon Oberhammer, Christina Jauernik, Bork Franz Kropatschek, and Mark Balzar to produce the Austrian Pavilion for the Venice Biennale. The work, entitled “Hands have no tears to flow. Reports from / without Architecture” invites visitors to comprehend architecture as a social and cultural phenomenon and to experience it from different perspectives and views.
The exhibit grounds itself in a liminal space between architecture, sciencem, and art. It combines scientific achievements, associated with the human body, with an architectural design of the future.
The exhibit places Architecture as a motor and mirror of society with the human body as the central figure.
In 2020, his firm name changed to Wolfgang Tschapeller Architect.
From the start in the 1990s, Tschapeller leaped into the cerebral phenomenon of architectural design with such projects as Musiktheater Linz (1998 and 2006) and the Krematorium also in Linz (1999).
Both buildings seem void of any real structure, but rather float magically and majestically as pure abstract and austere geometric constructivist form, infused simultaneously by the architect’s attempt to reflect on his theories and ideas concerning modern industrial society and urban space.
“The buildings are part literature, part futurism, where the distinction between the two is totally blurred,” writes Narkiewicz-Laine.
“And like the Russian Constructivists, Tschapeller rejects decorative stylization in favor of the industrial assemblage of materials and components of the buildings, which is a common phenomenon in all that this architect envisions.”
In his competition entry for the National Library of the Czech Republic (Prague, 2006), developed with Jasper Bork, the building is a play on geometry as it floats on its all-dominating empty surface of Letenská Plán. The surface of the site is slit opened and turned up on three sides. This creates two fields of reference: one horizontal and recessed into the ground, and the other rotated out of the ground and shelf-like.
“Most of Tschapeller’s buildings seem to float, defying gravity or simply as part of some elusive dream-state,” continues Narkiewicz-Laine.
“Like Giovanni Piranesi’s ‘Tomb of the Metelli on the Appian Way’.”
“This is an architect that dreams and dreams big.”
For his competition entry for the Bauhaus Europa Competition in Aachen, Germany (2006), which won First Place, Tschapeller demonstrates the sort of space contemporary architecture can command as it reflects on the cultural development and history of Europe.
The project, positioned on a plot in the center of the City of Aachen, adjoining the space between the Palatine Chapel and the City Hall, called for the design to contain permanent and temporary exhibition spaces as well as educational, informational, and research facilities amounting to around 3,900 m2. A forum with a large council hall for conferences and sessions of the municipal council was added to cover approx. 400 m2.
The building, however, is neither museum nor monument, nor solely a presentation space. The design he created intends to negotiate, debate, and perceive Europe’s past, present, and future; a building design based on the premise of reflecting the plan and the program in its spaces.
“Tschapeller ‘s architectural expression is created from images in his creative mind, rather than directly from the reality of the world as to how we see it—and from multiple levels of a reality as he envisions it.”
His design for the European Cultural Center in Aachen reanimates the connecting lines of the historical order of the urban space–-from Roman to Carolingian to post-industrial–like a giant map, folded and accessible, as an infinite document spread over the entire site with the record of European history.
The project refers back to the memory of the connecting passage. It detaches a fragment of the historical connecting passage and rotates it over the site. The result is a slowly rotating movement that steadily scans the site; a sort of mobile that confronts the visitor with constantly changing positions.
In his design for the Single Family House St Joseph, Niederösterreich, Austria (2007), the architect creates an asymmetrical concrete, moveable residence set on four amusingly disproportionate supports—one, one-legged element, two, two-legged elements, and one, three-legged element.
Its lopsided minimalism, like a spacecraft, the house becomes a stylized expression of itself. Faceted walls, combined with windows of an unconventional shape, form the unusual, futuristic geometry of the rooms.
The unusual end product—a house—does not care about being like a village neighbor, but only with its scale makes a “friendly gesture” in their direction.
“These early projects are bold, courageous undertakings: if none of them seem like they make any sense or seem to resemble any kind of simple, pragmatic solution to the architectural problem, then this architect has achieved what he has aspired to accomplish,” states Narkiewicz-Laine.
“Tschapeller is a romantic purist. He has totally freed himself of any of the mundane, any of the practical commercial pursuits of his practice, and instead, has engaged in uncorrupted intellectual dialogue with his projects; surrendering himself to nothing less than pure invention.”
“Practical is meaningless for this architect. He has no interest in anything ‘practical’.”
“In this reckless, COVID-ridden, and humdrum second decade of the 21st-Century, thank God, there are still visionaries.”
In the two-stage competition for the Med Campus, Graz (2009-2010), Tschapeller teamed up with structural engineer Ernst Mayer and SGLW Architekten to design a building situated on a site at a critical juncture between the city and the beginning (and at the same time disappearing) landscape.
Volumes, spaces, and paths are sculpted out of the legible remains of the landscape.
Two robust groups of elements are set in a fragmented building landscape: Towers raised from the area of the embankment.
A high, curved space spans 325 meters long and 30 meters high, bounded by two flanks of the same height. The design seeks to perpetuate the fragile, tapering space of the valley in the buildings.
From 2010-2020, more unique, controversial buildings followed that embody some of his most quintessential ideas.
In 2012, Tschapeller won the First Prize in an international competition that sought to overhaul the campus of the Angewandte—a group of buildings designed by several previous Austrian architects (Heinrich von Ferstel, Schwanzer-Wörle, and Noever-Müller) that house the University of Applied Arts, as well as the Museum for Applied Arts in Vienna, Austria.
For this project, Tschapeller proposed “six points” to reconstruct the building, including demolition; dislocating, erasing and restoring; the removal of staircases and elevator cores to expose a “pure structure;” reconnecting a common base; adding a new transparent façade; and the creation of temporary new structures on the roof.
The result is an ethereal-looking building attached to a new informal marketplace the architect designed for cross-disciplinary projects. In a gesture to futurism, the architect positioned two pneumatic balloons on the building to indicate and signal special occasions and events in the city.
That same year, Tschapeller won another competition for a new Block 39 Masterplan for the City of Belgrade, Serbia (2012).
The main goal of Belgrade’s new Centre for Promotion of Science was to facilitate scientific education, continuous training, as well as social and economic growth, both with direct action and in partnership with other institutions–primarily the Ministry of Science and Technological Development and the Ministry of Education.
For this project, the architect opted for an elevated city detached from the ground—a floating city with buildings on piloti leaving the entire ground free and unobscured.
His “floating city” concept also emerged in the project Via Flaminia Rome (2015), where the elevated buildings are understood as a “scientific sky.”
In this project, the architect draws on inspiration from Cedric Price, Superstudio, Giorgio de Chirico, and minimalist Carl Andre. Instead of “occupying” the public space, the building, in the end, “protects” public space. The project becomes a “shelter” for public space.
In his proposal, the elevated volumes house the entire program of the City of Science.
According to the architect, “The technical sky drops, rains and suspends exhibitions, climates, atmospheres, fog, humidity, shadow, artificial light, an artificial sun, an artificial moon, physical experiments, mist, rainbows, and finally, the great spectacle.”
“Poetry or architecture or both poetry as architecture?” Narkiewicz-Laine asks.
For Science Island Kaunas, Kaunas, Lithuania (2016), the architect designed a new National Science and Innovation Center to hover between an island and the city, creating an unexpected outdoor space to be experienced from the island´s waterside, as well as from the city´s embankment.
Given a size GIA of 9000 m2, the building´s footprint is absolutely minimal on Nemunas Island.
The project consists of two columns, an elevator, an escalator, and a stair, all together less than 50m2.
The building´s entry point is sheltered by the floating building. It docks onto a network of converging pathways bringing visitors from the city and the island into its interior.
The building is composed of two major references.
The first is the history of visionary flying and floating buildings, started by Georgy Krutikov, Lina Bo Bardi, Constant, or Cedric Price.
The second refers to “Piliakalnis,” the castle mounts, a historical and local means of forming the terrain on which to position important buildings such as castles.
As a result, Science Center floats over the City of Kaunas and the Nemunas River like a majestic white spaceship with its heavy, sculpted roof containing a stunning totally, minimalist abstract interior.
“Super white is what this architect proposes,” continues Narkiewicz-Laine.
Wolfgang Tschapeller Cornell University
Nationalbibliothek Prag, 2006
“The white of a lily, the white of the passing clouds, the pure white of the untainted, unblemished ultra pure aesthetic.”
“It is said that Tschapellar, in fact, is so strict in exploring pure form and pure process that he almost never renders physical models or 3D renderings in anything else other than pure white.”
“Tschapellar appears happier in an ice age world where his Utopian dreams are pure as virgin mountain snow.”
In 2013-2015, Tschapeller won Third Prize Place for the Competition for the Andreas Hofer Platz in Graz, Austria; and as the name implies, the project is for a new, large-scale urban area of the 21st-Century.
Contrary to the main square and other squares, this project does not address the historical fabric of the city, but at the edge of that fabric. It constitutes an exception, a deep niche, gap or terrace in the massive wall of riverside construction, open to the large river basin of the Mur River.
The centerpiece of the project is a cylindrical tower that is notched at the bottom and set onto a sloping square. The tower twists vertically and evaporates at the top.
One of Tschapeller’s most recent projects is the newly renovated library at Cornell University, where the architect added suspended shelving for over 100,000 books at the university’s new Mui Ho Fine Arts Library.
The architect removed a floor from the building to create room for a massive shelving structure that now stands within the building’s open-plan reading room.
The floors of the lifted structure are made from grated steel, with walkways connecting the aisles of books and also connecting the library to seminar rooms and offices. The shelving units do not have walls to create “transparency” within the structure.
The entire volume of more than 125,000 books is constructed as one floating volume hanging from the roof beams, not to ground and not to floor, but four feet 10 inches above the floor, leaving a free space, a void.
Free of walls, the transparency across and between levels provides visitors multiple overlapping views across interior spaces and outward to the natural surroundings.
“The resulting vertigo would make even Piranesi’s head spin,” explains Narkiewicz-Laine.
“These are not esoteric exercises,” states Narkiewicz-Laine.
“This is the work and accomplishments of an extremely skilled mind and an erudite professional that only depth, polish, and breath of education can confer. “
“Genius, if you will. Eccentric genius.”
“We imagine this avant-garde bad boy architect, aka an enfant-terrible, tortured by this work, much like a tormented Dostoevsky, working secretly in some hidden, secure bunker at Langley’s CIA headquarters or some top-secret underground laboratory enclave at Microsoft—anticipating his next architectural bombshell.”
“While the majority of works by Tschapeller sadly have been unrealized paper projects, it would be interesting to see if his highly-conceptualized works were regulated to the dust bin archives of great Western Architecture, next to those by Ledoux and Boullée or if, in fact, one day, they will be fully built and realized, demonstrating the prophetic possibilities of real architectural thinking.”
“For now, we will have to wait and see,” Narkiewicz-Laine concludes.
The formal ceremony and gala dinner for what has come to be known throughout the world as Europe’s highest honor for architecture, usually taking place at the foot of the Acropolis in Athens, Greece—the birthplace of Western Architecture—has been postponed for 2020 because of the Corona Virus epidemic, but has been rescheduled for fall of 2021.
The European Centre for Architecture Art Design and Urban Studies, 28 Butlers Court, Sir John Rogersons Quay, Dublin, 2 Ireland
Location: Dublin, Ireland
The European Prize for Architecture
The European Prize for Architecture Winners
2019 Laureate of The European Prize for Architecture
Henning Larsen Architect
photography: Jacob Due
European Prize for Architecture 2019
2017 Laureate of The European Prize for Architecture
Manuelle Gautrand
image courtesy of architects
European Prize for Architecture 2017
European Prize for Architecture
European Prize Architecture 2012
TYIN tegnestue Architects
Website: European Prize for Architecture Nominations
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European Architecture Competition : 2nd European Prize for Urban Public Space met in Barcelona
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Comments / photos for the European Prize for Architecture 2020 Winner Wolfgang Tschapeller page welcome
Website: European Prize for Architecture – Wikipedia
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by Stefan Bitsch
Linz —> Hütting —> Grein —> Melk —> Krems
Dangers of the Danube: Floods and Rapids throughout History
On the fourth day of our excursion, the group had the opportunity to learn from Christian Rohr (University of Bern) and Severin Hohensinner (University of Natural Resources and Applied Life Sciences in Vienna), who shared their expertise with us during the various stops along the way.
Hütting and the Machland Dam
The first series of stops were concentrated around the small town of Hütting, part of the longest connected dam-building program in Central Europe, which cost around €180 million and was completed in 2012. Forty-five kilometers of dams and flood retention areas now follow the course of the Danube in this region. The area has a long history of flooding, and the town has learned how to deal with these events over time.
Hütting was a market town in the Middle Ages—one of nine in Upper Austria. Despite severe floods occurring roughly every 10 years, people have, until recently, adapted and remained there. The area had been economically profitable due to its nutrient-rich, fertile soils, with great employment opportunities from prospering river trade. The Danube was a very important trade route, particularly during the period of Habsburg rule. The enormous growth in population caused people to settle near the river despite the well-known problems it caused. During periods when the Danube ran calm, they grew crops and farmed cattle; during periods of high water, the people and their livestock would move to the upper floors of their houses and wait for the water to drain. If the situation was really severe, they would use traditional boats known as Zilles and Plätten to transport themselves and their livestock to safety. The houses had to be adapted, too; because they were made of wood, “floating away” was a huge problem—not only for the wooden floors but also provisions stored in barrels. Vertical pillars helped to secure the lower parts of the houses against floating and disintegrating, using the ceiling as a counterweight.
As a further safety measure, a dam structure was built in 1954 to secure the town against high waters. These dams, however, were situated directly at the river and provided no space for the water to overflow and spread. Flood plains, or retention areas, can act as storage, soaking up some of the water and unburdening areas further downstream. Today, engineers are aware of this and modern dams are built further away from rivers. What has happens to the villages and settlements of Machland, and how has their strong historical relationship with the river been affected by the new dam?
Discussing Hütting’s history and evolution. Photos: Laura Kuen.
Hütting had approximately 240 inhabitants in 1970. A resettlement program preceded the start of the dam construction, with the aim of moving the entire town of Hütting three kilometers further from the Danube, out of the water retention area and behind the new dam. The state purportedly covered 80 percent of the value of the residents’ belongings, and a new town, Neu Hütting, was founded. The locals still use the flood lands for farming purposes, but living there is nearly impossible. The most recent one-hundred-year flood in 2002 showed why; almost all the houses on the flood lands were flooded completely and people had to be rescued by public services. Most of these houses have now been demolished. Even then, several people, especially the elderly, refused to move; they believed that, having coped with such situations all their lives, they know the river and can recognize danger when it arises. Today, two inhabitants still live in front of the dam and authorities are unable to remove them to permanent safety. They will still need help when the river swells.
“But,” one of our guides explained, “even this problem will resolve itself sooner or later, and the dam will be a guarding rampart for everybody in town. Safety for everybody, with the great river at the doorstep.”
Backwater Effect
Nearby Labing, a town adjacent to the river Naarn (one of the Danube’s tributaries), is surrounded on one side with concrete walls three and a half meters high. In times of flooding, the “backwater effect” means that water from the flooding Danube invades the tributary and turns the tiny, calm stream into a swollen lake. The flood barriers are especially strong to withstand the force of not just the floodwaters, but also a barrage of vast amounts of driftwood carried downstream on the Naarn from the Bohemian forest. It struck our group as very intimidating to live so close to a river that is so prone to flooding. The flood marks on the concrete wall show that, in 2002, the wall was only just high enough to prevent the whole town from being flooded. It seems that living with floods often means counting every remaining centimeter…
Part of the flood defences around Labing. Photo: David Stäblein
The Danube Itself as a Lively but Deadly System
In Grein, inside Austria’s oldest intact theater (formerly a granary), we listened to a lecture about the River Danube.
The old theater in Grein. Photos: Laura Kuen
The Danube was, prior to modern interventions, an anatomizing river, meaning that it frequently changed its course, creating new islands and eroding others in the process. This had a huge impact on river trade because the navigable channels changed frequently. Captains had to predict whether old routes were still intact or if new ways must be found through the web of channels. This created a lot of potential for danger, and on top of its unpredictable nature, the river hosted many dangerous spots. The Strudengau, where the Danube splits into two channels that later rejoin each other, is historically one of the most hazardous parts of the Danube. The right channel was sandy and only navigable in high waters; the left ran fast and perilous rocks littered the riverbed. A large, unavoidable eddy followed this stretch and many sailors lost their lives there and were washed ashore on the so-called Friedhof-Lacke, or “graveyard bay.”
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The shifting riverbed frequently caused conflicts between landowners on both sides of the Danube, as property boundaries were often determined by natural landmarks like the river. Changes in its course, therefore, shifted these boundaries and spurred complicated redistribution issues. To manage this, in 1812, Austria began a survey and regulation program for the Danube. By 1925, the river’s channel had been straightened and secured with concrete walls. Several artificial channels were created, and the most dangerous stretches were destroyed or made navigable. Now, the Strudengau is no longer dangerous; the infamously large rock causing the eddy was destroyed during the Third Reich. To make sure that the destruction of the rock was successful, a vast amount of dynamite was used. Pieces of shattered stone reached and destroyed houses within a hundred meters of the explosion site.
In the whole of Austria today, only two sections of the Danube remain unregulated.
Wachau and the Monastery of Melk
In the afternoon, we visited the monastery and town of Melk. Up on a hill, the monastery has remained safe from flooding, but the regular damage done to the surrounding villages means they kept many records of local flood events. The old town houses were built to be flood-proof, constructed mainly from stone. But the land and people around Melk, part of the Wachau region which is famous for its wine and fruit, suffered most under the destruction of crops and livestock from flood events. Such damages cannot be dealt with in a single year; vineyards need years to regrow. Severe floods were therefore often followed by years of toil and famine.
The inhabitants of Melk blame an increase in water channeled to them during floods on the lack of flood retention areas next to the flood barriers upstream. This type of dispute can be seen on less localized scales: for example, in 2013, Austria accused Bavaria of causing extensive flooding in its regions by not utilizing its own water retention areas appropriately during a period of severe flooding.
Rolling landscape and vineyards of the Wachau region. Photo: Stefan Bitsch.
The Monastery in Melk. Photo: Stefan Bitsch.
During a boat ride from Melk to Krems, we admired the Wachau region and took time to relax and contemplate the landscape on our own. We came to understand why the Wachau deserves the title of “quality vineyard of Austria.” The interplay of limestone and acidic granite rock combined with the warm, humid climate, allows the grapes to flourish. The famous Grüner Veltiner comes from this region. The Wachau is also of great historic importance, boasting many fortified churches—one of which is Dürnstein, where Richard of Lionheart was held captive for two years after his return from the Third Crusade.
When we arrived in Krems, the eastern gate to the vineyard of Austria, the day ended with a fantastic dinner and some very interesting discussions about the places we visited and the stunning impressions we collected on the way.
Day 4. Danube Excursion: Linz—Krems by Stefan Bitsch Linz —> Hütting —> Grein —> Melk —> Krems Dangers of the Danube: Floods and Rapids throughout History…
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Enhance Your Beauty with Permanent Makeup Linz Urfahr
In der Welt der Schönheit und des Selbstausdrucks ist Permanent Make-up zu einem Game-Changer geworden und bietet Menschen die Möglichkeit, jeden Tag mit perfekt aufgetragenem Make-up aufzuwachen. Linz Urfahr hat sich diesem Trend angenommen und bietet mit seinen Fachkräften erstklassige Dienstleistungen an, die auf die vielfältigen Schönheitsbedürfnisse ihrer Kundschaft eingehen.
Permanent Make up Linz Urfahr erfreut sich aufgrund seiner Präzision und langanhaltenden Ergebnisse immer größerer Beliebtheit. Ganz gleich, ob Sie perfekt geformte Augenbrauen, definierten Eyeliner oder üppige Lippen wünschen, dieses innovative kosmetische Verfahren ist genau das Richtige für Sie.
Eine der gefragtesten Dienstleistungen in Linz Urfahr ist die Areola Pigmentierung. Diese spezielle Technik ist ein Segen für Personen, die sich einer Brustrekonstruktionsoperation unterzogen haben oder das Aussehen ihrer Warzenhöfe verbessern möchten. Bei diesem Verfahren werden sorgfältig Pigmente aufgetragen, um die natürliche Farbe und Form des Warzenhofs wiederherzustellen und so ein realistisches und ästhetisch ansprechendes Ergebnis zu erzielen.
Der Vorteil von Permanent Make-up liegt in seiner Langlebigkeit. Stellen Sie sich vor, Sie wachen jeden Morgen mit makellos aufgetragenem Make-up auf, ohne sich um den Alltag kümmern zu müssen. Insbesondere die Areola-Pigmentierung bietet emotionale und psychologische Vorteile und hilft dem Einzelnen, sein Selbstvertrauen zurückzugewinnen und sich in seinem Körper wohler zu fühlen.
Der Eingriff selbst ist sicher und minimalinvasiv. Erfahrene Techniker in Linz Urfahr sorgen mit sterilen, hochwertigen Pigmenten und modernster Ausrüstung für einen reibungslosen Auftragsprozess. Kunden können mit minimalen Beschwerden und einer relativ schnellen Genesung rechnen.
Die Vielseitigkeit von Permanent Make-up geht über die Pigmentierung des Warzenhofs hinaus. Die Fachleute aus Linz Urfahr sind außerdem auf das Augenbrauen-Microblading spezialisiert, eine Technik, die natürlich aussehende, haarähnliche Striche erzeugt, um die Form und Fülle der Augenbrauen zu verbessern. Diese Methode ist perfekt für alle, die gut definierte, symmetrische Brauen erzielen möchten, die das Gesicht schön umrahmen.
Darüber hinaus ist das Eyeliner-Tätowieren eine beliebte Wahl für Personen, die ihre Augen verschönern möchten, ohne sich täglich mit dem Auftragen und Entfernen eines herkömmlichen Eyeliner herumschlagen zu müssen. Durch diese Technik entsteht eine wischfreie, wasserfeste Linie, die jahrelang hält.
Die Wahl eines seriösen und kompetenten Fachmanns ist entscheidend, wenn Sie sich für Permanent Make-up in Linz Urfahr entscheiden. Stellen Sie sicher, dass der Techniker zertifiziert und erfahren ist und strenge Hygieneprotokolle befolgt.
Zusammenfassend lässt sich sagen, dass Permanent Make-up in Linz Urfahr eine transformative Lösung für alle ist, die eine dauerhafte Schönheitsverbesserung wünschen. Vom Augenbrauen-Microblading bis zur Areola-Pigmentierung bieten diese Dienstleistungen eine bequeme und effektive Möglichkeit, Ihre natürlichen Gesichtszüge hervorzuheben. Genießen Sie die Schönheit, jeden Tag mühelos und schön aufzuwachen.
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KZ Mauthausen
One of mine, November 19th, 2013
It’s no sort of a boast to say, ‘I’ve been to a few concentration camps’. Opera houses; perhaps: art galleries; perhaps: concentration camps, hardly. It’s true nonetheless, I have visited a few concentration camps.
It’s not that that the camps hold a lurid fascination for me, or that I am impelled to visit and tick them off on a list. Concentration camps are not munros.
When I try to analyse my reasons for visiting, they multiply, become elusive, and I struggle to apprehend and organise them. They are definitely manifold. There is an historian’s interest – longstanding now - perhaps an integral part of my make up, inescapable. There’s also muted sense of obligation on my part, a sense of ‘ought to’. That sense pervades other aspects of my travel, too – it takes me to battlefields and war cemeteries wherever I find myself: USA, Turkey, Tunisia, France, Belgium, Russia. The ought to is, I think, a way of grappling with, and trying to understand big questions – questions about war, about sacrifice, about the deepest human motivators. Standing on the ground where things happened helps me focus my mind, offers me a degree of clarity, helps me draw out the physical threads of place and time and interweave them with the cognitive threads of what I know. It’s invariably humbling.
I have a sense, too, courtesy of those who deny the Holocaust (I think of David Irving, in particular), that the Shoah needs contemporary witnesses, people who have been, have seen, have been humbled and upset, and can testify to it.
There’s one more reason, which is more deeply personal: recognition that it could have been me. More: that it could still be me. This sense of personal involvement stems from being homosexual. When I say, ‘It could have been me’ I recognise that I always cast myself as a victim – never a perpetrator. And I always think I wouldn’t have survived.
In those camps where there is a book of visitors’ remarks, perhaps the most common entry is ‘Never again’. I think that an empty slogan. The Nazis didn’t invent genocide, though they industrialised and perfected it in ways that are so perverse that they call into question our shared humanity. But, if I speak of a shared humanity, I have always to pose the question – might I have been the one who slammed the Gaskammer door shut on someone else? I recall a German TV documentary where the teenage children of Holocaust survivors revisited the places their parents or grandparents had been so brutally treated. Sitting with them, sifting through photographs and documents, were German teenagers. One of the Jewish youngsters said, ‘I’m always scared that I will see the face of someone I recognise’. ‘So am I’, replied the German youngster. Yes. That captures it, perfectly. It is important to sift yourself. And some locations, because of their poignancy, or power, or pain, make that demand urgent and insistent.
As I noted above, I don’t believe in Never Again. I’ve lived through the Srenbrenica and Rwanda. Never Again is a cheap shot. Conventional piety. Wishful thinking.
I have no truck with it.
I believe in vigilance and respect…
I crossed from Germany into Austria in the late evening of October 19th, at Passau, where the rivers Inn and Ilz combine with the Danube. The Hitler family lived in Passau from 1892-4, moving there when Adolf was three.
My driving route took me along the right bank of the Danube, heading south east, towards Linz. A full moon was reflected in the river and, on the left bank, a sequence of picturesque villages with their churches and castles illuminated. I arrived in Linz a little before 9pm and headed straight to the hostel. It’s a purpose-built, post war edifice with clean 1950’s lines and interior spaces to match. The rooms, all en-suite, are impressively comfy and airy. It looked a very efficient set up. I slept well.
The following morning, when I drew back the curtain, the window was misted with condensation. Wiping it aside, I could see autumnal leaves outlined crisply against a cornflower white sky. That boded well for the day. After a good breakfast (a typical Austrian affair of cold meats, cheese, fruit, yoghurt, breads and cakes), I organised myself and went into town.
Linz is as lovely as you might expect a baroque town on the Danube to be. I spent the morning meandering, stopping off to admire churches and the architectural fancies that offered themselves up. The High Mass was drawing to a close when I got to the New Cathedral (a 19th CE Neo-Gothic build), so I sat quietly and waited for the dismissal, so I could then take a few photos without disturbing the service. There was a small choir – five or six voices – singing a glorious polyphonic mass setting.
As midday approached, I returned to the car, crossed the river, and followed the left bank. The Danube was actually blue, for once: generally-speaking it’s a mucky brown. Following the river downstream, Mauthausen is a bare 12 miles from Linz.
I was there in 20 minutes.
To get to the camp, you turn off the main road and drive through the village, climbing the valley side until you reach the ridge line.
The first thing you note when you park and get out is the view. It’s a beautiful situation – to the south lies village, the river and the Danube valley – lots of woodland and rolling hills with isolated houses and farms.
The camp looks like a granite-built fort. Its towers and retaining walls are imposing, not to say intimidating. It has permanence and power written all over it. Exactly as intended.
Mauthausen was a Grade III camp, intended to be the toughest environment conceivable for the incorrigible political enemies of the Reich. The Nazis intended that the intelligentsia of Europe come to Mauthausen and be worked to death. Its nickname among the staff of the Reichssicherheitshauptamt (Reich Security Main Office) was the Knockenmühle – the Bone Grinder. It was founded immediately after the Anschluss (1938) and was one of the last camps to be liberated.
The Bone Grinder… therein lies the key. Mauthausen was founded because of the adjacent granite quarry. Its stone had been used to pave the streets of Vienna: now it was used to build the camp itself (inmates transferred from Dachau) and then the grandiose Nazi monuments that glowered down on the subjects of the 1000 Year Reich. Some of its stone was used in the Congress Hall, and other buildings, of the Reichsparteitagsgelände (Nazi Party Rally Grounds), in Nuremburg, which I had left only the day before.
As the war progressed, and Germany secured direct and indirect control over more and more of Europe, the inmates became more diverse in their origins – to the Germans and Austrians were added Poles, Czechs, Hungarians, Spaniards, French, Greeks. Teachers, doctors, lawyers, trade unionists, socialists, Jehovah’s witnesses, homosexuals, Sinti and Roma, Jews, Russian (and other) prisoners of war, partisans from Yugoslavia: in their hundreds of thousands, they came to Mauthausen and its sub-camps and were worked to death in the quarries, or gassed, shot, hung. Estimates vary – but it is reasonable to believe that 320,000 people came to Mauthausen and its sub-camps. 75% of them didn’t survive. But death was profitable: in 1944, the camp turned a profit of 144 million Euros (at 2013 exchange rate).
When I came to Mauthausen I knew what to expect.
The first camp I ever visited was KZ Sachsenhausen. It lies to the north of Berlin, in the village of Oranienburg. I went there in a bitterly cold February, in 1996, to stand before the memorial to the homosexuals done to death by the Nazis, and leave a poem and some rainbow ribbons. That same trip, I went to the Haus am Wannsee, which hosted the conference convened in January, 1942 at which the planned extermination of European Jewry was formalised, organised and rubber stamped.
If Sachsenhausen brought tears, Wannsee brought an even icier chill – the hand of the perpetrators. Crunching up the drive towards that familiar building, sited on an idyllic lake (Heydrich intended it to be his home after the war), there was menace in the air.
In January 2005, I went to Prague with Peter, and intended to make a side trip to Theresienstadt. Peter said he’d skip that but then changed his mind and came with me. I think he regretted it: it was grim. As I knew it would be.
Almost exactly a year later, Gordon, Richard and I went to Krakow in Poland. Inevitably, we went to Auschwitz. It was a bitter winter, and the camp was a snow-covered expanse. It was easy, in the mind’s eye, to step back in time and imagine being there in the winter of 1944: the war lost but the exterminations more frantic than ever, the levels of degradation surpassing even the obscenities that preceded them.
As I walked towards the camp entrance at Mauthausen, I brought these experiences with me. I had an idea of what lay behind that forbidding perimeter. I didn’t expect to be surprised. I did expect to be upset – as I had been before. I expected to be rattled. To be provoked. To be made to squirm and feel uneasy.
The visit is self-directed, though an excellent audio-guide and a simple map make sure you don’t get lost.
Some of the camp buildings are no longer there: the SS barracks are gone: the site is now the memorial garden. Some barrack blocks are demolished but others remain to suggest what they were like when the camp was in use, others are exhibition spaces.
The prison, the execution rooms, the crematoria, are all extant.
The exhibition spaces are sensitively and comprehensively detailed, and give a genuine insight into the camp’s history. You are uncompromisingly confronted by the filthiness of Nazism. Each camp I have visited offers a unique experience, though each share common threads. Each has shown me something I hadn’t grasped until that point. At Mauthausen, it was the level of brutality dispensed to children. Looking at the youthful faces in inmate photographs was very disturbing.
The barrack blocks are stark: the triple bunks, kapos’ day rooms, and the washrooms stood empty and silent. The washrooms rattle me: they were favoured suicide locations for prisoners in extremis. I’ve seen photos of emaciated victims, strangulated on taps, pipes and even toilet fixtures.
I moved on. The triple bunks – top bunks were the most sought after – men topped and tailed – perhaps three per level, nine in all. The ones on the lower bunks were subject to the dysenteric effluvia of those on the upper ones. When a transport arrived, overcrowding became endemic.
In the prison block, you can see the ‘interrogation’ rooms, placed so the screams could be heard throughout the cell block. Below, in the basement, the exectution rooms. Prisoners were shot in the back of the neck (I saw such a set up at Sachsenhausen) or hung from a pulleyed hook, or gassed, or injected with petrol, or stripped, sprayed with water and left to freeze to death outside in the winter temperatures, or pushed off the quarry heights, or made to push others off the quarry heights and then shoved after them. Others were driven onto the electrified fence, or shot whilst penned into the garage courtyard. The bodies were cremated by prisoners who were themselves shot and subsequently cremated.
Mauthausen has two double ovens in situ and complete. They stand open-mawed and stark. Topf and Sons Ltd, produced them. They were manufacturers of industrial malting ovens for breweries, and commercial incinerators. Their chief executive saw a brilliant opportunity to expand operations and submitted designs for ovens that could operate continually as crematoria: the Nazis were more than happy to sign the contracts. As Topf’s letterhead said on their Auschwitz correspondence: Always ready to serve you…
This is what concentration camps are like.
This is why it’s important for me to come, and stand, and be upset, and remember.
At Sachsenhausen it was the crematorium that brought me close to dissolution.
At Auschwitz, the gas chamber.
At Theresienstadt, it was the sight of that vile slogan, glimpsed through a flurry of snow: ARBEIT MACHT FREI.
At Mauthausen, I felt more composed than I had expected. Reflective, quiet, brimful of thoughts and the clamour of the past but it was manageable and I felt able to ‘hold the ring’.
Having paid my respects at the memorial plaques, I left the camp proper and walked slowly through the memorial garden, towards the quarry. I made a mental note to pay my respects at these formal monuments on the way back, and continued to make my way to the stone works.
The well-made path gave out and I noted that I was now walking on the uneven setts and broken stones that led along the edge of the quarry, to the Death Steps.
I was alone by now. Everything was quiet, save for the crunch of my footfalls on the stones. Their unevenness threatened to throw me off balance, and I found myself looking at my feet and paying close attention to the sensation of planting my foot, feeling my ankle adjust to keep me upright.
As I type now, I can recall the sensations and sounds with absolute clarity.
As I got nearer and nearer to the Steps I began to feel genuinely unsteady; there was an upwelling of panic, a constriction in the chest, a stomach-churning gripe: I was unable to proceed. I feared that I was going to crumple to the ground and cry uncontrollably.
I stood stock still. I had to physically regain my balance. If there’d been something close at hand to grasp, I would have held on to it. But there wasn’t. I had to be still, gather my scattered self, recognise what was happening, compose myself, regain a measure of control.
When I’d done so, the sudden realisation dawned that I couldn’t walk down the Steps. I knew it would be sacrilegious to trip down those stairs in my Fitflops. But I also knew I had to get down. I had to stand in the quarry. This was the place where remembrance meant most.
To me, it felt an age, but it can only have been a few seconds: the solution was plain. I must go unshod. Bare-foot, I could do it.
It all felt OK then. After a deep breath the urge to cry and the unsteadiness left me. There was still the hypersensitivity, as I placed my feet on the uneven stones, but I could make my way to the Steps.
I had another lurch as I stood at the top. But I was able to quieten that, and sit down.
I unlaced my shoes and slipped them and my socks off. A young family was coming up: the kids were counting the number of steps aloud: Ein hundert sechs und achtszig – 186.
They passed by, making no remark.
The stones were cold but supportive.
Berries and twigs and clusters of fallen leaves were scattered on the granite steps, and I could feel their imprint as I descended. Down I went, where so many had gone before me, beaten and driven.
In the quarry itself, the workings reared up before me: a cliff. Nature had softened and reclaimed some of it. There were two great water-filled pits that reflected the autumnal leaves and blue sky. It was strangely reaffirming.
There were stone chips underfoot, as well as springy grass. I stooped to pick one up and carry away with me. Once home, I will put it alongside the brick-flake from Auschwitz, in plain view, where it will help me remember.
I walked for some time, occupied with my thoughts, wondering at the strength and unexpected immediacy of my upset at the top of the quarry. I remembered seeing ‘Bent’ – firstly a play by Martin Sherman (1979), later a film by Sean Mathias. It dealt with two gay men sent to Dachau in 1934. A scene in it had them working moving heavy stone blocks. There was some clue there to my distress.
And there was an incongruity: I remembered that beautiful polyohonic mass setting, 12 miles and 20 minutes away....
And I had been bare-foot once before. 20 + years ago, in Lourdes. I had make my way around the massive, verdisgris’d Stations there, It was my leave-taking from the Friars Minor. The circumstance was very different, but the motivation shared some ground. Standing bare-foot on the bare earth and experiencing things for what they actually are; there is comfort in this discomfort.
For me, Mauthausen had brought home again the reality. Not an issue of ‘there and then’ but ‘here and now’.
And so it must remain, to me.
Without vigilance and respect, I believe it will come again, and swallow our humanity.
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Everything you need to know about New York Red Bulls striker Samuel Tetteh
Much like newly-signed midfield anchor Dru Yearwood, the story that leads 24-year-old forward Samuel Tetteh to New York Red Bulls (on loan from sister club Red Bull Salzburg where he is still under contract through 2022) is one of early potential that is still far from faded away. A rapid rise from local obscurity to the brink of European stardom has been stalled enough by knee injuries and the thin margins of the Red Bull talent pipeline to merit a reset with a New York team desperate for attacking energy.
Tetteh hails from the town of Odumase Krobo (sometimes Krobo Odumase) in central Ghana, where he was raised with his three siblings. While attending and playing football at local Anglican schools he was recruited by the Gomoa Fetteh youth club, a program operated by Dutch club Feyenoord Rotterdam in the capital of Accra that took over much of the infrastructure of the now-defunct Red Bull Ghana academy and changed its name to the West African Football Academy (WAFA) in 2014.
“I was never born with a silver spoon in my mouth. My parents did their best to provide us with the best of education coupled with the basic necessities of life...I’m not from a rich family, sometimes it was hard for my mum and dad, in terms of money and getting food to eat. When I started playing football, my family struggled to buy my football equipment; it was also difficult for my parents to pay my school fees.”
A path away from the hardship appeared as Tetteh’s performances for WAFA had earned him a place in the Ghana youth national team program, and his performances in the 2015 Under-20 World Cup (particularly a group stage performance against an Argentina side featuring current Red Bulls playmaker Kaku) brought the attention of European scouts beyond the Feyenoord structure. Later in 2015, he travelled to Denmark for an unsuccessful trial with FC Midtjylland.
After briefly featuring for the Ghana under-23 team, a personnel shortage in the senior national team for a September 2015 friendly against DR Congo - where Tetteh happened to be playing in a tournament with the U-23s - saw Tetteh brought in as an emergency call-up and led his career to a new stage. Tetteh recorded an assist in Kinshasa and earned the trust of senior national team coach Avram Grant, the former Chelsea and West Ham manager.
The new attention allowed Tetteh to pursue further foreign trials in 2016 with Swedish titans Malmö FF as well as clubs in the United Arab Emirates, but none resulted in a contract. According to Goal.com, Malmö had been “impressed with his trial, but the only hindrance to sign the player is his price tag and onward transfer benefits to WAFA when he joins another team in the future.”
Despite the organization’s restriction of his opportunities abroad, Tetteh remained a strong performer for WAFA and one of the standout players of the Ghanaian domestic scene. However, his standing was slightly blemished by a red card suspension in April 2016 following an alleged physical assault of a referee.
Tetteh finally made the jump in Europe after being recruited (for a reported transfer fee in the neighbourhood of $1m) by the Red Bull Global soccer network to play for Salzburg’s reserve side FC Liefering in the Austrian second division. In his first season, he logged 10 goals, five assists in 20-second division appearances for Liefering, known to hold and produce more talent than the average reserve operation. He continued his rise with the Ghana national team, scoring in his first start, a 1-1 draw against Rwanda, and it was around this time that the 20-year old’s strong form reportedly attracted scouting interest from Manchester United.
In January 2017 he was promoted to the Salzburg first team before suffering what became a long-term meniscus injury in a March training session and undergoing season-ending surgery. Upon returning to fitness he was again assigned to Liefering but made cameo appearances for the Salzburg first team in a domestic cup round and later a Europa League match.
In January 2018 Tetteh joined Austrian first division side, LASK Linz, on 18-month loan with an option to buy. Then-Linz manager Oliver Glasner stated about Tetteh “he can take any offensive position and makes our game even more varied.” In a foreshadowing of the circumstances that would lead him to New York, Glasner stated that Linz were fortunate to have a player of Tetteh’s quality.
“Even if he is undoubtedly a very good player, one must not forget that he was injured for nine months last year. He’s not quite in the rhythm yet and certainly not yet at his old level of performance. If he were, we would not have been able to sign him, an A-team player from Ghana.”
After scoring five goals in sixteen league appearances in his first half-season with Linz, Tetteh suffered a knee injury in July preseason camp but claimed he wouldn’t need another surgery. However as weeks went by it was clear this prediction was not panning out and Tetteh went under the knife again, missing league play in September and October and suffering a further setback with an appendectomy in December.
Nonetheless, Tetteh rebounded to close the season with four goals in twenty-one league appearances, enough to make LASK to extend the loan from Salzburg (now under former New York manager Jesse Marsch) for the 2019-20 Austrian league season. Tetteh continued his productive form with seven goals and seven assists in forty-two first-team appearances prior to the suspension of competition due to Covid-19 pandemic. Despite reported interest from Linz in making Tetteh’s contract permanent, he officially returned to the Salzburg squad in July and shortly afterwards began talks with New York.
Though Tetteh has yet to find success breaking through at Salzburg, he has praised his time in the demanding and precise Red Bull system.
“The best part of being at a club like Red Bull Salzburg is that it helps you develop into a better player. The facilities there are amazing and as a player, you must take advantage of the facilities to work and become a good player. The atmosphere is so great; it makes you want to play there all the time! The people are friendly, cool and always ready to help you out with anything.”
Tetteh even took an understanding view of his loaning out from the main team, stating “some players think going on loan to different clubs is upsetting and think that the club doesn’t need you anymore but I think moving on loan can change your career. Taking myself as an example, I wasn’t playing at Salzburg after my long-term injury and it was difficult to get games or even minutes, but moving to LASK really helped.”
While the positive attitude in face of career adversity is certainly refreshing, it should still concern New York fans that Tetteh is coming off over three years of substandard fitness that has left him largely unable to complete a full 90 minutes even in the less-rigorous environment of the Austrian leagues - only twelve times in the last two years has he gone even beyond 75 minutes.
However as stated by his previous coaches as well as New York head of sport Kevin Thelwell and head coach Chris Armas in the announcement of Tetteh’s signing, he is a player that fits the Red Bull mold of active, mobile play in all facets of the game. The generous Tetteh has recently provided a gift of boots and training kits to his childhood youth club, and if RBNY staff can help him revive his career from injury hell, they might be lucky enough to have the young striker buy them a new Toyota Corolla.
Source: onceametro.com
source: https://footballghana.com/
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Oregon's Failed Medical Marijuana Program
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Before we start by getting exercising details flab, we ought to find the root cause of the problem so that most of us can win the battle of the bulge. Extra flab the due to poor capability. Our appetite is controlled by hormones produced by our body and certain chemicals created by our mind. We should strive to balance our hormones and consume omegas, pumpkin oil, Hemp Legal, flaxseed oil ensuring your company help reduce fat.
Das Park Hotel in Linz, Austrailia offers "Pay as you wish" expenditures. some have stayed the night here 100 % free. This hotel was converted from three sections of renovated sewer pipe. Intended to absorb offer all amenities if you have a person could ask for, including a double bed and utility. Showers and toilets are not within intended to absorb themselves but are located closeby. The hotel is only open your spring and summer weeks. As the weary traveler enjoys the oddity of sleeping within a concrete room; he can also enjoy the breeze against the bank from the Danube.
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"It's almost tantamount to looking at heroin, and saying, 'Well, these pain pills aren't working, market think really should legalize heroin because it's more powerful than the medication than I perhaps from my doctor." -- Rep. Dennis Reboletti (R-Elmhurst).
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december, lately: a lot going on at the moment.
whoa, what a big few weeks it has been! in the wake of receiving our visa extention in october, alex and i had been furiously studying to make sure we aced our elementary level czech exam, which is far too expensive to re-take (not that we even have the time to do so) but fortunately, three and a half hours later, we victoriously walked to the bus stop with our certificates! we did it!
not going to lie, but this little (big?) victory has instilled some major confidence. i think it is deserved confidence, for all those times that i doubted myself and didn't want to try speaking czech, or felt my ability was poor. since the test day, i've been under the (false? who knows...) impression that i can say pretty much anything i try to, not only in czech, but in german too.
i've been putting my best language face forward these days in a new tactic which i call: "just try it." as long as you think you have the words ready, why not try? so far, i have not gone wrong using this tactic and have not once been misunderstood.
i even tried it the other day in german, even though all i knew how to say was essentially the direct english to german translation, the man i spoke to gently corrected my wording, then answered my question. i learned something, and i got the information i wanted.
little victories in confidence!
yes, we recently had a wonderfully festive weekend again with parties, tree-getting, and popping over to linz, austria for the day. i can't believe i haven't been to linz in over five years even though budejovice is almost exactly between linz and prague. the price to prague is certainly nicer, but deals are certainly possible, especially if you buy your ticket at least a week in advance -- that is indeed the key.
linz was all dressed up in lights, glittering bulbs, and fresh trees to welcome us! as we wandered the old town, we found several different christmas markets i hadn't even planned on seeing! strolling along the blue (or, green?) danube, doing a little bit of christmas shopping here and there, and down the busy streets as the sun went down, masala chai in hand from madame wu's, i couldn't help but actually sing "silver bells".
"city sidewalks, busy sidewalks, dressed in holiday style. in the air there's a feeling of christmas"
i love how the streets of linz weren't as busy as prague or vienna this time of year. it was the perfect big(ger) holiday city escape for a bit of shopping and austrian christmas market magic.
one funny thing was that we stopped for lunch at my austrian favorite akakiko, sort of sneaking our ferdie into the shopping center, assuming as usual that dogs are generally not allowed in places like these. still feeling self-concious about our dog when we got to the restaurant, we were seated, and suddenly noticed a giant bernese mountain dog parked next to the table near us! it was so big, the owners surely had to forgo the escalators in favor of the elevator to take this gigantic creature into the third floor up to this asian restaurant. i had to laugh. soon after, the manager himself came in with a bowl of water (this is in a somewhat nice to casual busy restaurant setting at lunch time) and we found out that he shared his first name with our dog = ferdinand. when in austria!
kudos to you austria and your laid-back dog attitude (sorry to readers who aren't a fan of dogs in restaurants, but this is just my life now).
on another note:
do you know people who pick one word in january to sum up the year?
i admire it, but i know i can never do it because i never know exactly how the year is going to unfold for me. how can we really predict the future -- to stay the course on an old word that may not have the right meaning for how the year ends up developing? this year, as it comes to a close, i think all the events in each month have been leading up to the word: progress. that's how i'd sum up the year.
2018 has been an incredible year in terms of progress - undoubtedly my best year spent abroad thus far. i have come so far in my journey abroad, my foreign language ability has gone to new, unforeseen heights, and our own integration here in this southwestern czech city. the travels have been the best yet and my personal, financial, and thoughts what direction the future might take us have grown and developed. i have well-documented our setback which occurred smack in the middle of the year, but we've overcome it and are taking steps to right the ship and set us on the best path.
as for now, i am one of those "busy people". a far cry from starting to build our life here almost six years go ("not a lot going on at the moment"), everything comes to a head in december. from time-consuming hobbies, to applying for permanent residence, to rehearsals and concerts with my choir, i am definitely a certifiably busy person. some people thrive on that. i'll just be refusing any extra invitations until i make it to the fourth advent weekend!
now, looking forward to enjoying this best time of year - christmas in europe! this year we won't be going far, just enjoying another czech christmas at home in budejovice and with friends. i was a little miffed initially to have not a lot of funds around christmas -- black friday/cyber monday has more than annoyed me this year -- but i’ve taken it as a challenge to have a “simpler christmas”. isn’t that all that people actually strive for anyway? have currently got orange slices drying in the oven for a garland and am excited for more simple celebrations this upcoming weekend.
what are you getting up to the for the holidays? hope you are enjoying this magical season!
ps, you might like our most recent czech christmas or our first time in linz, austria.
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My Accessibility Journey: What I’ve Learned So Far
Last year I gave a talk about CSS and accessibility at the stahlstadt.js meetup in Linz, Austria. Afterward, an attendee asked why I was interested in accessibility: Did I or someone in my life have a disability?
I’m used to answering this question—to which the answer is no—because I get it all the time. A lot of people seem to assume that a personal connection is the only reason someone would care about accessibility.
This is a problem. For the web to be truly accessible, everyone who makes websites needs to care about accessibility. We tend to use our own abilities as a baseline when we’re designing and building websites. Instead, we need to keep in mind our diverse users and their diverse abilities to make sure we’re creating inclusive products that aren’t just designed for a specific range of people.
Another reason we all should think about accessibility is that it makes us better at our jobs. In 2016 I took part in 10k Apart, a competition held by Microsoft and An Event Apart. The objective was to build a compelling web experience that worked without JavaScript and could be delivered in 10 kB. On top of that, the site had to be accessible. At the time, I knew about some accessibility basics like using semantic HTML, providing descriptions for images, and hiding content visually. But there was still a lot to learn.
As I dug deeper, I realized that there was far more to accessibility than I had ever imagined, and that making accessible sites basically means doing a great job as a developer (or as a designer, project manager, or writer).
Accessibility is exciting
Web accessibility is not about a certain technology. It’s not about writing the most sophisticated code or finding the most clever solution to a problem; it’s about users and whether they’re able to use our products.
The focus on users is the main reason why I’m specializing in accessibility rather than solely in animation, performance, JavaScript frameworks, or WebVR. Focusing on users means I have to keep up with pretty much every web discipline, because users will load a page, deal with markup in some way, use a design, read text, control a JavaScript component, see animation, walk through a process, and navigate. What all those things have in common is that they’re performed by someone in front of a device. What makes them exciting is that we don’t know which device it will be, or which operating system or browser. We also don’t know how our app or site will be used, who will use it, how fast their internet connection will be, or how powerful their device will be.
Making accessible sites forces you to engage with all of these variables—and pushes you, in the process, to do a great job as a developer. For me, making accessible sites means making fast, resilient sites with great UX that are fun and easy to use even in conditions that aren’t ideal.
I know, that sounds daunting. The good news, though, is that I’ve spent the last year focusing on some of those things, and I’ve learned several important lessons that I’m happy to share.
1. Accessibility is a broad concept
Many people, like me pre-2016, think making your site accessible is synonymous with making it accessible to people who use screen readers. That’s certainly hugely important, but it’s only one part of the puzzle. Accessibility means access for everyone:
If your site takes ten seconds to load on a mobile connection, it’s not accessible.
If your site is only optimized for one browser, it’s not accessible.
If the content on your site is difficult to understand, your site isn’t accessible.
It doesn’t matter who’s using your website or when, where, and how they’re doing it. What matters is that they’re able to do it.
The belief that you have to learn new software or maybe even hardware to get started with accessibility is a barrier for many developers. At some point you will have to learn how to use a screen reader if you really want to get everything right, but there’s a lot more to do before that. We can make a lot of improvements that help everyone, including people with visual impairments, by simply following best practices.
2. There are permanent, temporary, and situational impairments
Who benefits from a keyboard-accessible site? Only a small percentage of users, some might argue. Aaron Gustafson pointed me to the Microsoft design toolkit, which helped me broaden my perspective. People with permanent impairments are not the only ones who benefit from accessibility. There are also people with temporary and situational impairments who’d be happy to have an alternative way of navigating. For example, someone with a broken arm, someone who recently got their forearm tattooed, or a parent who’s holding their kid in one arm while having to check something online. When you watch a developer operate their editor, it sometimes feels like they don’t even know they have a mouse. Why not give users the opportunity to use your website in a similar way?
As you think about the range of people who could benefit from accessibility improvements, the group of beneficiaries tends to grow much bigger. As Derek Featherstone has said, “When something works for everyone, it works better for everyone.”
3. The first step is to make accessibility a requirement
I’ve been asked many times whether it’s worth the effort to fix accessibility, how much it costs, and how to convince bosses and colleagues. My answer to those questions is that you can improve things significantly without even having to use new tools, spend extra money, or ask anyone’s permission.
The first step is to make accessibility a requirement—if not on paper, then at least in your head. For example, if you’re looking for a slider component, pick one that’s accessible. If you’re working on a design, make sure color contrasts are high enough. If you’re writing copy, use language that is easy to understand.
We ask ourselves many questions when we make design and development decisions: Is the code clean? Does the site look nice? Is the UX great? Is it fast enough? Is it well-documented?
As a first step, add one more question to your list: Is it accessible?
4. Making accessible sites is a team sport
Another reason why making websites accessible sounds scary to some developers is that there is a belief that we’re the only ones responsible for getting it right.
In fact, as Dennis Lembree reminds us, “Nearly everyone in the organization is responsible for accessibility at some level.”
It’s a developer’s job to create an accessible site from a coding perspective, but there are many things that have to be taken care of both before and after that. Designs must be intuitive, interactions clear and helpful, copy understandable and readable. Relevant personas and use cases have to be defined, and tests must be carried out accordingly. Most importantly, leadership and teams have to see accessibility as a core principle and requirement, which brings me to the next point: communication.
5. Communication is key
After talking to a variety of people at meetups and conferences, I think one of the reasons accessibility often doesn’t get the place it deserves is that not everyone knows what it means. Many times you don’t even have to convince your team, but rather just explain what accessibility is. If you want to get people on board, it matters how you approach them.
The first step here is to listen. Talk to your colleagues and ask why they make certain design, development, or management decisions. Try to find out if they don’t approach things in an accessible way because they don’t want to, they’re not allowed to, or they just never thought of it. You’ll have better results if they don’t feel bad, so don’t try to guilt anyone into anything. Just listen. As soon as you know why they do things the way they do, you’ll know how to address your concerns.
Highlight the benefits beyond accessibility
You can talk about accessibility without mentioning it. For example, talk about typography and ideal character counts per line and how beautiful text is with the perfect combination of font size and line height. Demonstrate how better performance impacts conversion rates and how focusing on accessibility can promote out-of-the-box thinking that improves usability in general.
Challenge your colleagues
Some people like challenges. At a meetup, a designer who specializes in accessibility once said that one of the main reasons she loves designing with constraints in mind is that it demands a lot more of her than going the easy way. Ask your colleagues, Can we hit a speed index below 1000? Do you think you can design that component in such a way that it’s keyboard-accessible? My Nokia 3310 has a browser—wouldn’t it be cool if we could make our next website work on that thing as well?
Help people empathize
In his talk “Every Day Website Accessibility,” Scott O’Hara points out that it can be hard for someone to empathize if they are unaware of what they should be empathizing with. Sometimes people just don’t know that certain implementations might be problematic for others. You can help them by explaining how people who are blind or who can’t use a mouse, use the web. Even better, show videos of how people navigate the web without a mouse. Empathy prompts are also a great of way of illustrating different circumstances under which people are surfing the web.
6. Talk about accessibility before a projects kicks off
It’s of course a good thing if you’re fixing accessibility issues on a site that’s already in production, but that has its limitations. At some point, changes may be so complicated and costly that someone will argue that it’s not worth the effort. If your whole team cares about accessibility from the very beginning, before a box is drawn or a line of code is written, it’s much easier, effective, and cost-efficient to make an accessible product.
7. A solid knowledge of HTML solves a lot of problems
It’s impressive to see how JavaScript and the way we use it has changed in recent years. It has become incredibly powerful and more important than ever for web development. At the same time, it seems HTML has become less important. There is an ongoing discussion about CSS in JavaScript and whether it’s more efficient and cleaner than normal CSS from a development perspective. What we should talk about instead is the excessive use of <div> and <span> elements at the expense of other elements. It makes a huge difference whether we use a link or a <div> with an onclick handler. There’s also a difference between links and buttons when it comes to accessibility. Form items need <label> elements, and a sound document outline is essential. Those are just a few examples of absolute basics that some of us forgot or never learned. Semantic HTML is one of the cornerstones of accessible web development. Even if we write everything in JavaScript, HTML is what is finally rendered in the user’s browser.
(Re)learning HTML and using it consciously prevents and fixes many accessibility issues.
8. JavaScript is not the enemy, and sometimes JavaScript even improves accessibility
I’m one of those people who believes that most websites should be accessible even when JavaScript fails to execute. That doesn’t mean that I hate JavaScript; of course not—it pays part of my rent. JavaScript is not the enemy, but it’s important that we use it carefully because it’s very easy to change the user experience for the worse otherwise.
Not that long ago, I didn’t know that JavaScript could improve accessibility. We can leverage its power to make our websites more accessible for keyboard users. We can do things like trapping focus in a modal window, adding key controls to custom components, or showing and hiding content in an accessible manner.
There are many impressive and creative CSS-only implementations of common widgets, but they’re often less accessible and provide worse UX than their JavaScript equivalents. In a post about building a fully accessible help tooltip, Sara Soueidan explains why JavaScript is important for accessibility. “Every single no-JS solution came with a very bad downside that negatively affected the user experience,” she writes.
9. It’s a good time to know vanilla CSS and JavaScript
For a long time, we’ve been reliant on libraries, frameworks, grid systems, and polyfills because we demanded more of browsers than they were able to give us. Naturally, we got used to many of those tools, but from time to time we should take a step back and question if we really still need them. There were many problems that Bootstrap and jQuery solved for us, but do those problems still exist, or is it just easier for us to write $() instead of document.querySelector()?
jQuery is still relevant, but browser inconsistencies aren’t as bad as they used to be. CSS Grid Layout is supported in all major desktop browsers, and thanks to progressive enhancement we can still provide experiences for legacy browsers. We can do feature detection natively with feature queries, testing has gotten much easier, and caniuse and MDN help us understand what browsers are capable of. Many people use frameworks and libraries without knowing what problems those tools are solving. To decide whether it makes sense to add the extra weight to your site, you need a solid understanding of HTML, CSS, and JavaScript. Instead of increasing the page weight for older browsers, it’s often better to progressively enhance an experience. Progressively enhancing our websites—and reducing the number of requests, kilobytes, and dependencies—makes them faster and more robust, and thus more accessible.
10. Keep learning about accessibility and share your knowledge
I’m really thankful that I’ve learned all this in the past few months. Previously, I was a very passive part of the web community for a very long time. Ever since I started to participate online, attend and organize events, and write about web-related topics, especially accessibility, things have changed significantly for me and I’ve grown both personally and professionally.
Understanding the importance of access and inclusion, viewing things from different perspectives, and challenging my decisions has helped me become a better developer.
Knowing how things should be done is great, but it’s just the first step. Truly caring, implementing, and most importantly sharing your knowledge is what makes an impact.
Share your knowledge
Don’t be afraid to share what you’ve learned. Write articles, talk at meetups, and give in-house workshops. The distinct culture of sharing knowledge is one of the most important and beautiful things about our industry.
Go to conferences and meetups
Attending conferences and meetups is very valuable because you get to meet many different people from whom you can learn. There are several dedicated accessibility events and many conferences that feature at least one accessibility talk.
Organize meetups
Dennis Deacon describes his decision to start and run an accessibility meetup as a life-changing experience. Meetups are very important and valuable for the community, but organizing a meetup doesn’t just bring value to attendees and speakers. As an organizer, you get to meet all these people and learn from them. By listening and by understanding how they see and approach things, and what’s important to them, you are able to broaden your horizons. You grow as a person, but you also get to meet other professionals, agencies, and companies from which you may also benefit professionally.
Invite experts to your meetup or conference
If you’re a meetup or conference organizer, you can have a massive impact on the role accessibility plays in our community. Invite accessibility experts to your event and give the topic a forum for discussion.
Follow accessibility experts on Twitter
Follow experts on Twitter to learn what they’re working on, what bothers them, and what they think about recent developments in inclusive web development and design in general. I’ve learned a lot from the following people: Aaron Gustafson, Adrian Roselli, Carie Fisher, Deborah Edwards-Onoro, Heydon Pickering, Hugo Giraudel, Jo Spelbrink, Karl Groves, Léonie Watson, Marco Zehe, Marcy Sutton, Rob Dodson, Scott O’Hara, Scott Vinkle, and Steve Faulkner.
11. Simply get started
You don’t have to go all-in from the very beginning. If you improve just one thing, you’re already doing a great job in bringing us closer to a better web. Just get started and keep working.
There are a lot of resources out there, and trying to find out how and where to start can get quite overwhelming. I’ve gathered a few sites and books that helped me; hopefully they will help you as well. The following lists are by no means exhaustive.
Video series
This free Udacity course is a great way to get started.
Rob Dodson covers many different accessibility topics in his video series A11ycasts (a11y is short for accessibility—the number eleven stands for the number of letters omitted).
Books
Heydon Pickering’s Inclusive Design Patterns
Laura Kalbag’s Accessibility for Everyone
Blogs
Adrian Roselli
The Paciello Group
Newsletters
WebAIM newsletter
A11yWeekly
Accessible JavaScript components
Inclusive components
Frend
a11y-dialog
Resources and further reading
“A Developer’s Guide to Better Accessibility” (article)
“Growing an Accessibility Meetup” (article)
“Every Day Website Accessibility” (video)
“5 Common Misconceptions About Web Accessibility” (article)
“Designing the Conversation” (video)
“Building a Culture of Accessibility: Leadership Roles” (article)
“The Web Should Just Work for Everyone” (article)
“A Very Good Time to Understand CSS Layout” (article)
“JavaScript Is Not an Enemy of Accessibility!” (article)
“Writing CSS with Accessibility in Mind” (article)
“Understanding Progressive Enhancement” (article)
http://ift.tt/2ENHNjr
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My Accessibility Journey: What I’ve Learned So Far
Last year I gave a talk about CSS and accessibility at the stahlstadt.js meetup in Linz, Austria. Afterward, an attendee asked why I was interested in accessibility: Did I or someone in my life have a disability?
I’m used to answering this question—to which the answer is no—because I get it all the time. A lot of people seem to assume that a personal connection is the only reason someone would care about accessibility.
This is a problem. For the web to be truly accessible, everyone who makes websites needs to care about accessibility. We tend to use our own abilities as a baseline when we’re designing and building websites. Instead, we need to keep in mind our diverse users and their diverse abilities to make sure we’re creating inclusive products that aren’t just designed for a specific range of people.
Another reason we all should think about accessibility is that it makes us better at our jobs. In 2016 I took part in 10k Apart, a competition held by Microsoft and An Event Apart. The objective was to build a compelling web experience that worked without JavaScript and could be delivered in 10 kB. On top of that, the site had to be accessible. At the time, I knew about some accessibility basics like using semantic HTML, providing descriptions for images, and hiding content visually. But there was still a lot to learn.
As I dug deeper, I realized that there was far more to accessibility than I had ever imagined, and that making accessible sites basically means doing a great job as a developer (or as a designer, project manager, or writer).
Accessibility is exciting
Web accessibility is not about a certain technology. It’s not about writing the most sophisticated code or finding the most clever solution to a problem; it’s about users and whether they’re able to use our products.
The focus on users is the main reason why I’m specializing in accessibility rather than solely in animation, performance, JavaScript frameworks, or WebVR. Focusing on users means I have to keep up with pretty much every web discipline, because users will load a page, deal with markup in some way, use a design, read text, control a JavaScript component, see animation, walk through a process, and navigate. What all those things have in common is that they’re performed by someone in front of a device. What makes them exciting is that we don’t know which device it will be, or which operating system or browser. We also don’t know how our app or site will be used, who will use it, how fast their internet connection will be, or how powerful their device will be.
Making accessible sites forces you to engage with all of these variables—and pushes you, in the process, to do a great job as a developer. For me, making accessible sites means making fast, resilient sites with great UX that are fun and easy to use even in conditions that aren’t ideal.
I know, that sounds daunting. The good news, though, is that I’ve spent the last year focusing on some of those things, and I’ve learned several important lessons that I’m happy to share.
1. Accessibility is a broad concept
Many people, like me pre-2016, think making your site accessible is synonymous with making it accessible to people who use screen readers. That’s certainly hugely important, but it’s only one part of the puzzle. Accessibility means access for everyone:
If your site takes ten seconds to load on a mobile connection, it’s not accessible.
If your site is only optimized for one browser, it’s not accessible.
If the content on your site is difficult to understand, your site isn’t accessible.
It doesn’t matter who’s using your website or when, where, and how they’re doing it. What matters is that they’re able to do it.
The belief that you have to learn new software or maybe even hardware to get started with accessibility is a barrier for many developers. At some point you will have to learn how to use a screen reader if you really want to get everything right, but there’s a lot more to do before that. We can make a lot of improvements that help everyone, including people with visual impairments, by simply following best practices.
2. There are permanent, temporary, and situational impairments
Who benefits from a keyboard-accessible site? Only a small percentage of users, some might argue. Aaron Gustafson pointed me to the Microsoft design toolkit, which helped me broaden my perspective. People with permanent impairments are not the only ones who benefit from accessibility. There are also people with temporary and situational impairments who’d be happy to have an alternative way of navigating. For example, someone with a broken arm, someone who recently got their forearm tattooed, or a parent who’s holding their kid in one arm while having to check something online. When you watch a developer operate their editor, it sometimes feels like they don’t even know they have a mouse. Why not give users the opportunity to use your website in a similar way?
As you think about the range of people who could benefit from accessibility improvements, the group of beneficiaries tends to grow much bigger. As Derek Featherstone has said, “When something works for everyone, it works better for everyone.”
3. The first step is to make accessibility a requirement
I’ve been asked many times whether it’s worth the effort to fix accessibility, how much it costs, and how to convince bosses and colleagues. My answer to those questions is that you can improve things significantly without even having to use new tools, spend extra money, or ask anyone’s permission.
The first step is to make accessibility a requirement—if not on paper, then at least in your head. For example, if you’re looking for a slider component, pick one that’s accessible. If you’re working on a design, make sure color contrasts are high enough. If you’re writing copy, use language that is easy to understand.
We ask ourselves many questions when we make design and development decisions: Is the code clean? Does the site look nice? Is the UX great? Is it fast enough? Is it well-documented?
As a first step, add one more question to your list: Is it accessible?
4. Making accessible sites is a team sport
Another reason why making websites accessible sounds scary to some developers is that there is a belief that we’re the only ones responsible for getting it right.
In fact, as Dennis Lembree reminds us, “Nearly everyone in the organization is responsible for accessibility at some level.”
It’s a developer’s job to create an accessible site from a coding perspective, but there are many things that have to be taken care of both before and after that. Designs must be intuitive, interactions clear and helpful, copy understandable and readable. Relevant personas and use cases have to be defined, and tests must be carried out accordingly. Most importantly, leadership and teams have to see accessibility as a core principle and requirement, which brings me to the next point: communication.
5. Communication is key
After talking to a variety of people at meetups and conferences, I think one of the reasons accessibility often doesn’t get the place it deserves is that not everyone knows what it means. Many times you don’t even have to convince your team, but rather just explain what accessibility is. If you want to get people on board, it matters how you approach them.
The first step here is to listen. Talk to your colleagues and ask why they make certain design, development, or management decisions. Try to find out if they don’t approach things in an accessible way because they don’t want to, they’re not allowed to, or they just never thought of it. You’ll have better results if they don’t feel bad, so don’t try to guilt anyone into anything. Just listen. As soon as you know why they do things the way they do, you’ll know how to address your concerns.
Highlight the benefits beyond accessibility
You can talk about accessibility without mentioning it. For example, talk about typography and ideal character counts per line and how beautiful text is with the perfect combination of font size and line height. Demonstrate how better performance impacts conversion rates and how focusing on accessibility can promote out-of-the-box thinking that improves usability in general.
Challenge your colleagues
Some people like challenges. At a meetup, a designer who specializes in accessibility once said that one of the main reasons she loves designing with constraints in mind is that it demands a lot more of her than going the easy way. Ask your colleagues, Can we hit a speed index below 1000? Do you think you can design that component in such a way that it’s keyboard-accessible? My Nokia 3310 has a browser—wouldn’t it be cool if we could make our next website work on that thing as well?
Help people empathize
In his talk “Every Day Website Accessibility,” Scott O’Hara points out that it can be hard for someone to empathize if they are unaware of what they should be empathizing with. Sometimes people just don’t know that certain implementations might be problematic for others. You can help them by explaining how people who are blind or who can’t use a mouse, use the web. Even better, show videos of how people navigate the web without a mouse. Empathy prompts are also a great of way of illustrating different circumstances under which people are surfing the web.
6. Talk about accessibility before a projects kicks off
It’s of course a good thing if you’re fixing accessibility issues on a site that’s already in production, but that has its limitations. At some point, changes may be so complicated and costly that someone will argue that it’s not worth the effort. If your whole team cares about accessibility from the very beginning, before a box is drawn or a line of code is written, it’s much easier, effective, and cost-efficient to make an accessible product.
7. A solid knowledge of HTML solves a lot of problems
It’s impressive to see how JavaScript and the way we use it has changed in recent years. It has become incredibly powerful and more important than ever for web development. At the same time, it seems HTML has become less important. There is an ongoing discussion about CSS in JavaScript and whether it’s more efficient and cleaner than normal CSS from a development perspective. What we should talk about instead is the excessive use of <div> and <span> elements at the expense of other elements. It makes a huge difference whether we use a link or a <div> with an onclick handler. There’s also a difference between links and buttons when it comes to accessibility. Form items need <label> elements, and a sound document outline is essential. Those are just a few examples of absolute basics that some of us forgot or never learned. Semantic HTML is one of the cornerstones of accessible web development. Even if we write everything in JavaScript, HTML is what is finally rendered in the user’s browser.
(Re)learning HTML and using it consciously prevents and fixes many accessibility issues.
8. JavaScript is not the enemy, and sometimes JavaScript even improves accessibility
I’m one of those people who believes that most websites should be accessible even when JavaScript fails to execute. That doesn’t mean that I hate JavaScript; of course not—it pays part of my rent. JavaScript is not the enemy, but it’s important that we use it carefully because it’s very easy to change the user experience for the worse otherwise.
Not that long ago, I didn’t know that JavaScript could improve accessibility. We can leverage its power to make our websites more accessible for keyboard users. We can do things like trapping focus in a modal window, adding key controls to custom components, or showing and hiding content in an accessible manner.
There are many impressive and creative CSS-only implementations of common widgets, but they’re often less accessible and provide worse UX than their JavaScript equivalents. In a post about building a fully accessible help tooltip, Sara Soueidan explains why JavaScript is important for accessibility. “Every single no-JS solution came with a very bad downside that negatively affected the user experience,” she writes.
9. It’s a good time to know vanilla CSS and JavaScript
For a long time, we’ve been reliant on libraries, frameworks, grid systems, and polyfills because we demanded more of browsers than they were able to give us. Naturally, we got used to many of those tools, but from time to time we should take a step back and question if we really still need them. There were many problems that Bootstrap and jQuery solved for us, but do those problems still exist, or is it just easier for us to write $() instead of document.querySelector()?
jQuery is still relevant, but browser inconsistencies aren’t as bad as they used to be. CSS Grid Layout is supported in all major desktop browsers, and thanks to progressive enhancement we can still provide experiences for legacy browsers. We can do feature detection natively with feature queries, testing has gotten much easier, and caniuse and MDN help us understand what browsers are capable of. Many people use frameworks and libraries without knowing what problems those tools are solving. To decide whether it makes sense to add the extra weight to your site, you need a solid understanding of HTML, CSS, and JavaScript. Instead of increasing the page weight for older browsers, it’s often better to progressively enhance an experience. Progressively enhancing our websites—and reducing the number of requests, kilobytes, and dependencies—makes them faster and more robust, and thus more accessible.
10. Keep learning about accessibility and share your knowledge
I’m really thankful that I’ve learned all this in the past few months. Previously, I was a very passive part of the web community for a very long time. Ever since I started to participate online, attend and organize events, and write about web-related topics, especially accessibility, things have changed significantly for me and I’ve grown both personally and professionally.
Understanding the importance of access and inclusion, viewing things from different perspectives, and challenging my decisions has helped me become a better developer.
Knowing how things should be done is great, but it’s just the first step. Truly caring, implementing, and most importantly sharing your knowledge is what makes an impact.
Share your knowledge
Don’t be afraid to share what you’ve learned. Write articles, talk at meetups, and give in-house workshops. The distinct culture of sharing knowledge is one of the most important and beautiful things about our industry.
Go to conferences and meetups
Attending conferences and meetups is very valuable because you get to meet many different people from whom you can learn. There are several dedicated accessibility events and many conferences that feature at least one accessibility talk.
Organize meetups
Dennis Deacon describes his decision to start and run an accessibility meetup as a life-changing experience. Meetups are very important and valuable for the community, but organizing a meetup doesn’t just bring value to attendees and speakers. As an organizer, you get to meet all these people and learn from them. By listening and by understanding how they see and approach things, and what’s important to them, you are able to broaden your horizons. You grow as a person, but you also get to meet other professionals, agencies, and companies from which you may also benefit professionally.
Invite experts to your meetup or conference
If you’re a meetup or conference organizer, you can have a massive impact on the role accessibility plays in our community. Invite accessibility experts to your event and give the topic a forum for discussion.
Follow accessibility experts on Twitter
Follow experts on Twitter to learn what they’re working on, what bothers them, and what they think about recent developments in inclusive web development and design in general. I’ve learned a lot from the following people: Aaron Gustafson, Adrian Roselli, Carie Fisher, Deborah Edwards-Onoro, Heydon Pickering, Hugo Giraudel, Jo Spelbrink, Karl Groves, Léonie Watson, Marco Zehe, Marcy Sutton, Rob Dodson, Scott O’Hara, Scott Vinkle, and Steve Faulkner.
11. Simply get started
You don’t have to go all-in from the very beginning. If you improve just one thing, you’re already doing a great job in bringing us closer to a better web. Just get started and keep working.
There are a lot of resources out there, and trying to find out how and where to start can get quite overwhelming. I’ve gathered a few sites and books that helped me; hopefully they will help you as well. The following lists are by no means exhaustive.
Video series
This free Udacity course is a great way to get started.
Rob Dodson covers many different accessibility topics in his video series A11ycasts (a11y is short for accessibility—the number eleven stands for the number of letters omitted).
Books
Heydon Pickering’s Inclusive Design Patterns
Laura Kalbag’s Accessibility for Everyone
Blogs
Adrian Roselli
The Paciello Group
Newsletters
WebAIM newsletter
A11yWeekly
Accessible JavaScript components
Inclusive components
Frend
a11y-dialog
Resources and further reading
“A Developer’s Guide to Better Accessibility” (article)
“Growing an Accessibility Meetup” (article)
“Every Day Website Accessibility” (video)
“5 Common Misconceptions About Web Accessibility” (article)
“Designing the Conversation” (video)
“Building a Culture of Accessibility: Leadership Roles” (article)
“The Web Should Just Work for Everyone” (article)
“A Very Good Time to Understand CSS Layout” (article)
“JavaScript Is Not an Enemy of Accessibility!” (article)
“Writing CSS with Accessibility in Mind” (article)
“Understanding Progressive Enhancement” (article)
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Parish church in Mank, Austria Building
Parish church in Mank Building News, Melk Architecture Design Images
Parish church in Mank, Austria
12 Aug 2020
Mank Parish Church Building
Design: X Architekten
Location: Mank, district of Melk, Lower Austria
Photos by LITE Studio
The parish of Mank and the archdiocese of St. Pölten announced the design competition for the new definition of the liturgical places in the parish and pilgrimage church of Mank. With the upcoming renovation of the church the liturgical and functional conditions should also be improved. In general it is about the adaptation of the space in the sense of the Second Vatican Council. The design is by xarchitekten.
In particular, the existing people’s altar was located behind the triumphal arch in the narrow choir, making it difficult for the priest to have contact with the parish in the hall. At funerals there was too little space for laying out in front of the altar. At baptisms there was too little space around the baptismal font and the location of the baptismal font was felt to be too unworthy. For the baptismal font a new area should be created. The rows of benches running up to the altar platform prevent movement in the church between the individual locations, for example between the side altars.
Historical spatial systems
The one-bay choir built around 1400 and the late Gothic three-aisled four-bay staggered hall with three naves is completely dominated by Gothic elements. Impressive structural elements such as ribbed vaults, octagonal pillars, vault shells and net stars span the space. They are the outer shell, the all-dominant perimeter of the parish church of Mank.
In the baroque period, new architectures were added to the Gothic form with new inwardly projecting architectures. The main actors are the altars, the large central high altar in the apse and the two side altars in the side aisles. The Baroque forms are inscribed in the Gothic space, creating a complex and dynamic overlap between Gothic and Baroque.
It did not seem possible to us to supplement this extremely complete but also quite successful overlapping by a further intervention in the room without the danger of overloading it. The only place without creative determination was the floor of the church.
The dominant liturgical orientation along the longitudinal axis towards the high altar was the undisputed room model until the Second Vatican Council. The priest prayed with his back to the congregation towards the high altar at the end of the room in the apse. Today, the altar and the ceremony are ideally placed in the middle of the room so that those celebrating together can experience themselves as being gathered around the altar. A room structure must be developed for this.
Concept of the inscribed architecture
The new liturgical objects altar, ambo and sessio as well as the lecturing cross, the Easter candle and the baptismal font have a potential as a whole, as a network or as an archipelago, which can be made useable for the project.
A figure is inscribed on the floor, i.e. the not yet designed area of the church interior, which contains all liturgical places and runs lengthwise through the church interior, thus being in the middle of the parish.
In this way a new correspondence to Matthew 18:20 “For where two or three are gathered in my name, there am I among them.”
The community gathers on this new figure for christening, holy communion and the final goodbye to the laid out deceased.
In terms of architecture, the floor figure with the liturgical places complements the spatial coexistence of Gothic and Baroque with an intervention on the surface. The church space is completed, a new layer of meaning is inserted.
Technical execution
According to the concept, the altar, the ambo, the baptismal font and the floor figure are made of the same stone.
Parish church in Mank – Building Information
Location: Mank
Client: Pfarre Mank
Planning: X ARCHITEKTEN & Josef Colz
Lights: LITE Studio
Useful area: ca.400m²
Competition 2016
Finalization 2018
Photos: LITE Studio
X ARCHITEKTEN
Vienna 31.7.2020
Company’s founders
David Birgmann (* 1973)
Study of architecture at the TU in Innsbruck
2001 Diploma with Stefano de Martino
Bettina Brunner (* 1972)
Studied architecture at the TU in Graz, graduated in 1998
1999 – 2004 Assistant at the Institute for Structural Engineering and Experimental Architecture, University of Innsbruck – Volker Giencke
Lorenz Prommegger (* 1969)
Study of architecture at the TU in Graz, diploma 1997
Study of real estate economics at the FHW Vienna, diploma 2006
1998 – 2002 Lectureships at the TU Vienna and TU Graz
2001 Visiting professor at the Academy of Art, Rotterdam
2004 Consulting activity project development
Max Nirnberger (* 1962)
Studied architecture at the TU in Graz, graduated in 1998
1998 – 2000 Assistant lecturer at the Institute for Structural Engineering, TU Vienna – Will Alsop
2000 – 2005 Assistant at the Art University Linz – Roland Gnaiger
X ARCHITEKTEN is a group of committed architects who develop conceptual positions on contemporary architecture in project-related work. As a mathematical variable, X stands for openness. The X encourages pluralism: the team with flat hierarchy replaces the professional image of the architect as a lone fighter. The dynamics of a permanent work process, oscillating between creativity and (self-)criticism, allows quality to emerge that goes beyond the capacity of the individual.
Parish church in Mank, Austria Building images / information from X Architekten
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