Detail of "Bahram Gur in the White Palace on Friday", painted by Shaikh Zada as illustration for Nizami's Quintets.
Bahram Gur was King of Persia between 420 and 438; he is a popular figure in local folklore as well as a character celebrated by great poets such as Nizami and Omar Khayyam. These miniatures were painted around 1524-25 and represent Bahram Gur in two of his palaces. Apparently Bahram Gur had seven palaces, one for each day of the week, each a different colour, and seven beautiful mistresses, one in each palace. The miniatures are stunning for their strong sense of composition, mixture of perspective with axonometric view, and rich textures.
A funny detail is the way in which the artist breaks the 'fourth wall' inserting an element that bleeds beyond the frame of the miniature, sometimes centered, and sometimes (see images below) asymmetrical, peeking into the white margin studded with flakes of gold. Both Bahram's story, and the visual imaginary of Shaikh Zada, are miles away from the Prince of Persia videogame we used to play - and all the better for it. Beyond the beauty of Shaikh Zada's illustrations, there is also a certain mathematical beauty in Bahram Gur's life model - seven days, seven colours, seven palaces, seven women.
Interestingly, the seven colours, as portrayed in Nizam's and Zada's work here, don't necessarily sound familiar: next to the Blue, White, Green and Yellow palaces, we find a generic Dark palace (looks like a dirty, somber blue in the miniature), again a Turquoise (again a variation on the blue theme) and a mysterious Sandal palace (sandalwood-coloured, orangey). Once again, the perception of colours is, here, very culturally constructed - after all, if we had to pick seven colours today, we'd choose a different list, and surely ancient Romans and Greek would not have had a single blue, never mind three.
Incredibly, these are not images that gain by tweaking 'brightness-contrast' on Photoshop as the level of contrast is very even across the image due to the nature of the patterns. It is this lack of chiaroscuro, rather than their 'non-realistic' geometry, that confers the miniature their extreme flatness.
There are more Shaikh Zada goodies to show, so stay tuned, we'll have another Bahram Gur post very soon.
"Bahram Gur in the White Palace on Friday"
See the yellow palace below.
Detail from "Bahram Gur in the Yellow Palace on Sunday".
Far from being a haven of tranquillity, the house is not only the battlefield of social and personal conflicts of class, gender, and ethnicity, but it is also arguably the most important workplace. However, while in the pre-modern era the productive vocation of the home was not qualified, the refined division of labour that is a hallmark of early capitalism expelled the production of goods from the home, leaving behind the unwaged and unseen toil of women. The institutionalization of reproductive labour, that is to say the sum of the efforts needed to generate, maintain, educate and care for the workforce, is perhaps the single most effective act of primitive accumulation we can imagine; in this process, half of the population is dispossessed of any control on their work which becomes a simple natural destiny sweetened by the trappings of domesticity and familial love.
The home of the middle and working classes, which had hardly been a concern for European architects until the late Renaissance, is invented precisely as a tool to optimize this process. The presentation will use projects and writings developed in France from Sebastiano Serlio to Charles Briseux, the Grands Ensembles, and Lacaton and Vassal to retrace the way domestic space has been choreographed first as a mechanism to separate production and reproduction, and later as a disciplinary microcosm of which the housewife is both victim and villain. Such a critique is all the more urgent today as the last decades have seen the ambiguous blurring of reproductive labour into the ungendered, micro-entrepreneurial field of 'affective labour'. It is perhaps in such a conjuncture that architecture could claim the responsibility it refused to assume before, and think again housing within and against the realm of labour.
We will present this research at the Labour & Architecture Symposium at the AA, 13 November 2015. Join us there!
Jacques-Francois Blondel's architecture handbook does not exactly make the most inspiring of reads. The full title, Cours d'architecture ou traité de la décoration, distribution et constructions des bâtiments contenant les leçons données en 1750, et les années suivantes is already indicative of the rather pedantic character of the book. Moreover, the title also seems just plain wrong in terms of its very 'architecture', of its logical structure (decoration, distribution and construction? give me Vitruvius any day of the week... Blondel should get his priorities straight...). And in fact the structure of the book is a bit all over the place. But, it has to be said, the virtue of these tomes is to be, if nothing else, full of examples - some, again, uninspiring, some amazing, some average, some unexpected. The drawing above is the plan of the Church of Saint-Marie-de-la Visitation in Rue St. Antoine, Paris. The church was originally part of a convent; it still exists today and is known as the Temple du Marais as it operates as protestant church. The plan definitely stands out from what is Blondel's rather monotone collection, and in fact, this is a work by none other than Francois Mansart. What is more, the church dates to 1632, which means it is really a rather original project and not a rip off of Italianate models as one might have thought. In fact, if we consider that Borromini wouldn't get his San Carlino commission until 1634, the use of the core church space as a shell that creates a poche-non-poche circulation ring is quite unique in such an early project.
There is something rather bizarre in this façade that juxtaposes two equally strong elements - a dome and a portal - without really establishing a hierarchy between the two. The portal itself is a thing of beauty, with just a hint of a gigantic order in the flattened mock-pillars, and two rather small columns flanking the main door and sticking out in full, 360 degrees detail from the wall (apparently Mansart was a fan of Michelangelo). The large oculus offset by a rather ironic curved cornice is the only decoration of a façade that stands out for the amount of blank wall it offers to the eye. Blondel also reproduced the portal in a second illustration, as a standalone piece - probably ready for his students to poach - see below.
Kopfkino happens when 'it's all in your head'. It's head-cinema in German, literally. It is supposed to relate to something negative - ie imagining bad things that might never happen. However this photo of Kisho Kurokawa's National Museum of Ethnology in Osaka (1973-77) seems to portray exactly that kind of stepped, mineral-landscape-y project that has starred in our Kopfkino for some years now. And yet, it really exists! Have a good weekend all of you, and see you next Friday @ AA for the Architecture and Labour symposium.
This 'Tacuinum Sanitatis' is a medieval Latin version of Ibn Butlan's treatise on health; it contains tens of illustrations of everyday life conditions including the one above, originally titled 'Wake', or the state of being awake. The book and miniatures probably date back to the 11th century - a couple of centuries later, somebody would also add a German translation of the text below the Latin one. These miniatures let us into medieval houses and workshops - and perhaps there was no real difference between the two - letting us see how people slept, ate, worked, and loved. The architectures depicted are all characterized by a lack of real typological differentiation between rooms - kitchens double up as working spaces, bedrooms as offices, stables as living rooms and vice versa. At the same time, though, the houses present a strong individual linguistic expression in terms of decoration and colours. Furniture and textile elements are used to construct privacy as well as a rudimentary functional hierarchy between spaces. Animals and humans coexist. Women work just as much as men. The book is also the product of early Arab scholarship and supremely sane and modern in terms of the kind of advice it gives: no hocus pocus, just medicinal herbs and a lot of good advice on how to eat well, sleep peacefully, and get along with the rest of the world. The good life.
The new Perpsecta will be launched tonight in New York - 7 pm at the Trespa Design Centre for those of you who are in the city. The issue revolves around the dialectic between memory and amnesia and it is an exciting cross section of texts that deal with everything from data centres to Hejduk to the architecture of websites (of architecture). The editors picked an eclectic list of authors - it is indeed refreshing to see the variety of the positions included by Aaron Dresben and his colleagues. Mario Carpo, Stani von Moos, and Sam Jacob between the others are featured alongside our very own Maria S. Giudici and Tommaso Franzolini aka Sigmund Frantz, the author of a stunning series of photos of the Soane Museum. Memory and amnesia are the twin faces of our digital selves: we are condemned never to forget, never to be forgotten, through the non-stop nostalgiafest that social media provide us today. Googling our past lives, from youtube videos of our favourite songs to photos of ourselves continuously reposted, has forced us paradoxically into an eternal present where, weirdly enough, fashions never change because there's always a comeback going on. The vintage image is past, present, and future, instagrammed and filtered just right, and soon forgotten without ever being truly forgiven. A short memory allowed many of the greatest moments of the past: Brunelleschi was as distant from Carolingian architecture as we are from him today, and yet, at the same time, infinitely more distant. The whole Renaissance celebrated a past that was largely invented, well, by the Renaissance people themselves.
In our piece on the Soane Museum we look at the way in which the modern concept of memory has been painstakingly constructed by intellectuals, politicians, and, most notably, by architects. However perhaps today what we need is not anymore a project to teach us to remember, but, perhaps, a project to learn how to forget.
Black Square thanks the Soane Museum, Aaron Dresben and the Perspecta Editors, and Sigmund Frantz for this great opportunity.
Tonight at 6 pm the City-Architecture PhD Programme of the AA, led by Pier Vittorio Aureli, will host Mario Carpo for a lecture on Sebastiano Serlio. The lecture will take place in the Soft Room.
The Seminar will comment on Serlio's influential architectural theory of the orders and the way it has changed the production of architecture. The dialectic between Rule and License is at the core of what used to be called mannerist architecture. Ndot all rules in sixtheenth-century architectural theory were visual, but the visual canon of standardize orders established in and through print by Serlio and many who followed, is the precondition for the 'poetic of license', or licentiousness that took root almost simultaneously with, and parallel to printed standard of the orders. The seminar will argue how the invention of what we call 'architectural language' was the result of architecture's reification by the the process of printing.
Today at 6.30 in the First Year Studio three recent graduates of AA Diploma 14 will present their thesis projects. Diploma 14 is run by Pier Vittorio Aureli and Maria S. Giudici and for the past few years the unit has been developing a research on housing. If you are in London, drop by to see the work of Jesper Henriksson (co-founder of Hesselbrand), Luis Ortega Govela (member of the AYR collective) and Antonis R. Papamichael (architect at Chipperfield and author of the project pictured above, Alcoves, runner-up at the 2014 GAGA Awards). Jesper, Luis and Antonis will talk about their own perspective on the unit's agenda, and on the challenges of rethinking radical housing solutions for the contemporary city. Luis' thesis dissects the myth of the domestic garage as the locus of entrepreneurship; Antonis' prototype forecasts the end of the rigid individual room and challenges the nuclear family apartment; and Jesper's projects reimagine new technical and formal solutions for the single dweller, an ubiquitous subject that is still largely ignored by typological representation. The work of these three young architects shows us how it is still possible to design spaces of living that do not conform to a standardized formula. In fact, each of the projects, rather than proposing a solution, asks us fundamental questions about the way we live today - our ability to share or be alone, our need to handle work and private life, our aspirations and discontents. Don't miss it.
The exhibition 'The Housing Question' will open tomorrow at the HWK in Berlin; our friends Dogma are part of it with a 1:1 prototype of a living unit. The unit is a fragment of the urban villa prototype they developed for the Realism Working Group, an association of German artists who are looking for new working-living solutions for freelance workers. If you cannot visit the exhibition in Berlin, you can still buy the book here http://www.spectorbooks.com/#communal-villa-production-and-reproduction-in-artists-housing (unfortunately it's not published by us!). The urban villa is a very interesting proposal, both architecturally and in terms of economic strategy, as it is meant to represent a pressure group able to rethink flexible housing 'within and against' the current market. The architecture of the unit itself is really beautiful: an open-plan area is flanked by a service core made of wood which contains services, storage and the bed. Part living wall, part studiolo cabinet, the service core is reproduced in the installation at the HKW. Don't miss it (spoiler: the bathroom is painted in the most stunning intense azure and it can be fully opened to take a leisurely bath in your own private tub. Really beautiful).
Pochemuchka refers (in Russian) to a 'why-er', the kind of person who keeps on asking why - just about, well, everything. It is an ambivalent #wordoftheweek because on the one hand it's easy to be annoyed by a pochemuchka but, at the same time, we're all pochemuchka every once in a while. Kids tend to be more pochemuchka than adults, or more healthily pochemuchka at least, as the world of a kid tends to be rather full of wonders you haven't yet worked out. This plan of the Villa del Casale at Piazza Armerina, Sicily, is still able to turn architects of any age into pochemuchkas. It is just so difficult to understand where the formal stops, and where the functional begins (if ever). It is also infinitely baffling how Roman architecture - which, almost 20 centuries afterwards, we tend to consider one big indistinct lump - changed so radically after the introduction of a widespread use of concrete and the poche, rounded shapes it allows to produce. The villa dates to the early 4th century, when this kind of spatial solution was relatively diffused, but we do know that apses and niches were not that common at least until the 1st century - no private buildings in Pompeii show a similar degree of geometric flamboyance. It is said that perhaps the first instance of use of concrete for a non-infrastructural building was Nero's Domus Aurea (mid-60s). Of course it would be difficult to label the Domus Aurea as private, or even residential, architecture; but still, it might have been the first case this kind of technique was used outside of works of public interest - the heyday of concrete will start towards the beginning of the next century to climax in Hadrian's era. Roman architecture would never be the same. Even in the provinces, even in a relatively obscure building, the new technical possibilities would bring another language. Why? Remains the question. Why all those apses. Why all those conflicting axes. Why all those bizarrely shaped rooms. Why.
One year ago "The Marriage of Reason and Squalor", an exhibition of drawings by Pier Vittorio Aureli curated by Marie Coulon, opened at Betts Project in London. As the catalogue of the exhibition was the first product of Black Square, we see that day as our birthday. So thank you all for your birthday wishes, unexpected and heartwarming. With two more projects coming out soon, a first workshop at CAMPO, and many more projects in the pipeline, it's been an exciting first 12 months. The people we should thank here are far too many (you know who you are!) but a special thought goes out to all the young architects and students who have supported us with their enthusiasm and interest. For the first time in some years, ebook sales have slowed down and physical books seem to be having a kind of comeback so the idea of printing cheap, simple, unpretentious black and white books of drawings still seems to make sense right now. We are not particularly committed to the book as an object per se, but we are committed to the book as a project that has a beginning and an end and a logic and architecture of its own. One year ago we were realized that the stream of pinterest and tumbler images we kept 'liking' and 'pinning' was boring us to death, or (on alternate days) generating a profound anxiety of the FOMO kind - as in, oh my, this image has no link, what is it? where can I find it? who did it? Nothing wrong with internet archives: we are definitely not luddites and actually a tiny bit addicted to technology. However, we felt that going back to making projects with their own narrative, sequence, and consistency was an antidote to the pervasive sense of unease we felt. So, here's where this project started.
As a side note, we never wanted to be 'called' black square. We wanted a name that was an image and a logo at the same time, universal, recognizable, and basic. The fact that this needed to be translated into two English words is just due to the need to acquire a web domain (and to register, get ISBNs, and pay taxes). However feel free to call us cherniy kvadrat, carre noir, quadrato nero, patrat negru.
Meraki: in Greek, the quality of doing something fully, completely, putting the whole of yourself into it. Doing whatever you are doing with your heart and soul. This could be the cheesiest #wordoftheweek ever... or not, given how often one feels disconnected from what he or she does. The picture is a XIX century engraving by Tardieu which is supposed to represent a Greek gymnasium 'after Vitruvius' (from Voyage du Jeune Anacharsis en Grece, 1825). While it's not necessarily believable from the archaeological point of view, it is still a pretty neat project; it is very simple, but it manages to put together nature and artifice, greenery and architecture, bodily presence and formal ambitions. Enough of an encouragement to make architecture with meraki this coming week.
#wordoftheweek - In Danish Morgenfrisk is that sensation of freshness, energy and new beginnings you have in the morning, when you wake up after a good night's sleep. It is a beautiful word that links a physical sensation with a psychological attitude. The tangible and the intangible are tied together in Morgenfrisk.
The sensation it evokes is also what we wish to all of you restarting a new academic year this week. The French call it 'la rentrée': it is much more than the simple act of coming back to school and work after the summer, it's a whole ritual. But rentrée is a rather sad word. While it does celebrate the discreet charm of going back to normality, it also evokes the repetitive nature of a bureaucratic routine. We hope that on the contrary this week you won't feel dragged back, but rather filled with curiosity for what will come next. The picture above has been taken by John Ng, studio master at the Architectural Association, and it portrays the AA's first year studio space in all its Morgenfrisk glory at the beginning of the year.
Bare, empty, and yet full of possibility. Not cold: fresh. Have a great start of year, all of you out there.
Black Square will play host for the TYPE studio lecture on December 7 at the Architectural Association; co-founder Sam Nelson is a long-time friend of ours, as he graduated from AADiploma 14 (honours) in 2012, with a thesis tutored by Square's author Pier Vittorio Aureli and founder Maria S. Giudici.
Sam founded TYPE with Tom Powell, Ognjen Ristic and Matt Cooper. At the AA they will present a candid snapshot of their work as a young office, reflecting on their experience of the multiple, changing and often contradictory aspects of architecture in practice.
Their lecture will be part of the "What's next" series organized by Manijeh Verghese. The series returns after the successful run of last year, during which it not only provided an opportunity to discuss the different ways in which young architects construct their own career, but was also a perfect occasion to talk about where architectural practice at large is going, and what architecture means in the contemporary condition.
It is often said that the jump between school and real world is even harder for those who have been good students. Especially in the field of architecture, negotiating the constraints of materiality, economy, and feasibility, can be very disheartening. Moreover, in school all projects are rhythmed by terms, while in reality things sometimes simmer for three, five, ten years - or need to get done in two weeks. And there's the whole 'l'enfer, c'est les autres' chapter: coworkers, clients, engineers, you name it - in school, you never have to compromise that much.
But the story of TYPE is an encouragement: Sam's student projects were beautiful and thought-provoking, and so is the work he produces with his partners today. They will tell us all about the challenges they had to face, and what lies ahead, at the AA on December 7: don't miss it.
The 2015-16 brief for the Architectural Association's Diploma Unit 14 is now online. The Unit is led by Pier Vittorio Aureli, author of our The Marriage of Reason and Squalor, and Square's own head Maria S. Giudici. This year the unit will broaden their horizon: while the final project will be resolved at the scale of architecture, the students are challenged to rethink landscape, infrastructure and logistics as part of their "radical settlements". Beyond the dichotomy between form and function, morphology and typology, come take part in an experiment on new forms of political imagination that can start from the design of a bed - and end up in a 100x100 km analogical map of a territory. Check out the pdf brief on their website www.diploma14.com.
#wordoftheweek - Fernweh is the longing for that which is far away. It is the opposite of Heimweh that is the longing for home. It is a bit like Wanderlust but while Wanderlust puts the accent on the act of travelling itself, Fernweh is all about the idea of distance. It's perhaps the desire of far-ness. Some people experience Fernweh in a very direct way and move farther and farther away from the place that once was home. Perhaps, though, Fernweh can be interpreted in a broader sense as the strong pull we feel for something that is ultimately unattainable - and that, if we were ever to reach it, would cease being the object of our desire.
Airports used to be the place of Fernweh, and the place of Heimweh. As travel is increasingly easier and we become more and more mobile, sometimes it is easy to think many dichotomies cease to make sense: Fernweh and Heimweh, far and close, here and there, home and away, the wanderer and the homebody, the tourist and the local. However, this is not entirely true - every time we leave, we really do leave something behind, and at the same time, while it might grow fainter and fainter, some of us still feel the pull of Fernweh, the thrill of waking up to another sky tomorrow, the thrill of distance, of the clarity distance brings, of the freshness and the newness for that which is far.
This is a week for Fernweh and Heimweh, a week in which many of us are and will be out there in airports and on the road - those who fly back to their schools for the start of the academic year, those who fly around for the fall fashion weeks. Choose your poison: the near, or the far?
Check out the work produced during the CAMPO-Black Square workshop! The exhibition is open at CAMPO, via della Marrana 94, Rome (www.campo.space) until October 3. On the walls of CAMPO, 12 poster-sized visions by architect contributors Amid/Cero9, Aristide Antonas, Behemoth, Dogma, Didier Faustino, FORA+ Beth Hughes, MAPOffice, Alex Maymind, Microcities, Miniatura, Philippe Morel, Raumlabor. On the floor, 12 plaster models scale 1:33 produced by the workshop participants in 5 days.
In the picture, participants Hunter Doyle and Sofia Pia Belenky show us their 'happy campers' pose nest to their model of Behemoth's "Penelope" reinterpreted as a thermal bath. Between them, Behemoth co-founder Francesco Marullo.


This week, Liberty and Rebecca discuss Darius the Great Is Not Okay, City of Ghosts, Nothing Good Can Come From This, and more great books.
This episode was sponsored by Google Play, ThirdLove, and Mirage by Somaiya Daud.
And don't forget to enter to win 16 books from the Recommended podcast! And check out the new Read Harder Journal.


text:
La expresión castillo de la Tallada puede referirse a dos castillos distintos:

 Castillo de la Tallada (Ampurdán), en el municipio de La Tallada, en la comarca del Ampurdán y provincia de Gerona (Cataluña, España).

 Castillo de la Tallada (Segarra), en el núcleo de La Tallada de Segarra, perteneciente al municipio de San Guim de Freixanet, en la comarca de la Segarra y provincia de Lérida (Cataluña, España).

redpajama_set_name: RedPajamaWikipedia


"As tensions escalated between North Korea and the world late last month, a small group of students from the prestigious London School of Economics crossed the border into the reclusive country for what was described by organizers as a government-sanctioned "week of sight seeing, meeting with ministers, government officials" and academics. But among the students, the university announced in an outraged statement over the weekend, were three BBC journalists filming an undercover documentary."
Description: The New York Times' Ravi Somaiya discusses BBC undercover tactics in reporting on North Korea.


What a beautiful way to enjoy the Vail Valley! Whether you ride the bike paths along Gore Creek in Vail or meander nearby Eagle River along Route 6 , there are spectacular places to enjoy. Depending upon your goals, you may even participate in Ride the Rockies, which is a 6 - 7 day tour taking 2,000 riders through several Colorado's gorgeous mountain passes. Whatever you desire, most likely Colorado and the Vail Valley offers it! When you wake up to our glorious sunshine and our cool morning temperatures, it may be a perfect day for a ride! In order for you to make the most of your day, we are providing you with various routes based on experience level. Whether you are looking for beginner, intermediate or advanced rides, we have a few to share!
If you are vacationing and don't have a bike, clothing or proper equipment, don't worry! There are plenty of clothing stores and bike shops that will help you gear up and be properly dressed. I am sure they will be glad to offer pointers as to what food to bring and plenty of water!
Biking doesn't stop here! One of the leading activities in the Vail Valley is mountain biking. Whatever type of biking is for you, there is plenty to explore. Enjoy!
Directions: Drive on Interstate 70 to Vail Exit 176 and park at the Lionshead parking structure. Lionshead Village. Eagle Valley Trail to Edwards: Going east will take riders 2.0 miles to Squaw Creek Rd. Be cautious; this area is heavily used by pedestrians Going west will take riders first along the Eagle River and then later along the north side of Highway 6. Avon. Parking is available in the Edwards Riverwalk Center.
The Avon to Eagle ride is a smooth ride west along the Eagle River passing through Edwards and Wolcott on U.S. Highway 6. Cyclists will ride along rolling flat terrain past the interstate bridge near Wolcott, then continue another 10 miles toward Eagle. Directions: Drive west on Interstate 70 to Avon Exit 162. Go south on Avon Road to the Beaver Creek parking lot.
The Vail Pass ride begins at the frontage road at the Vail parking structure. Ride east on the frontage road and cross under the East Vail exit. As you merge with Bighorn Road start ascending to the Gore Creek Campground around 2.4 miles where the road is closed to traffic by a gate. Beyond the gate, the old road to the pass begins to climb.The path eases at one point as riders roll along Black Gore Creek. The creek traverses through aspen and pine groves, and at two miles, riders will pass Two Elk trail. Riders will turn right at the sign and off the old highway onto the paved bike path that heads to Vail Pass summit. There, riders will bike downhill briefly, crossing Polk Creek bridge and going through an underpass. Riders then will climb a short, steep ascent after the underpass and then begin to climb steadily parallel to Interstate 70.Riders will stay right and at about 7.9 miles, cyclists will encounter several climbing curves that lead to the last ascent to Black Lake. The bike path joins a Black Lake access road, a short gradual climb to the summit, followed by a quick ride to the Vail Pass Summit Rest Area.Directions: Drive west on Interstate 70 to Vail Exit 176. Parking is available at the Vail parking structure.
The Avon to Battle Mountain begins on U.S. Highway 6 at the free parking lot for Beaver Creek. Cyclists will turn right and head east on the highway along a straight path that passes several condominiums and business districts until reaching the intersection of U.S. Highway 6 and 24 at Interstate 70. Riders will continue straight, merging into and passing through the historic town of Minturn and should be ready for a climb up the highway toward Battle Mountain.Directions: Drive west on Interstate 70 to Avon Exit 162. Go south on Avon Road to the Beaver Creek parking lot.
Start at the Beaver Creek Elk Lot and ride west along US Highway 6 for about 11 miles to Wolcott. Enjoy the scenic Eagle River on the approach to the intersection of US Highway 6 and State Highway 131. Turn right and head north on Highway 131 for another 9 miles to Wolcott Divide. Turn around here and return the same way while enjoying views of the Sawatch Mountains and the Holy Cross Wilderness.Directions: Drive west on Interstate 70 to Exit 162 Avon. Turn south on Avon Road to U.S. Highway 6. Parking is available at the Beaver Creek Elk Lot.
80 miles. Begin riding west on the South Frontage Road from the Lionshead parking structure. Cyclists will continue straight on the frontage road to West Vail, riding under the interstate bridge, until the frontage road comes to a dead-end. The road then turns into the bike path along Gore Creek. Cyclists will turn left onto U.S. Highway 6 and 24 toward Minturn, Red Cliff and Leadville. The highway takes riders over Battle Mountain Pass, Camp Hale and then over Tennessee Pass (10,424 feet). At the intersection of Highway 24 and Highway 91 turn left and ride towards Copper Mountain. Riders will gradually climb over Fremont Pass (11,318 feet) before descending towards Interstate 70. At the entrance of Copper Mountain Resort turn left and follow the signs to the Vail Pass bike path. The path begins next to the horse stables. Riders will then grind their way up and over Vail Pass (10,666 feet). The descent will begin just beyond the rest area, as the route passes Black Lakes. The views of the Gore Range will be awesome as riders head down into East Vail. Continue to following the route as it changes to an old road. Ride another 2.15 miles from Gore Creek campground to the end of Bighorn Rd. Turn left onto the Gore Valley Trail and follow the paved bike path back to Vail and the start of the ride.Directions: Drive west on Interstate 70 to Vail Exit 176. Turn right at the roundabout onto South Frontage Road to the Lionshead parking structure.
The Avon to Bellyache Road ride begins west of U.S. Highway 6 alongside the Eagle River. Continue along the highway past Edwards and cross under the Interstate 70 bridge toward Wolcott, at about 10 miles. If cyclists pass the Wolcott Yacht Club, they've gone too far.Riders should turn left at the Interstate 70 intersection at Highway 6 and continue up the road, pedaling under the bridge and past the Lazy J Ranch in Wolcott. The road turns into Bellyache Ridge Road and the climb begins. Bellyache is not for the faint of heart. The road winds uphill past Red Sky Ranch for about six miles. About five miles up riders will be able to see Eagle County at its best. On a clear day, cyclists can see all the way to Summit County. Directions: Drive west on Interstate 70 to Avon Exit 162. Go south on Avon Road to U.S. Highway 6. Parking is available at the Beaver Creek East Day Lot.
Colorado Eagle River Ride: 102 miles.
The Colorado Eagle River Ride (a.k.a The Burns Loop) starts at the East Beaver Creek Day lot. The first part of the 100-mile bike ride heads west along U.S. Highway 6 and the Eagle River through Edwards. About 11 miles from Edwards, riders will arrive in Wolcott. From here, turn right and head north on U.S. Highway 131 toward State Bridge. Riders will start a short climb after the railroad tracks and then descend toward 4 Eagle Ranch. From 4 Eagle Ranch, riders will gradually start another climb, culminating at Wolcott Divide. From here, the descent is fast into State Bridge. Riders then continue riding Highway 131 through McCoy, looking for a turn left onto Colorado River Road. From here, the road changes to hard-packed dirt for about 20 miles. Road bikes will not have any problems on this section. The scenery is fantastic along the road as it parallels the Colorado River. At 12.5 miles from the intersection of Highway 131, riders will come to Catamount rest stop. This is a good spot to refuel before riding to end of Colorado River Road. Continue from here for another 10 miles to the confluence of the Colorado and Eagle Rivers. Turn left on Highway 6 and ride west. The remainder of the ride is 35 miles along the Eagle River back to Avon. This ride is considered difficult due to its length. In addition, the ride can be hot along western sections of the route in the middle of summer.Directions: Drive west on Interstate 70 to Exit 162 Avon. Turn south on Avon Road to U.S. Highway 6. Parking is available at the Beaver Creek Elk Lot.


We are designed to experience health, wellness and abundance. At any given point in time 48-62 trillion cells in your body are functioning optimally and supporting your physical experience of a healthy, happy life.
The Human Design chart is a blueprint that shows the relationship between our physical body and our unique energetic configuration. Human Design shows us that, not only are we designed to experience vitality and health, we are also designed to be abundant, joyful, have meaning and direction in our lives that is fulfilling and valuable, to be empowered, self-loving and compassionate.
But, sometimes something goes wrong. Injury, bacterial and viral assaults, immune system dysfunction and more creates a response in the body that manifests as illness and physical challenges. Beliefs and life experiences create trauma, emotional and spiritual pain.
And we lose our connection with our joy, abundance and vitality.
If we're hardwired to experience health and vitality and abundance and joy are the optimal expressions of energy, what is the true purpose of pain? And why do so many of us get caught in cycles of pain that repeat themselves over and over?
Of course, our first desire is to get out of pain and to stop the progression of whatever is hurting us. Addressing the symptoms of what's hurting us is a vital part of healing. When you're in pain, it's hard to focus on anything else other than the pain and consequently, our growth stops until the pain is managed.
But, only addressing the symptoms can cause us to miss the bigger purpose of pain and can ultimately create cycles of pain that repeat over and over.
Pain can be a powerful teacher, a life-changing (and life-saving) messenger and ultimately, the greatest catalyst to deep healing. When we only treat the symptoms of pain we often miss some of the bigger messages to healing our deepest wounds, our genetic lineage and our spiritual legacy.
The course of Life often takes you away from having a deep connection with your Authentic Self, the abundant, joyful Self you are designed to be. Genetics, family history, belief systems, other people's energies, experiences and, for those of us who are more sensitive, even witnessing or reading about the suffering and pain of others can imprint us physically, spiritually and energetically, causing us to lose touch with our natural pain-free state.
Not only that, but Human Design shows us that each an every one of us is here to contribute to the world in a unique way. Unfortunately, most of us are taught that there is only one way to be successful and to make a meaningful contribution in the world. We learn to hide who we really are, compromise our desires and give up what is most natural for us in order to try to be successful in the rigid way that we've been taught.
It takes a LOT of energy to maintain an identity that isn't true to who you are. Every time you say "yes" to something you really want to say "no" to, try to be something or someone you're not, make a choice that feels wrong (even though your logical mind is telling you something different), give up a dream or a desire, nurture someone else at cost to yourself and choose circumstances that actually take you away from your joy and your Authentic Self, you use an enormous amount of energy.
The greater the disconnect from your Authentic Self, the greater the pain in your life. Your pain is telling you that you're "off-course" and helping you realize that you need some serious "course-correction".
It's hard to discern the true source of your pain. Because most of us learn to disconnect from our Authentic Selves from an early age, we lose touch with ourselves and often struggle to know what's really bugging us and ultimately causing us pain.
Human Design shows us that we are uniquely designed and that we each process and experience energy differently. Your unique Human Design chart will show you where you are most likely to experience pain if you do not live true to your Authentic Self.
What you are experiencing right now is the sum total of every choice that you've made in your life. How you are hard-wired energetically (your Human Design) will influence the kinds of choices that you make and what you need to choose to fully express your Authentic Self.
When you experience pain it is often the result have having made a choice that stops the natural flow of your unique energy. The greater the pain, the more choices you've made that have taken you farther away from your Authentic Self.
In the Healing by Human Design System you will discover a systematic approach to understanding your energy and the energetic forces that have influenced your life choices.
In the Healing by Human Design System, we look at five layers of influence and imprinting that help us understand what and why we've made the choices that we've made, and most importantly, how to consciously make new choices that bring you closer to who you truly are, restoring your energy and easing pain in all areas of your life.
Each one of the five layers contains within it a series of questions, called Choice Points. Choice Points are questions designed to help you discover the motivations that influence when you make a choice in your life.
Every time you make a choice, you have the option of choosing a "high" or "low" expression of your Authentic Self. If you choose a "low" expression, it will manifest as pain in your life. If you choose a "high" expression it will manifest as abundance and joy in your life.
The purpose of the Healing by Design System is to help you become aware of the forces that influence you when you make choices and to empower you to consciously make choices that are more in alignment with your Authentic Self.
When you consistently choose in favor of your Authentic Self, you begin to master the lessons your pain is giving you, fully activate your energy and move from pain to vitality.
And you get to live the life you've been struggling and fighting to live for a life time.


Achieving "broad international recognition," which requires lots of efforts and time, remains a top foreign policy priority for Sokhumi, new deputy foreign minister of [...] Abkhazia, Irakli Khintba, said in an interview with RFE/RL's Russian-language service, Ekho Kavkaza, on January 20 .
Khintba, 28, an associate professor of politics at the Abkhaz State University, who has been a frequent commentator on Abkhaz-related issues, was appointed as the first deputy foreign minister on January 10.
"In principle, foreign policy priorities have not changed; these are: achieving broad international recognition of Abkhazia; strengthening strategic relations with Russia and providing security, sovereignty and independence of the Abkhaz Republic," said Khintba, adding that this latter priority of providing security also involved issues related with settlement of relations with Tbilisi.
"The work over increasing number of those countries, which recognize Abkhazia's independence, requires lots of efforts, time and creative approach. That's part of our work and I think there will definitely be results," he said.
"We are guided by the principle of openness; we are ready to communicate, to have contacts with the European institutions. But we have to take into consideration difficulties of the foreign policy context, unresolved conflict with Georgia, as well as other challenges and threats. That's why we have to be careful and prudent in our relations with the outside world," Khintba said.
"That's why we continue our participation in the Geneva discussions and deem this format as important and necessary for the sides in the region to exchange information and to make the Abkhaz position to be heard on the international level," Khintba said.
On January 18  Abkhaz leader, Alexander Ankvab, said at a meeting with the [...] region's foreign ministry leadership that Sokhumi should to cut cooperation with and "expel" those international organization or NGOs which would be offering residents of Abkhazia to take Georgia's neutral travel documents for trips abroad, adding that Sokhumi would be "insisting" on Abkhaz passports to be accepted by the international community.
According to the Georgian State Ministry for Reintegration, up to fifty neutral documents have been issued since November, 2011.


text:
Massachusetts's Public Notices
Submit a Memoriam
Massachusetts Public Notices
Andover, MA (01810)
Plentiful sunshine. High 36F. Winds light and variable..
MIKE SPRINGER/Staff photo Spectators fill Duane Stadium during the 2019 Commencement on Sunday at Merrimack College in North Andover. 5/19/2019
MIKE SPRINGER/Staff photo
MIKE SPRINGER/Staff photo Jacqueline Gillette of Andover gives her daughter Madeline a congratulatory hug after she received her diploma from the School of Liberal Arts during the 2019 Commencement on Sunday at Merrimack College in North Andover. Jacqueline Gillette is a faculty member in the college's criminology department. 5/19/2019
MIKE SPRINGER/Staff photo Journalist and bestselling author Jeffrey Selingo gives the keynote speech during the 2019 Commencement on Sunday at Merrimack College in North Andover. 5/19/2019
MIKE SPRINGER/Staff photo Graduates use their programs to shield themselves from the rain during the 2019 Commencement on Sunday at Merrimack College in North Andover. 5/19/2019
Graduates urged to 'have patience' over 'tough decisions'
The timing couldn't have been worse.
Just as Merrimack College President Christopher Hopey started his introductory remarks just after 10 a.m. on Sunday, the skies opened up.
Hopey and other dignitaries were under an enormous canopy over the stage, but everyone else, including 780 undergraduates and another 540 graduate students, were on their own.
Organizers quickly ran out of ponchos and resorted to handing out plastic bags.
Umbrellas sprouted up all over the Duane Stadium football field as friends and family sitting in plastic chairs on the artificial turf and hundreds more in the bleachers sought to stay dry.
But it didn't last long, and did very little to diminish the spirit of the crowd. As ceremony came to an end and the last of the diplomas were handed out, the rain had stopped and the sky started to clear, giving the chilly graduates a chance to dry out and warm up.
Undergraduate student speaker Paige Sorensen of Plymouth, Minnesota, one of the original members of the women's Div. 1 hockey team, told her classmates: "Through everything we have experienced and accomplished at Merrimack, we should each hold our heads high knowing confidently that we have been prepared for lifetime success. Though it may sound cliche, with all of the many firsts ahead, each of us will enlighten minds, engage hearts, and empower lives."
Graduation speaker Jeff Selingo, an best-selling author who writes a column for the Washington Post, said graduates need not be afraid of making bad decisions.
"If you feel like the stakes are high and you make the wrong decision, you feel like your life is going to be ruined," he noted. "Tough decisions rarely have the life and death consequences they seem to threaten. ... I found what I thought was a really bad decision was actually a really good decision. Whatever your path in coming years, your own tough decisions are likely to have unexpected good consequences. I urge you to have patience." -
Christopher Hopey
Dignitary
Jeff Selingo
Baton Rouge, LA - Marguerite M...
North Andover, MA - Paula Joan...
North Andover, MA - Paula Joan Eldridge, in North Andover, formerly of Andover, and Siasconset, on January 8, 2020, at 91 years old. Beloved mother of Victoria Aloiau and Scott Pascucci, and grandmother of Dillon Pascucci and Aiden Pascucci. Predeceased by Vincent Pascucci and Patricia Eldri…
Gill, MA - Timothy C. Young wa...
Naples, ME - Robert "Bob" Van ...
Naples, ME - Robert "Bob" Van Der Zee, 92, of Naples, Maine passed Sunday, Dec. 1, 2019 after a brief illness. Robert was born in Quincy, Massachusetts and raised in Hingham. He was a varsity basketball player known as Chick by his teammates. Bob served his country during World War II. Upon …
Anniversary Remembrance Louis...
Andover police played major role in drug investigation
Andover mourns popular school bus driver after death
Got a sweet tooth? Then Evening of Sweet Indulgence is for you
Images of Andover
South School principal takes medical leave
Flanagan reappointed as town manager
Public invited to Andover High appearance on TV's 'High School Quiz Show'
The Leonard Woods House: An Historic Treasure
Plan for old Town Yard must go forward
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Filter only Exchange service ips Running into an issue where I want to filter and only use the IPs related specifically to Exchange online, and nothing else.
I can easily grab all the IPs for all services, but the goal is to only grab the IPs for the Exchange online service. I've tried variants of select-object and where-object but not successful
Here's what I have working...I've left the attempts at code out because they never returned any value
$o365Uri = "https://endpoints.office.com/endpoints/worldwide?clientrequestid=b10c5ed1-bad1-445f-b386-b919946339a7"
$iplist = Invoke-RestMethod $o365Uri
$iplist

and if i just want all the ips...
$iplist.ips

I only want the $iplist.ips for a specific where the serviceArea = Exchange though. URLs could also be used instead of ips. Either works.

A: figured it out. This returns only the IPs for the exchange service
# Call the O365 API to get the IP addresses
$uri = "https://endpoints.office.com/endpoints/worldwide?clientrequestid=b10c5ed1-bad1-445f-b386-b919946339a7"
$call = Invoke-RestMethod $uri

$exchange = $call | where {$_.serviceArea -eq "Exchange"}
$exchangeUrls = $exchange.urls

redpajama_set_name: RedPajamaStackExchange