This simple house designed by
Raumhochrosen is strongly related to its surroundings, it follows the outline of a dilapidated predecessor building and was drawn around a man and his passions. The hut can be opened to different views. Prefabricated from wood, everything necessary is located in a small space. A distinctive structural identity becomes a partner, a place of retreat, but also hospitality and personal development. Find, seek shelter, rest, nourish and find harmony. Then look out. Vision.
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stuff i like about the series of unfortunate events netflix show so far
- leans into the cartoonishness of the setting in a funny and charming way, like count olaf’s house being a dark dilapidated castle in the middle of a pristine suburb, or how puppet-y it looks whenever sunny chews on something
- neil patrick harris’ count olaf provides a lot of comic relief but still comes off as a genuine threat to the kids
- we get to see more members of vfd in action! also kind of a stretch but maybe jacqueline is a genderflipped jacques snicket? seems like a suspicious choice of name for a new character.
- obviously a huge amount of respect for the source material, with references to future stuff like the sugar bowl and the medusoid mycelium, but adding new subplots as well
- the pond gustav fell into looks a bit like the hotel denouement one? idk
- VIOLET STOPPED COUNT OLAF BY SIGNING THE MARRIAGE DOCUMENT WITH HER LEFT HAND. A DECADE-OLD WRONG HAS BEEN RIGHTED.
- the vfd tunnels
- lemony snicket as a rod serling-type narrator allowing them to fit in a bunch of his lines from the books
- snicket mentions being distraught and horrified by the kids’ situation and crying himself to sleep, but it’s treated as a normal reaction to distressing events and not any kind of weak or shameful thing, idk i thought that was nice
- the deliberately anachronistic setting now includes calling the i.t. people to fix a typewriter and telling time with an hourglass you bought online
My work is all about sunlight, the play of light on objects, the varying degrees of contrast between light and shadow, and deep, saturated color. Long shadows cast by buildings, window reflections, and pockets of darkness under eaves and in doorways all capture my attention.
I am exploring more, however, than merely the play of light and shadow on architectural form. I am drawn most often to older commercial buildings, early to mid 20th century bungalows squatting amidst tired or overgrown landscaping, dilapidated outbuildings and, everywhere, careworn campers, tottering on blocks, abandoned in fields or parked on the side of the road. Each building, each camper, every eccentric landscaping scheme has a story to ponder.
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ARIES:flattened paper boats scattered like the remains of a murdered animal along a dried up river, rundown motels with their blasted neon signs and smashed-in windows, pink streamers from some neighborhood child’s birthday party shuffling across the street like bright tumbleweed, a train rattling off into the breathless night & the trace remnants of a week old bonfire found in the middle of nowhere.
TAURUS:chipped paint, shattered shot glasses lying across an abandoned pool table missing a few billiard balls, flyers rustling like autumn leaves against the tempestuous tides of the wind, advertising concerts & magic shows that took place in 2005, the sillage of old perfume clogging up the air, still thick as the scent of blood or wildflowers.
GEMINI:the corpse of a cigarette that hasn’t touched a mouth in months, a dilapidated playground where lost souls come out to play, threadbare curtains ripped like the wings of a dissected bird, strange red-brown stains across the hotel bedsheets, a gate grown weary with new-forming foliage & age, whining erroneously whenever maneuvered.
CANCER: an empty casket, coffee rim imprints across hardwood tables, an old, tattered shoe lying haphazardly on the side of the road, a junkyard littered with ancient cars still soggy with stories, a pick-up with a broken windshield, a cadillac with a massacred paint job, someone’s motorcycle with blood staining the front tire, an askew portrait with eyes that follow you around the room.
LEO: a carnival horse with one eye scratched out, a daycare centre that shut down years ago, plagued with the colorful ghosts of children’s drawings still tacked to the crumbling walls, a spiral staircase that seems to shift direction when nobody’s paying attention, crunched up beer cans rolling across an empty rooftop & lichen kissing the concrete.
VIRGO: the supermarket, flickering & eerie at night like the shadows unearthed beneath troubled eyes, owls stirring in between the murmuring trees, a single upturned grave in a cemetery that isn’t supposed to be notorious for hauntings, an old fountain still glistening with pennies that are no longer considered currency, a collapsed bottle of wine running the tiles red.
LIBRA:handprints imprinted onto fogged-up windows, red rooms crowded with developing photographs of people whose faces you recognize but cannot quite place, broken doll heads, a necklace that erupted into a sea of pearls, a deflated blow up kiddie pool collecting parched grass and critters, a busted arcade game & the laughter of people long gone still trapped inside the walls.
SCORPIO: books with grimacing yellow pages, someone attempting to sell you a cursed object on etsy, a leaky shower-head, a clock that’s stuck in time, a torn, unravelled couch sitting deserted in someone’s front lawn, candy stores that proclaim sales on expired sweets & ruddy patches of farmland.
SAGITTARIUS:basements stacked with unwanted toys, a box of thin-mints, footsteps reverberating around the house when it’s 2 AM and you’re home alone, a burned down lemonade stand, that weird alien light in the third window of your neighbor’s house that never seems to get turned off, a certain rattling coming from the kitchen.
CAPRICORN: rain pummeling against damp ceilings, clothes ripped off the washing line, an empty aquarium, obscure little thrift stores that sell leather jackets from the eighties, gas station lights flirting with you from the distance, the alley where they say the vagabonds roam their night countries, sniffing up and dressing down and slitting the throats of angels.
AQUARIUS:those tiny coffee shops that fill you with nostalgia for places you’ll never visit, ‘JESUS LOVES YOU’ spray-painted across the sides of ramshackle buildings, an antique almirah scratched to high hell, a monster in the closet, the tunnel beneath the bridge that half the town believes is a gateway to hell, smoking up in trip mall parking lots.
PISCES: halloween decor presented in shop windows a couple months early, visiting that lake where you heard that one kid drowned, the garage door slamming without cause or notice, storing fireflies in jars, drugstore makeup, birthday cake flavored oreos, a wheeled desk chair that seems to turn on its own when nobody’s in the office, a candle snuffed out on a windless evening.
The magical lane houses, which were once the dominant fabric that made urban Shanghai the intoxicating place that it was in the 1930s, are now slowly being demolished, taken over by high-density developments all over the city.
Neri & Hu Design and Research Office
was commissioned to reconstruct a dilapidated lane house left with almost nothing except its glorious shell in the historic and artistic Tianzifang area in Shanghai, and the mission was to transform it into three separate apartment units.
Neri&Hu’s strategy was to rethink the typology of the lane house–keeping the split level formation, a typical trait to lane houses in this city, and add spatial interest through new insertions and skylights to accentuate the architectural integrity of such a typology, contemporizing it for today’s lifestyle.
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Oseetah. Found under a dilapidated barn in Georgia at 8 weeks, abandoned by her mama. I instantly fell in love with her; she was the chubbiest and sleepiest of all 6 of her brothers and sisters. She loves entertaining herself by tossing and fetching her own toys, she loves being muddy, and she loves making new friends at the dog park. She’s so full of love.
This doesn’t look like much. An old, cracked bowl with poorly-done glaze. But to the Japanese in the late 1500s, this was a prize!
Provincial Korean porcelain bowls, such as this one, were highly valued as tea bowls in Japan. The discoloration of the clay was caused by the tea’s seeping through pores in the glaze. Japanese connoisseurs poetically compared the subtle variations in color to the rain-stained plaster walls of a dilapidated hut. And by “poetically” I mean, they literally wrote poems about tea bowls like this one.
Those cracks by the way? They are repaired with gold lacquer. It was the traditional method for repairing chips and cracks in Japan, meant to highlight the life each vessel had lived.
MORE Beauty and the Beast things I LOVE (collected upon a second viewing):
-The Enchantress/Agathe is played by Hattie Morahan, who played Elinor against Dan Stevens’s Edward in BBC’s 2008 Sense and Sensibility, and I love it when actors are brought back together. Gave me the same smiles as watching Jennifer Ehle and Colin Firth in their one scene in The King’s Speech
-LeFou paying everyone in the tavern before “Gaston” because you know he choreographed that months before and they rehearse it every Thursday just in case.
-Cadenza is playing “Be Our Guest” when Maurice overhears the music!
-Maurice’s reaction to Chip is everything
-Maurice and Belle’s relationship is so sweet and wonderful and perfect, and the fact that hearing about it and seeing evidence of it is what finally convinces Beast that not all fathers are douchebags!
-Lumiere’s not a womanizer anymore! He’s devoted to Plumette, not just flirting with her and I love it
-I love Mme. de Garderobe attacking fragile masculinity with gowns and makeup, and then shouting “BE FREE” after them like some gender-role smashing fairy godmother
-”I am not a beast.” Ugh. Just, kill me with perfection why don’t you
-The Beast’s face and eyeroll and nine-year-old boy reaction to Belle’s love of R&J, and the fact that he GIVES HER HIS LIBRARY not because he wants to win her over, but because he just wants her to read better material, and if that isn’t 183% what I would also do, I don’t know what is
-Belle’s happy little shriek after the Beast leaves her alone in the library is all of us don’t pretend it’s not
-Belle trying to hide the rope out the window by standing in front of it. Like, sweetie.
-The juxtaposition of the opening and closing dances! With Adam in the first one flitting from partner to partner and even when he’s dancing with someone, he’s always looking around for a better option, versus that final dance when his eyes are 100% on Belle
-The castle getting more and more dilapidated as each petal falls
-THE BANTER YES FOREVER
There were so many more things but I couldn’t remember them all and I need to go see it again with a notebook, but SErIOUSLY until then COME GUSH IN MY INBOX I need to talk to people about this movie and I’m driving everyone in my real life crazy
Cefn Castell by stephenson STUDIO is a new build contemporary family home on an isolated cliff top location overlooking Cardigan bay in Criccieth North Wales. It is a replacement for a dilapidated 400 year old former cottage that stood on the site. The new house is designed using solid, void and frame as new elements in glass and render, with the backdrop of a monumental natural stone wall constructed from the remains of the existing cottage which envelopes the new house. The plan maximises panoramic views from each room, and also links a series of inner spaces internal to external via the use of expansive sliding glazed screens.
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“In the first years of the 20th century, Duke Peter of Oldenburg, a
Russian aristocrat, built a palace (above) and a hotel in Gagra, and put
Gagra on the map as a holiday destination for the wealthy. Both
buildings were designed in art nouveau style, though many of the
finishing touches have since disappeared from the dilapidated edifice.
The Soviet government nationalized the palace built by Duke Peter and
converted it into the Hotel Chaika (Seagull), which maintained the air
of an aristocratic refuge. However, during the war between the Abkhaz
and Georgians, the Chaika was looted and has never been repaired.“ - Photos & text from this Wired article
“You’re such a masterpiece… a masterpiece I want to get a taste of.”
Synopsis:Your nude modeling portfolios are due in a few days and, with all your sketches an absolute mess, Namjoon offers to help; though, his idea of aiding your lack of skill is different that what you thought…
Ok the Original Post* was getting pretty long and I wanted to go off on a tangent so I’ve started a new one here:
So like, the audience is supposed to think it’s uncomfortable
and possibly wrong for people whose job it is to save the world to
have a certain level of luxury. Which is less than the one the
people making the story have.
Honestly, I always knew they were there, but for the first time
I’m actually kinda creeped out by the class issues in SPN (ok, I
lie- the prices Creation charges creep me the fuck out, but aside
from that. I mean in the actual story). Like, Sam and Dean are not
truly poor anymore. But they do still live partially as working poor.
They’re still economically insecure; depicted as, in some ways,
working poor people who go into mostly middle-class and
upper-middle-class communities, do a horrifying vital service, and
then disappear. And it’s romantic, heroic. But it’s wrong.
Like, it’s actually a moral wrong that they should be poor. They
deserve to be at least as economically stable as their creators.
We talk a lot about romanticizing violence, but what does it mean
that the whole structure of the show honestly kinda romanticizes the
poverty of the working class? Walmart is not romantic; it just sucks. @chiisana-sukima
Yes, American SPN Hunters are portrayed, generally, as working class (Winchesters, Campbells, Bobby) or middle class (Asa Fox, Jody, Donna). I think it is important to keep in mind that one reason full time hunters often seem poor is that the majority of what they are doing is a) considered criminal and b) needs to stay secret. So they have to live under/off the radar. In order to do that, you need to be either VERY, VERY wealthy (and bribe everyone) or you have to commit fraud on a daily basis.
Assuming none of our hunters have endless supplies of cash, being cheap helps with the daily committing fraud process. Here’s why/how:
1) Hunters scam credit cards - because they can’t hold down a real job and hunt, which means they have no means of income (other than technically criminal activity like hustling pool and looting the monster victims). Also, they can’t BE themselves - they cannot afford to be traced - by the authorities OR by the very smart humanoid monsters they hunt. Scammed cards can get detected really fast if you are throwing money around. Also, scammed cards are only as good as their limit (which is likely to be low) - so you want to make them last as long as possible. Lastly, when your card IS caught, skeevy, ethically questionable places are less likely to report it to the police. So Hunters look for cheap, dive places to spend their fake cash. Note: often some of these skeevy places are NOT less expensive than the Holiday In Express - they just ask fewer questions or will rent a room without a credit card or will forget you were there (or are more used to cleaning up blood from sheets).
2) Hunters are con men - they have to pretend to be authority figures/repairmen/teachers/social workers/lost relatives in order to get the information they need. They need to be ‘noticed’ as little as possible and leave almost record of their stay. Using a credit card leaves a trail - so that means using cash in places that won’t notice cash, and eating in places that see (and forget) lots of strangers. They also need to be hard to find when their identity is questioned. Who would look for the FBI in a skeevy hotel? Those two shifty guys in flannel coming out of the dilapidated Inn on rt 20 couldn’t possibly be the nice men we talked to earlier today…[of course the giant black car and hunter’s ridiculously good looks aren’t a problem, but that’s tv land for you].
3) Hunters are rural nomads - Notice that, in general, Hunters try to stay out of cities. While one of the main themes of SPN was supposed to be a focus on ‘heartland America’ - but really, woods monsters hide in rural areas, and (in theory) many human-eating monsters are are nomads, roaming for food. Thus Hunters focus on rural America and move around a lot following the monsters. Rural America is full of very small towns/places with no other option than the 1-2 star hotel (or less). One of my fav personal stories is of staying in the ONE motel in the entire COUNTY in TN - and it was EXACTLY the kind of place a Hunter would stay (right down to the friendly diner next door and the truck stop on the other side). If you were wealthy and wanted to stay in that area - you rented a whole HOUSE/cabin in the nearby picturesque woods - which is likely to get VERY noticed - or you stayed 30-50 inconvenient miles away.
US Hunters Evolving: Donna and Jody are an exception to many of the above statements. But they are a different kind of hunter - one that fans feel is an evolution of the American Hunter - the regional protectors. Jody and Donna, both suburban middle class, use their actual positions of authority to learn about and track monsters and also to cover up the evidence. They keep their own gerenal area ‘clean’ and call in “full time” nomadic hunters to deal with scarier stuff or stuff they hear about outside their territories. Their positions and training also make them capable fighters - brave, good with guns, etc.
US Hunters Best of a Broken System: Lastly, remember that the US did have a system more like that of the BMOL - academic magicians in authority directing local hunters to kill problems. What the US has NOW is what developed as a stop gap when the MoL vanished. Hunters like Dorothy and Mr. Ketch (shudder) trained others to keep the monsters at bay. They were focused on the find and kill part - not the administrative outlook of “Hey, if we are smart and make enough $, we can do this job better, faster and more efficiently.” ‘Cause *I* know I sleep better in nicer hotels and I WORK better if I’m really well rested. Sam and Dean are MACHINES, really, - the stuff they pull off given how crappy they treat their bodies…
In Conclusion: Hell, I’ve lost the thread of where I was really going with this…it has devolved into an examination of WHY the class differences exist between US and British ‘hunter systems’. Not sure I’ve addressed @chiisana-sukima‘s concern about the morality of SPN implying that hunters SHOULD be poor or working class.
Hi, Cassie! I was wondering about the mexican characters in TDA: Are we going to see them talking more about Mexico and their family there? I really want to know more about Cristina, Diego and Jaime ❤️ Thank you for all of your books, Shadowhunters always help me when I feel bad. I hope you have a nice day 💕
Hi! You will definitely get to know all three more. One of the fun things about writing series books is that in each book, you can get to know the characters you’ve already introduced or hinted at better and more deeply. We will see Jaime, and learn more about his and Diego’s family, their secrets and their demanding past. Cristina also does often think about Mexico since she is a little homesick. And I had a lot of fun doing research in and about Mexico!
Thoughts of home tore at Cristina. Her mother, her cousins. Better,
past days with Diego and Jaime: She remembered a weekend she had
spent with them once, tracking a demon in the dilapidated ghost
town of Guerrero Viejo. The dreamlike landscape all around them:
half-drowned houses, feathery weeds, buildings long discolored by
water. She had lain on a rock with Jaime under uncountable stars,
and they had told each other what they wanted most in the world:
she, to end the Cold Peace; he, to bring honor back to his family.