Many think the ultimate enemy of the bicycle is the car, but the reason cars are so dangerous is simply the false perception that our streets and roads are made for driving and nothing else. It is the complete dismissal, whether conscious or unconscious, of any other practical way of getting around. It is the lack of understanding that cars are one of many forms of transit, albeit by far the most popular one. It is the lack of respect for bikes as a viable vehicle for traveling to where you need to go.
Seeing bikes as transit machines, like cars only slower, is an important mental hurdle for non-cyclists to overcome. It is no different than choosing a pickup over a sedan, a sub-compact versus an SUV, or a luxury car over a coupe. It is simply another way to get from point A to point B, with advantages and disadvantages. The sooner we all accept this fact, the sooner we will begin to open our eyes to a multitude of transit options for our cities that truly benefit everyone.
When drawing a street on a plan, you start with a centerline and offset it on two sides. It is quite literally a line connecting two places with a certain width. This width is almost always determined by an engineer who is trying to match an algorithm for how many lanes are needed for the cars that will drive down this street, and how many utilities will need to comfortably fit here. Instead, we should think about streets and all their various uses—as places for gathering, finding our way, living more healthfully, with nature, and with each other… and build from there.
Frozen in time: US photographer revisits Nicaraguan village to recreate pictures of rural families 20 years after his first trip
For portrait photographer Robert Kalman, the art form is all about people. He has traveled across continents to document people in their environments – whether the streets of New York and Paris or rural villages in Central America. And one timeless Nicaraguan village has, over the years, continued to draw him back.
Since his first trip to Larreynaga, Kalman has returned at least five times to document the lives of villagers there.
Right now, I am really enjoying the new Twin Peaks on Showtime. I am a huge fan of David Lynch – but if you say you hate everything he has done, I can’t argue with you.
It’s not easy to rank every Lynch movie, not least of all because of the director’s cult status. Lynch fans aren’t playing around, and debates can get heated (especially when it comes to Dune or Fire Walk With Me). And then there’s the fact that every movie is so jaw-droppingly different. There are certainly recurring “Lynchian” elements, which David Foster Wallace defined as “a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former’s perpetual containment within the latter.” More obviously, there are certain visuals you look for when watching a Lynch movie: red lips, a hallway, long red curtains, a highway at night, a stage lit by a single light. Then there’s that feeling that comes with certain Lynch movies—and lingers; that unshakable dread of being in someone else’s dream (or nightmare).
I worked downtown in the early 80’s and one of my favorite things was watching the skyscrapers go up. I was surprised at how different the construction methods were for different buildings.
The 1980s gave Dallas most of its skyline, with more towers popping up than any time in the city’s history.
Along with the tall buildings came a few tall tales.
“The new Amli tower is significant because it will create a true mixed-use environment at the highest level,” said Johnny Johnson with Cushman & Wakefield, which markets the Fountain Place offices to tenants. “The energy sparked by the pedestrian experience will enhance the complex and everything that surrounds it.
“It will make Fountain Place an even more desirable place to be.”
What an interesting idea! Wish I had thought of that.
Hall has spearheaded a new endeavor titled “Through the Lens: Dallas Arts District.” It’s a call to action for “professional photographers, emerging photographers, mid-career photographers and students” to start snapping their shutters. The goal is to create a body of work that captures “a glimpse of the life and vibrancy that defines the Dallas Arts District,” whose 20 square blocks will become the photographers’ tableau.
I’m a big fan of three of these: The Soda Bar, Bar Belmont, and 32 Degrees. Gonna have to check out the rest.