Elemente issue 18

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ISSUE 18: the winter edition

contents architectura 66. Aluminum Inhabitable

The cold harshness of aluminum takes precedent over wood in this ultra-stark, metallic space in Montreal

74. H House

South Korean residence designed by Bang by Min meets the needs of 3 generations under one roof

84. T House

Contemporary Quebec country residence by NDA architects takes inspiration from two fictional Italian villas

94. Whistler lodging

BattersbyHowat Architects goes full on ski-lodge in a cozy 5800 sq.ft. wood/stone Whistler residence

108. Innhouse China

Kunming, China was the location of WAN’s 2012 Hotel of the Year; an experiment in timber, bamboo and vertical influences

114. Brazilian wine store

Sao Paolo’s Mistral wine shop presents clients with slatted, rising corridors that ebb and flow with a subtle design pairing

120. Shearing Quarter House

The award winning ‘Shearing House’ is ironically named for its sheepish proximity to a historically relevant sheep farm in Australia’s Huon Valley

140. hamster wonderland

Calgary’s oily inspired Bow tower is overshadowed by the Wonderland at its feet

automobilia experientials 230. TESLA COILED

Tesla’s premium performance Model S sedan resets the standard for next-generation electrics

194. 50 hrs of McLaren 12C

2 days of quality seat time in McLaren’s 616 hp multi-talented piece of F1 inspired brilliance that is the 12C SPIDER

212. italian-sourced 700 hp viagra Lamborghini’s $400,000 viagra replacement, the 700 hp aventador lp 700-4, put a bull in your kilt today!

randomness

photography

128 en memorial

152. Detroit in Decay

Calgary’s Poppy Plaza pays homage to war victims & veterans through an experiential landscape design

168 this is not a toy!

DX Exchange to explore urban vinyl as design and as a legitimate art form

24. unfamous pockets

Harry Rosen teams up with Gary Taxali to create one of a kind Canadiana-themed pocket squares

54. Lamborghini Huracan

LAMBORGHINI’S NEW awd 610 hp HURACAN might just be a spanish METEOROLOGISTS WET DREAM

34. GOOGLE VOL.1

New visually driven dictionary replaces 21,110 definitions with images

46. ion iceland

tION Hotel where modern design meets Iceland’s incomparable landscape head on

The Opulent Pre-Depression Architecture of the motor city

242. Turin scorpion

Photo-editorial look at the sculptural artistry of a nearrestored 1953 turin showcar - the Abarth 1100 Ghia

182. Salt Lake 5.6

The stark contrast of the Bonneville Salt Flats provides the blank canvas for this motorized photo-essay

the insiders

Editor-in-Chief: Angus MacKenzie

Creative Agency: Angus Media Inc.

Creative Director: Angus MacKenzie

Feature Writers: Leslie Todd, Angus MacKenzie, Basel St. Clair

Featured Photographers: Olivier Ouadah, Angus MacKenzie, David Franck , Fernando Aldo

Publisher: ANGUS MEDIA INC.

Director of Marketing/Comm: Angus MacKenzie

Advertising Inquiries: Calgary, AB, Canada advertising@elementemagazine.com

www.elementemagazine.com

Letters: Send letters & suggestions to angus@elementemagazine.com

Find Us Online via: www.elementemagazine.com Socialize: Follow us on

CopyrightŠ2012 FARM MEDIA INC. All rights reserved. Nothing in this publication may be copied or reprinted without the written consent of the publisher. elemente magazine is published 6 times a year. All material is compiled from sources believed to be reliable, but published without responsibility for errors or omissions. elemente magazine assumes no responsibility for unsolicited manuscripts or photos.

On the cover: Boy with retroslide viewer.

Courtesy: souk@sat

T [403] 290 0145

T [403] 290 0145 e6 a5060@yahoo.ca 1224A Ninth Avenue SE Calgary AB circa5060@yahoo.ca 1224A Ninth Avenue SE Calgary AB T2G 0T1

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403-290-0145 www.circa5060.ca | 1224A - 9th Avenue S.E. | Calgary, AB e7

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sail benches ‘Sail Benches’ by Félix Guyon, an interactive urban structure located in Quebec, takes its inspiration wind and water, with the intent of transporting visitors back in time to the 1600s.

Awarded the ‘Jury’s top choice’ award at Quebec’s Grands Prix du Design 2014 Guyon’s sailing benches honour those founding families of Vercheres who settled here in 1670.

Photographer: Félix Guyon e9

editor’s note | ISSUE #18

MAGAZINE Dystopee-ah 10 years of sociopaths, pathological cheque bouncers & tiny troubled alcoholics ARCHIVED As in so mAny plAces in developing world At the time, there wAs An unbroken belief in progress And A greAt optimism. if you look bAck to the 60’s, when i wAs growing up, it wAs A moment of nAtion-building, there wAs A lot of emphAsis on Architecture, not only in the ArAb world but Also in south AmericA And AsiA. it wAs A similAr moment to whAt it is now – there wAs A renewed pride in the structure of the city. these ideAs of chAnge, liberAtion, And freedom of this erA were criticAl to my development. my fAther’s generAtion wAs sent AbroAd - And he went to the london school of economics to study under lAskiAn And fAbiAn. there wAs incredible moment of sociAl reform everywhere. this V03 #03 ideology w As import Ant t o m e . w e tV03 r A#03 velled 03 w i d e l y . t hJuly/August e s e 09 tCAN/US h i$n gs 8.00 d o h A v e A n i m p A c t03 o n y o u — o n e0 ’ s56698 e d27848 u c A1t i o n is importAnt, in Any 0 56698 27848 1 world.

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VolUmE 4 // ISSUE 4

3rd ANNIvErSAry ISSUE

It wasn’t the first time this individual would bounce a cheque on me. The person, who we’ll call Dam had a special way of dealing with pesky collection agents ie. freelancers, employees. His modus operandi was simple, I’d call to ask if or when he’d be home to pick up my cheque. Upon notification of my arrival Dam would run out to his crappy Ford Aerostar and escape the premises. According to Dam, this particular bounched cheque was nothing more than a simple accounting error. Like Enron, he’d simply forgotten to transfer monies. Unfortunately for the former publisher of a dreamy home magazine and other publications with ever changing titles, his track record for flaking on payments and other items would make his argument as valid as a Rob Ford sobriety claim.

Dam and family eventually left Calgary for the west coast after experiencing audit discrepancies between actual printed issues and promised figures.

This unfortunate publishing interaction, was but one of many delightful experiences and enigmatic individuals I’ve had to deal with over the past ten years. In the decade between 2004 and 2014 I’ve had the involuntary pleasure of having to work with; fraudulent sociopaths with criminal records, drunks with anger management issues, ethically confused/ bewildered persons, and incompetent unqualified sales persons better suited to careers in Slurpee management or sewage disposal. So let’s get on the post-war train to Hogwarts and harken back ten years to 2004.

Twas the spring of that year, April I believe. I’d responded to an ad looking for part-time writers to work with a new publication in town. Being a fan of the National Geographic for years, the thought of getting into publishing seemed so very shiny and dreamlike.

Alas, within 12 months of answering the ad my boyish naiveté would soon become deflowered.

The ad posted by another forgettable media company had just started a magazine called ‘Calgary Living’. This up and coming publication was all about glorifying Calgary’s financial individuals who simply

wished for wealth and materialism validation. The basic business model was to fill the pages with as many materialistic, rich-stuff based stories that would fall in line with a select advertising base. In publishing, this advertiser reach-around game where clients receive ‘feature’ copy in reward for advertising is known as ‘advertorial’ content.

After accepting the writing gig and writing a few stories I quickly rose to the rank to editor thanks to my marketing and design background. The boss guy, and the man I would come to hate more than lima beans or Nazis, was a nasty pathological piece of work we shall refer to as Col. Fraudster J. Dances with Laps.

Mr. Dances with Laps wasn’t so much about the facts but more about the game of Betty Crocker/ Big talker. Think Rob Ford with dark hair, glasses, an androgynously roundish face, anger management issues and a penchant for fibbery....pretty much Rob Ford with glasses and darker hair. He created fantastically false publishing stories but it wasn’t just me who was the only one gullible enough to drink the Kool-Aid, members from his church were also conned into participating and investing.

This Col. fraud, he talked the talk and walked the walk, or so we thought. When he wasn’t making up stories about his Toronto media background he was throwing around random advertising dollar and magazine distribution figures, all which was 95% pure unadultered bullshit. He spoke of how happily married he was and how much he loved his wife and two kids.

This red herring piece of information is important as that plot twist shows up later in the movie.

After working a few months as editor with Jeremy and Jon, his ethically confused business partner, things seemed to be going well. We’d put out one or two issues and I’d secured some quality relationships with a few advertisers and writers in the city. Looking back, the issues were nothing but poorly written, advertorial flyers with the occasional ‘contra’ ad from some favoured client. Clients like the big jeweller advertiser for instance would give him expensive timepieces in

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exchange for ads. Contra for those who don’t know is when an advertiser pays with an $1100 Movado timepiece instead of a cheque. For Col. Fraud, this contra-perk, was never declared as income, and the client who received the ‘comped’ ad wasn’t out of pocket as the provided piece was usually a free sample from a supplier.

I believe Jeremy had acquired 5 or 6 pricey watches through this contra arrangement over a relatively short time. In addition to the timepieces, there were other various contra items like clothes, food accounts and booze. It was all part of the game to show off the bling and present him as the real deal. Of course while he was fattening up on timepieces and other contra items, monies weren’t coming in to shore up the publication. But even with the unspoken budgetary problems, funding money was still coming from somewhere so we kept on acting like everything was just fine.

Around August 2004 talk of setting up a satellite office in Toronto started to waft about the office. As Toronto was and still is the center of the advertising universe for Canada, this made sense. But who was good enough at marketing, editing, and establishing relationships to start up the Toronto edition “Contra for those who from ground zero? Yes, you don’t know is when an are correct. Stupid, trusting advertiser hands the me put my hand up. As hard as the idea of leaving my publisher an $1100 family to work in a city where Movado timepiece I knew zero people, zero instead of a proper advertisers, zero organization, cheque” while sporting only marginal magazine experience really seemed like a bad idea. Oh hindsight, you nasty nasty bitch.

Why didn’t I listen.

The person I was dating at the time thought by moving to the Tdot temporarily – 2 weeks on, 1 week off - although difficult and scary as hell, could be a good opportunity to expand my abilities and gain experience within the industry. So with much trepidation and reservation I accepted the gig.

Sometime that September I flew out to Toronto with the publisher at my side to establish the groundwork. On the plane he dazzled me with faux revenue spreadsheets and advertising figures that I believed to be legit. He spoke/bullshitted about having met with fantastic contacts and potential clients during his initial trips out east so to me this all sounded like an awesome, legitimate business opportunity.

Upon arriving in Toronto, much like journalists and athletes arriving in Sochi, our 2-star accommodations were not actually in Toronto, but in the Vaughn or Etobicoke burbs at a Motel 6. That first night we shared a room. Those aren’t pillows! So cozy, so romantic. He spoke passionately about the BMWs we’d drive and the Ferrari’s and the big organizations he knew

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and bullshit bullshit bullshit. And there I sat, eating it all up with HP Sauce and a plastic spoon.

The following day we checked out Toronto Living’s swanky new office digs. The office was like an office but with the exception of being one hell of a long way from Toronto’s downtown core. I mentioned that it might be better if we had office space closer to downtown. A few days later through the miracle of interpretive dance, he managed to negotiate his way out of the lease agreement with the Vaughn landlords. By negotiate I of course mean he walked on the agreement, like he’d done on his mortgage back in Calgary. I got a call from the landlords a month later informing me he’d walked on the lease agreement and they wanted to speak with him about outstanding monies. When I brought this to his attention he responded like any pathological liar, said they could go pound sand and told me to ignore it.

A week later I was notified publisher person had found new digs, this time right downtown in an office behind Toronto’s Eaton Centre. For anyone unfamiliar with Toronto lease prices should know rates anywhere near Toronto’s core are Hong Kong expensive. But that’s where he’d put us. That big bold quick talking sociopath had magically put us right in the heart of the action.

We were up and running in the new digs in short order. Our first sales manager didn’t last, because a) he wasn’t running an escort agency on the side or b) the sketchy compensation model didn’t taste right. The second sales manager however did stick around (see reason ‘a’ above). Born and raised in Toronto, the new manager supposedly knew all the right people, had a decent sales background, and was outgoing and gregarious. Seemed good. Not so fast there missy. Turns out this person, I would later learn, had in fact been bringing escorts to our events, because that was what he did on the side. The publisher had maybe met him through an escort service or at one of the many lap dance establishments that populate Toronto. At that time Toronto, unlike Calgary, had more lapdance bars per capita than Calgary had F-150s, thus making it the ideal spot for him to act out his sexual fantasies.

But since we’re on the topic, let’s diverge off from the magazine for a minute and focus on the big man’s extracurricular exploits. These exploits involved him using company monies to acquire and fund his lap dance fixation, which if I was to guess would have equated to $150-$300 a visit, three to four times a week, not including booze and condoms. His lap warming hobby occurred mostly when he was in Toronto ‘overseeing the publication’ while his wife and kids were back in Calgary.

I bring up the family because he constantly rolled out the ‘loving/caring/loyal husband’ card when he was working to impress clients.

But when he wasn’t putting lapdancers through college, he would pathetically attempt to pick up anything that would touch his lappy area. For a short period he brought along a

woman from the print industry to various events under the veiled guise that he was trying to impress her in order to get a better deal on printing. This illicit client/ publisher relationship ultimately benefitted the only person that mattered, him and would end up costing the other person her job.

But in late September, away from the lapdance facilities, the partners had managed to secure a rather pricey condo off Richmond and Bathurst. Again, I thought these guys, even though mentally ill equipped appear to be financially stable.

But what I didn’t realize that come December one month’s rent had been paid, hence the old Hasidic Jewish gentlemen in the condo one afternoon. The monies, they weren’t going to rent, they were going to supplement the leader’s lapdance and party requirements. The other partner; who despite my initial likings and who convinced me to lend him money to have sexy time with a lapdancer, would turn out to be just another ethically challenged wank, unqualified to play in the big leagues.

So there was that, but back in Calgary things had been happening behind the scenes that I was not aware of. The first in string of hand-in-the-cookie-jar moments was about to bite our publishing guru in his big fat fraudulent ass. As fate would have it, our fearless leader had been found guilty and charged with fraud. I’m guessing the charge stemmed from one of his early con-artist games prior to Calgary Living. Notification of the fraud charge only validated my fear that he was nothing more than a con artist with a history of deception and greed.

It was about this time that the pathological lying sociopath’s true intentions came to light, and subsequently the need to completely remove him from the organization.

Randomly, prior to his fraud charge, Col. Fraud had back in Calgary wanted me to co-sign a car lease with him. The idea, simple yet dysfunctional, was that if I signed a lease agreement, securing it with my credit information, we would both get company cars. I declined of course but not after being coerced into filling out the application. But as it turns out he did convince one of the other ‘board’ members into co-signing a lease on an Audi that he drove about Toronto for a while.

During those first few months in addition to questionable financial activities, I’d seen more than my share of outlandish sociopathic behaviours. Screaming and verbally abusing employees, or me, over non-issues had become more and more frequent. To him, like any fraudster, this excessive behaviour was designed to present him as the proverbial tough guy, which also dissuaded people from questioning him. This Rob Ford predecessor would yell, scream, deny, yell, deflect, and deny up and down the street all day that his ideas and his management style was needless to say, flawless.

It was about this time that my hate for the sociopathic one really started to become palpable. I talked to Jon about his behaviours several times but all I got was ‘just ignore him’. Oh

I tried, but when the face of a raging, pathological asshole is constantly in your face, the ability to retain one’s dignity and civility becomes significantly challenged.

But in spite of the criminal charges and spoiled child performances, we somehow managed to secure new office space. With the help of somebody’s rich daddy, we took up space in a retro loft space a few blocks from the Roger’s Centre. She were a fantastic space that one. So now between our fancy pants condo and this very boutique old-school office space we were sure to become a big publishing success story.

What could possibly go wrong.

By the end of November in addition to securing relationships with BMW, a jeweller, some high end real estate developers and restaurateurs, I’d met some fantastic writers and photographers. And we’d put out the first issue of Toronto Living, that had me not only developing content but also selling advertising, networking, business development and marketing. This one-man Cirque du Soleil show that I was managing will pop up again in the Calgary portion of the diatribe.

“The big guy’s extracurricular exploits at one point had him dropping betwixt $150-$300 on lapdancers, 3-4 times a week, which ironically was where he’d met our Sales Manager, who coincidentaly also ran an escort agency on the side” To celebrate the inaugural issue of Toronto Living, and to promote the magazine as authentic, a decision was made to host a launch party at one of Toronto’s upscaley night clubs.

There was near zero dollars for the event, because we weren’t selling enough ads, and the money we were making was going towards the publisher’s crotchal area. But in spite of the limited budget I did manage to pull off one hell of a party with potential clients on hand, fancy luxo-rides out front, and tiny appetizer things. I do recall Col. Fraud, who showed up late with his father, was in a foul mood because of the fraud charges laid against him.

Going into December advertisers were slow to come on board. Unlike Calgary where new publications were relatively few, Toronto advertisers had seen flighty publications disappear on a regular basis. The one thing that protected advertisers from scammers like our fearless leader was an unwritten requirement to see publishers print and distribute a quality magazine over a one year period. This crazy ‘prove yourself’ concept is fairly effective at weeding out the wheat from the chaff. However for Pillsbury and company, investment monies that should have gone to writers, professional sales people, and a real website to ensure long term viability were instead going toward line items like condo rent, prime office space, and of course our glorious bosses extracurricular budget. e 13

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But my job was not to worry about finances or job security, my job was to make the magazine fly. But one day in November the consortium of intellects actually made one of only one smart decisions they’d ever made by bringing a new marketing director on board. This person, who was sort of related to one of the board members, knew Toronto contacts and was professional with a great sales persona. This new person and myself partnered up and started to secure quality relationships with both editorial and advertising clientele in no time. Advertising dollars still weren’t flowing in but the magazine was starting to gain traction and attention. This person, who I’m still great friends with today, would ultimately and unfortunately, like the rest of us, end up getting financially defiled by both the entire gamut of participating partners.

convinced the account rep to speak to her bosses about how great the account would be and how ______ and _____ were good for the money. They explained that they were unhappy with the print job from the first printer so were looking for a new organization to print the next issue. Somehow the rep, with impeccable taste in men and character, managed to talk her bosses into letting them print the second issue. This after re-enacting the mommy & daddy dance with our stories antagonist.

I’m bouncing around a bit here so bear with me. In December, as part of the next issue I’d managed to secure a photo shoot with fashion icon/founder, Harry Rosen. The shoot put Mr. Rosen next to an Aston Martin, in one of Toronto’s monster huge night clubs, while wearing Chucks. The shoot it turned out was and still is one of my favourite to date. But that and other networking successes didn’t matter to the ever more hostile and psychologically disturbed publisher person. My success in securing relationships only worked to further expose his pathological fatty tissues and ethical inadequacies. It was like slow dragging a doughy vampire into the sunlight. Peppered with liberal doses of denial, he was becoming more and more verbally abusive and contentious. Kicking and screaming, this Pillsbury doughboy would not go lightly into that goodnight.

In December, after putting up with his increasingly abusive behavious and I was near to walking. His ongoing condescending commentary and prickish attitude were becoming increasingly problematic. Luckily for us, with his family now living in Toronto I was at least rid of his stupid fat fucking face at the condo. The office was another story.

Right. I almost forgot about the printing portion of the show!

They totally hosed the printers for printing the two issues. The

“Money that should have gone towards proper infrastructure, qualified sales persons, and long term viability instead went to a high end condo and premium office space” first issue looked good, as it should have to print 116 pages on high quality paper using an offset press. This issue, which cost around $70,000 plus, made it out to the limited client and distribution list but more importantly it showed potential advertisers that we had a tangible product and we could develop a decent first run issue. The issue was met with limited success but the unfortunate printer would end up chasing Col. Fraud and company around for owed monies for a significantly lengthy period of time.

The printer for the second issue wasn’t so lucky. Despite their demanding financial reassurances they still ended up getting shafted in the end. So how did this person of pathological tendencies manage to convince the printer to accept the contract with only limited assurances? The answer, have sexy time with the nice sales lady. In a bizarre plot twist, he’d e 16

That printer, like the rest of us would learn never to trust a person named ____________ ever again. The printer would get paid, eventually, many many years later. But what’s important here is that we remember that this man with the lap dance addiction, was a loving, caring husband and fantastic father.

But my Christmas wish to have him removed from my postal code would soon come true. As I would learn, Calgary had been working a deal to remove the yelly one from the game.

There was a god. So it was that one freezing Toronto afternoon that the closer came to town. His office next to mine, the conversation was mostly one sided but it was clear that the sociopath was pulling out all the tricks to weasel out of his removal.

After an hour the door opened and he was required to leave. Like a nasty wart he had been surgically removed from the organization. On his way out he looked at me through his squinty little eyes like I’d somehow done him wrong. My preference would have been to see him actually go to prison for 10 to 20 but I’d take the removal of his face from the office instead. As it turned out the ‘board’ had wanted him removed for some time, but because of a poorly drafted partnering agreement, it had taken them a while to get the cajones or legal means to do so.

And just like that the asshole was gone. The end of a sociopathic era. Now it was just me and the nice marketing lady.

We could get back to focusing on developing relationships and evolving content without having to explain my existence to the lapdance-infatuated psychopath of an asshole. Good riddance.

Over the next few weeks me and my team continued to work on content and meet with potential advertisers for issue #3. We constantly had to reassure Calgary and the borge/board that ad sales were slow but that this was not a six month process.

We needed at least a year to make it work. Unfortunately for us, back in Calgary the publishers were working on a very unpleasant backroom deal.

It was late January that I’d gone out on a photo-shoot to they were as replaceable and insignificant a line item as a box photograph one of Toronto’s swanky billion dollar homes for of stale, assorted Timbits. the upcoming issue. After the 3-4 hour shoot with our staff Marketing Director lady, who was owed significant monies for photographer, I headed back downtown to the office. When her time and efforts, would never receive payment from either I arrived the office was empty, so I put down my laptop which Col. Fraud or the Calgary Living publishers. Relatives of one of I always kept with me, and went to unlock the door. The door the board members also didn’t escape the scenario unscathed. didn’t unlock. I thought at first perhaps They too were ‘talked’ into I had the wrong key or something had ‘investing’ between $50k-$75k happened to the lock. The door had “So how did he manage to convince into the organization before worked perfect that morning. So I went printer #2 to accept the contract with the locks were changed…they downstairs and asked the landlord if he never saw their money again. I only limited assurances...sexy time with could help. He informed me the lock had stayed on in Toronto for a month the print rep might be one option” been changed that afternoon. And so after trying to raise monies to the story takes yet another unexpected, salvage what I had started but psychologically damaging twist. to no avail. However during that time I ensured that every one Re-enter Col. Fraud. As it turns out, during my absence that person and a locksmith had entered the building and changed the locks. How you ask was it that a sociopathic dung beetle who’d been removed from office weeks earlier, charged with fraud, conned and lied to board members, and who’d put people’s financial well being and credit in peril, had managed to change the locks? The answer lay in the backroom deal that Calgary had arranged behind my back.

The deal would see Toronto Living handed over to one Col. Fraud, in exchange he would assume all debts associated with the publication. Calgary and company had literally given him the keys to the shop while I was out working on a story. This backroom deal, explained to me by the Calgary publisher told me in no uncertain terms that it was a corporate decision; that we had not sold enough ads to sustain the publication; that they didn’t want to manage the debt incurred by both them and that special big guy. I was told to pack my bags and come home. It was perhaps one of the poorest and shadiest business decisions I’d seen or have ever seen to date. Literally giving the keys back to the guy who you know is going to turn around and commit crimes upon the community, weeks after removing him from the premises. Genius.

So there, on the other side of the glass sat the artwork for the next issue, my contact sheets, reference materials and memorabilia I’d acquired during my five months on the job. I did not take the decision well. I contacted advertisers, I advised my writers and photographers of the change and that I didn’t know what would happen with monies owed. Of course, not only did he never did settle out those agreed debts, he never payed a single writer for submitted or contracted works. The individuals in Calgary were now legally off the hook for any and all debts, ethically however they knew Col. Fraud would never pay a single cent to my freelancers, which in essence made them complicit. For both publishing partners, freelancers were of little to no significance or consequence in the greater scheme of things. Some writers would later tell me how after six months of submitting published articles they were still chasing one of the publishers around for money. In essence,

of my industry and freelance contacts were made aware of my former nightmare’s behavior and empirical activities to date.

But Col. Fraud, whose life ironically paralleled that of the Wolf of Wallstreet’s Jordan Belfort, the lying tub of goo would not stay down, even when he knew he had a target on his back. A few months later, he and a Greek media person from the building formed a new partnership. Unfortunately for him, after realizing Toronto Living was not viable because of outstanding debts and tainted advertisers that he’d need to recraft a new product. So Greek partner and him started up a nouveau riche capitalistic publication, nauseously known as Opulence. After the publication was founded I spoke to the Greek partner warning him of my previous boss’s problem with illicit behaviours and fraudulent activities. He thanked me for my time and said he’d keep an eye on him. Unfortunately with only one or two issues of Crapulence under its belt, Col. Fraud like the raccoon who can’t resist the shiny Timex, would again be caught with his pudgy hands in the cookie jar. This time out, it was discovered, he’d been either withholding or receiving advertising cheques made to himself. This activity under the Canada Criminal Code is of course known as fraud.

He was given the choice of paying said monies back, and if he didn’t want to go to jail, sign over the publication. Col. Fraud, always thinking five steps behind, chose to not go to jail and signed over the publication to the Greek partner. They in turn tried to make a run of the defiled publication but failed after a relatively short period.

And that was the last I ever heard of the man, who like a big sociopathic shooting star, was gone. Like the guy with the wax wings who got too close to the lapdancer, the fornicating, psychologically tainted person, who’d made so many people’s lives a living hell had run his last scam. Where he ended up, to this day no one knows. I like to hope prison or Siberian work camp.

Six months later I was desperate to get back into publishing. Unfortunately the decision I made to work with the Calgary Living individuals again would be the wrong one. e 17

Confrontational emails and phone calls regarding payment to my unpaid Toronto freelancers during our separation time didn’t help the animosity during our alone time. I took the gig as UNPAID Editor-in-Chief /Sales person, where my compensation was based solely on ad sales…because in the real world, the Editor-in-Chief should be spend his time selling advertising instead of developing content.

bastard, who summarily saw it dry up like a Firebelly newt on Alabama asphalt. And that my friends brings us to early 2006 and the short-lived era of the cheque-bouncing man with a penchant for embellishment and trickery. Long story short, this ‘person’ continued to enact nd revisit very bad business behaviours and money management skills. So in August 2006, the graphic designer and I took our concept on the road.

Long story short, they turned out to be the same pathetic, ethically unstable and untrustworthy persons as before. Part of the issue was personality conflict, while another side of it was the story about not being able to afford me. This was of course a lie and a ruse. Financial records showed that while I was taking only commission monies as compensation the publisher was leasing two cars for $600 per month for him and his girlfriend. This unfortunately was clearly my mistake for trusting this person and for accepting to work under such a questionable compensation agreement. However Little man still owes me money I’d lent him to play sexytime with that lapdancer.

In September 2006 after meeting with another publisher here in town and pitching the idea for this publication, I started up elemente. Focusing on design, creative persons, industrial design, architecture, automotives, etc. the magazine was up until January 2010, one of Canada’s more promising and more progressive publications. I can say that with objective certainty because established publications like Azure, Western Living and Avenue all changed or adjusted their design or content in some way after elemente started to become a serious entity.

Azure actually added ‘creative’ to their tagline in 2012 after I changed elemente’s tag a few months earlier. But as competition becomes more real so does the need for publications to evolve and develop their content. Azure, you’re welcome.

During my short term with these persons I again managed to secure “Unfortunately with only one issue of Crapulence quality relationships and However the immature, ineffective under its belt, the king of fraud would once again develop better content, sales persons I had to deal with be caught with his fraud-mittens in the ad sales while unfortunately and during those 3 years was nothing cookie jar” simultaneously upsetting short of a marketing nightmare. It various exotic car and was a nightmare, because instead of their key jewellery client for not providing them the advertorial investing money into professional sales persons they chose pleasurings they and the ‘board members’ so desperately to go the cheap lazy route and bring in friends of people who needed. Perhaps it had something to do with my desire to not knew some friends. Most had no sales experience, where others create a promotional flyer for business people who mistook were just unqualified individuals who were doing Biggy Big a themselves for Madison Avenue quality clientele. No, you are favour. The lack of sales support, like before, meant once again I not Procter and Gamble, you are a little man selling overpriced would be responsible for sales, marketing, editorial, overseeing trinkets. This unfortunately was and still is how the game is creative, website and business development and working trade played by some publications. Calgary’s big lifestyle publication shows. During the three year period we sold near a million could be considered one such city-centric glossy advertising dollars in advertising, of which I was responsible for 60% of total book that remains in business today thanks to a very strict diet ad revenues. We put out 14 issues, featuring some of the biggest high in advertising and low in content, heavily saturated with names in design during that time. The magazine in my opinion advertorial trans-fats. would and could have done more, with a new team, but the mix of the American born recession and insufficient infrastructure So after a while I hated them more, and they of course they ensured it was not to be. The hit on my dysfunctional serotonin hated me. How much did they hate me, well emails acquired device was and has been nothing short of debilitating over the from their laptops showed communications to the effect of, “I past 3 years. want to punch this idiot (me) in the face” or “I can’t fucking stand this guy!” or “When do I get to punch this fucking guy in the head?” The latter courtesy of Col. Fraud’s original business partner. I actually kept those emails along with various financial documents as a reminder of what absolute douchebaggings these individuals truely were. Soon thereafter I was of course fired for not playing the client pleasuring game. Looking back it was rather traumatic but now I look on the experience as just another example of individuals who had no right being in publishing, or business for that matter.

Ultimately through the Darwin’s evolutionary process, their sad little advertorial exercise, like many before it, never survived.

It was unfortunately acquired soon thereafter by some poor

And even though elemente was receiving accolades, awards and big scale advertisers, the Mr. Big’s primary focus was still on his precious, poorly designed oil magazine. After only six months he was so ‘confused’, about elemente and its mandate that he tried to sell it behind my back to an evil publishing house from the north. That was also the night I overheard him beaking off in a drunk rant about my intellectual abilities; how fucking stupid and what a huge waste of money the magazine was, how they should sell it asap, etc. even though elemente was starting to gain traction while their provinical oil focused publication continued to lose money hand over fist. Needless to say my psyche was not okay after over hearing this bit of late

night sharing. The next day I learned this was Mr. Big’s way of ‘communicating’ and blowing off steam after work, whereas my thinking was more along the lines of rationalizing and validating an abusive alcoholic’s behaviour. Sad little drunk.

I want to say alcoholic with abusive tendencies who surrounded himself with an audience to validate his behaviors. Every night after work they’d drink. And not just a few, we’re talking cases of beer and the biggy bottles of vodka and rum, sometimes to the point of passing out drunk. I’d never seen anything like it.

At first, the drinking and the associated socializing was good clean, creative design shop fun. The casual party atmosphere was great for morale and team building, or so I thought.

However, after six months of watching Mr. Big get blind drunk and verbally abuse my graphic designer in front of the other business partner and his kids, to the point of tears, that I realized there was serious unspoken issue in the house.

ever should have stuck my foot in the sandbox. For clearly I was not only wrong in thinking I had the skills to put together a publication of substance but I also seriously underestimated the budgetary and personal investment was required of me to make the thing viable.” That’s my favourite publishing anecdote.

In December 2009, after years of trying to rationalize myself to these ‘people’ I’d had enough. In January, 2010 I resigned.

When I dissolved the partnership, I took the intellectual rights and the publication with me. The people who I’d initially respected and trusted, as with those before them, turned out to be just another disappointing phase in my publishing history.

But the best thing to come out of my 10 year publishing endeavour, was my meeting of the wife in 2006. That over and above the sociopathic, abuse, dysfunctionality, cheque bouncing, unethical activities, has been the one thing that has made this surreal journey all worthwhile. That plus all the friends and industry contacts I’ve made in Toronto, Calgary, New York, Europe and Vancouver.

I remember sitting there recording him rant off in one of his drunken stupors at my graphic designer for no valid reason. He’d I wrote this 6300 word diatribe not present the industry as ping pong back and forth between abusing her, then me, then unsavoury, but to showcase and highlight some of the industries back to her. Like that Rob Ford character he were. She cried, as uglier aspects and individuals. Most consumers only ever see I kept the Blackberry focused on his drunk angry face. I watch the finished, glossy product on their that clip from time to time just to refresh my way through Chapters so I felt it was memory. This behaviour continued until the “I remember sitting there important to tell not only my side of the day I left. listening/recording him rant story but represent those employees and But to a degree, they did assist in getting off in another drunken stupor freelancers who may have been brutalized the publication through its infancy stage; at the graphic designer, ping and marginalized like myself. even if that assistance was insufficiently dysfunctional and loaded with unqualified individuals of questionable intelligence and substance likings.

ponging back and forth between attacking her to the point of tears to interrogating me about whatever”

My favourite publishing anecdote focuses on how individuals wake up one day and think, “Today, I’m going to publish a magazine. I’m going to hire only the cheapest, least qualified sales persons and writers in order to save monies. I will hire my sister’s cousin who has some graphic design experience to lay the publication out.

My content will be of an advertorial nature, even though I will come up with stereotypical cliché tag/marketing line in which to fill my pseudo-realistic media kit. I will have no long term planning strategy, distribution plan. I will have no idea how many magazines I’ll need to print to remain viable and competitive before I start. My first issue will be full of C-grade advertisers who were given space at a premium or for favours in kind. My second issue will be significantly smaller with less advertisers and more advertorial content. By the third issue intelligent advertisers will start to pick up the fact that my content is weak and the page count is dropping significantly. I will try to leave millions of copies for free pickup wherever I can get them placed but won’t bother to pay attention to the pickup rate or associated throw away costs. The design will remain amateurish with poor typographical selections and layouts of mediocre inspiration. I will do all this for less than a year, maybe 18 months depending on my budget or financing. Then one day I’ll just pull up stakes and go back to my other job with the realization that I never

Sure I haven’t been an angelic creature in the past, but never once did I maliciously betray or lie to my writers or photographers about my intentions.

My intent was, and still is to create a product I can be proud of. A product not compromised by questionable ethical decisions or made at the expense of my integrity. But for me personally, what has made the whole experience even more challenging over the past ten years has been my struggle with depression and various side effects. Think ‘Silver Linings Playbook’ but with me as a less attractive Bradley Cooper character.

But in spite of it all, I never gave up. I still put out issues of elemente like this when I can. I don’t do it for the money because this issue here that took me approximately 12 months to produce, and generated exactly $0.00 in revenue, was done for the simple sake of feeding the creative beasty. Keeping the creative gorilla happy while retaining a creative outlet in which I can play unencumbered by dysfunctional publishers, is more important than selling my soul for a few more dollars.

And to those special individuals that tried to defile my existence and belittle my talents over the past ten years I say to you, nice try but I’m fine. Thanks for your concern.

Best, Angus

NEED A HAND CULTIVATING YOUR CREATIVE? ANGUS’ TEAM CAN PERHAPS ASSIST

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Our team of skilled contractors can consult on boutique magazines, sm book runs, non-profit collateral, architectural photography, writing, mar business development.

Contact angus@angusmediainc.com e 20

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boutique publishing. photography . marketing . design solutions www.ANGUSmediainc.com

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PokemAn XXX Buxxxer by Japanese design house ‘kokoro’ is tagged as ‘a suitable supplement to those who live with their spontaneity and carefree intimate moments alone or with friends.’ I don’t know about spontaneity but love the playful chinpokemon happy faces and happy inducing colours. Buxxxer is a collection of pleasure toys Geena, Clitt and Woody. ahem. www.kokoromilano.com

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X!

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Unfamous

Pocket

Art Harry Rosen teams up with Gary Taxali to create one of a kind Canadiana-themed pocket squares Images: Gary Taxali & Harry Rosen

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a comical yet uniquely transitional artistic manner.

“I was inspired by how diverse our Canadian cities are, and I tried to capture the different moods and stories of Canadian life in a playful way,” states Taxali. Each piece of artwork is reproduced on Italian silk, with hand rolled and stitched edges creating a fluid canvas. Taxali goes on to note, “this medium shows that fashion is art and art can be fashion.”

Long time friend of elemente magazine, Gary Taxali is an

Design house of the stylish male,

award-winning illustrator whose unconventional pocket squares blend Harry

Rosen recently partnered up with Gary Taxali, Canadiana artist/designer extraordinaire, on a new collection of special-edition pocket

s le p m a s t c u d o r p r o s e g a *im available upon request squares. Celebrating the idiosyncratic heritage and culture of featured cities like Toronto,

Montreal, Calgary and Vancouver, each square plays off of the character and landmarks of

each city. Taxali’s signature characters find their way onto each square portraying each city in e 26

the past with the present, drawing upon influences from vintage comics and advertising art as they work to communicate pop culture and colour into the staid world of men’s fashion.

Unfamous pocket squares will retail for $95 CDN and be available at select Harry Rosens and online www.harryrosen.com www.garytaxali.com

Unfamous pocket squares take inspiration from feature Canadian cities individual personality traits, cultural references and iconic landmarks

*im avai *images or product samples available upon request

*images or product samples available upon request e 27

* design

e-conically inclined Cute as an Italian bug, with a face only a bubble fish could love comes the award winning inner-city eSetta images. Anton Weichselbraun

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Developed

ultra-diminu tric vehicle

the iconica

design cue

unusual ae

door entry,

city streets

Research h

streets car

hours a da

an urban el

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by Reddot winner Anton Weichselbraun, the

form. It is inductively charged at sharing hubs through

utive eSetta was designed as an urban elec-

renewable energy, thereby eliminating range anxiety.

for use in car sharing programs. Inspired by

The front door slides and rotates, allowing passengers

ally cute BMW Isetta, the e-setta carries over

to enter and exit the vehicle efficiently. By giving the

es from the stable of the round, cute, and

car a low centre of gravity and friendly appearance, the

esthetic foundation. Inductive charging, front

designer intended to provide quick and nimble driving

, and clean, friendly looks intend to stir up

pleasure for two while reinforcing the positive aspects

s and make your daily commute fun again.

of car sharing. And there’s enough room in the back for

has shown that 80% of vehicles on Vienna’s

your Vienna Sausage and Phillip, the African Hedge-

rry only one person and remain idle for 23

hog.

ay, wasting valuable urban space. eSetta is

lectric vehicle intended as a car sharing plat-

www.tonytheperson.com

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* design

Cardboard Inclinations

Italian design firm A4Adesign, known for its creations in recycled cardboard, presents a new line of cardboard inspired furniture. According to A4Adesign their new product is meant for large areas, venues and events. The ‘Havearest’ line was used for installations at last year’s Milan Design Fair. e 32

The new entry consists of an armchair and twoseater sofa entirely made from recycled and recyclable cardboard that are assembled by simply dovetailing the pieces together with water soluble glue Images. A4A Design

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Google V ol u me 1

New visually driven dictionary replaces 21,110 definitions with images

Comprised of 1,328 pages and 22,416 illustrations this new book by King Zog’s Felix Heyes and Ben West have gone and replaced all 21,110 words of an Oxford Pocket Dictionary with the first Google Image.

The traditional word/definition thing is gone, instead replaced by each word’s first result from Google Images. For the visually inclined, this new take on definitions offers up a truely unorthodox method of searching the dictionary.

Interested parties can order the book through Jean Boite Editions of Paris www.jean-boite.fr/box/google_volume_1

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rock.me.

Archimedes Inspired by Greek smarty pants Archimedes, Matt Buchanan combines teeter totter with chinese checkers in his award winning ‘Rock Me Archimedes’ Images. Matt Buchanan

Greek mathematician, scientist and overall smart

spherical base, the game combines strategy, skill

guy Archimedes discovered the teeter-totter.

and luck to win. The game, consisting of a spe-

Okay not the thing that smacks many a young

cial die and 28 marbles, glorifies/celebrates the

child in underside of the jaw far too often, but the

first player who gets four marbles to the end of

founding principle behind the playground nemesis

the board without causing the board to touch the

- the lever. It would take several hundred years

table. What we really like, aside from its ingenious

but some guy named Matt Buchanan, designer/

design, is the packaging and simple yet oh so

winner of the 2012 Marbles Game Design Con-

complex gaming idea.

test, would take Archimedes leverage concept

The game was designed in the Marbles Brain

and transform it into Rock Me Archimedes. Made

Workshop and featured on Packaging of the

up of a wooden board that pivots on a semi-

World and The Dieline.

www.coroflot.com/Willer/Marbles-Rock-Me-Archimedes-Packaging

* design

simply sinky Wu Chun Ming’s ‘Reddot Winning’ kitchen concept, Simple Life, is a simple yet functional way of improving food prep efficiencies in the sink zone Images. Wu Chun Ming

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When it comes to food prep, the sink area is a critically important zone in the culinary process. For designer, Wu Chun Ming, the goal was to create a system that culminates a number of key food prepping stations into one holistic area around the sink. His ‘Simple Life’ sink zone works by collating washing, cleaning, chopping and ingredient storing into specially designated sections.

The system is premised around four key organizational features. The layout sets the foundation for the system by allocating different stations in one concentrated area. Next, the colander/ containers and cutting board can be arranged into different positions over the sink. This versatility allows chefs the ability to move needed components to the location of their liking, thus reducing the need to move about the kitchen from cutting to

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the holistic concept provides an all-inone working hub designed to reduce the typical chaos of food prep

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washing to storing. The third feature is designed so the custom designed containers can be stacked along the edge of the cutting board. Chopped items can then be easily moved into the container then washed or stored.

The final master stroke of the design is accomplished via a centrally located faucet. Now instead of the usual left right watering constraints, users can deliver water nearly 360 degrees around the central core.

By simplifying and cutting down repetitive procedures such as running about to clean cutting boards, wash vegetables, store cut items, etc. cooks can now focus on the making the meal fantastic and less on the gongshow that is food prepping. www.red-dot.sg/en

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* design destinations

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ion Iceland

Sense tap shows water temperature and adjusts hot or cold based on user’s hands Images. Design Hotels

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“previously an inn for the Geothermal Power Plant workers, the ion required a significant redux to bring it to its current eco-conscious luxury status�

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The ironic contrast of a contemporary structure placed deliberately on the slopes of an active Icelandic volcano is not lost on us. But that juxtaposed mix of raw, natural openness and modern eco-design is exactly what the Design Hotel’s new ION Luxury Adventure hotel is hoping will draw visitors to its volcanic doorstep.

Situated on the slopes of an active volcano - aka. Mt. Hengill - located just south of Selfoss, this new Design Hotel project takes advantage of its proximity to Iceland’s ‘Golden Circle’. This Golden Circle is a route encompassing a UNESCO World Heritage site between a place I can’t pronounce (the country’s largest lake) and the famous Gulfoss waterfall.

Which will come in handy upon the next volcanic eruption. At only 40 kilometres west of Reykjavik, Route 1 provides visitors a fairly direct route to the hotel on the country’s southwest coast.

The hotel, previously an inn for the Nesjavellir Geothermal Power Plant workers, required a bit of a redux to bring it to its current luxury status. Santa Monica based Minarc oversaw the renovation with the addition of a new wing and

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“the hotel is situated on the slope of mt. hengill, one of iceland’s many active volcanoes” e 50

the incorporation of a prefabricated panelized building system. One of the key directives for Minarc was to provide guests as much natural light as possible. Huge floor to ceiling windows met the light criteria while the overall view of the region’s enigmatic scenery was enhanced by placing the main communal area up on pillars.

At night, the brightly lit lounge, raised up on its pillars, looks like some type of Icelandic centipede coming out of the mountain. But with 46 rooms refitted with naturally sourced materials, the Design Hotels wants to see the hotel promoted as an ‘eco-conscious’ luxury alternative.

In keeping with the natural surroundings, the decision was made to go with a raw concrete and black lava exterior. Various sustainable techniques were used to support the building’s heating, electric and water needs. Throughout the space the designer has used recycled materials for beds and chairs, as well as driftwood and other natural pieces to further reinforce the symbiotic mandate.

Surrounded by the supporting stilts, underneath the lounge area, resides an open-air, 10 metre geothermal hot tub for guests to soak out the day’s Icelandic hiking adventures. Of which, according

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to the press piece, there are many in the area.

For those wanting to explore about, the hotel notes ice climbing, stargazing, glacier walks, birdwatching and diving are available in the region.

Or for those geothermal nerds wanting to get their geothermal on, the Nesjavellir Geothermal Power Plant is available for tours.

The ion hotel celebrates its one year anniversary this month, February 2014. www.designhotels.com/ion

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Huracanlp e 54

610-4

LAMBORGHINI’S NEW awd 610 hp HURACAN might just be a spanish METEOROLOGISTS WET DREAM PHOTOS: LAMBORGHINI e 55

Lamborghini, one of my favourite boutique auto designers of Italian heritage, has a new asphalt attack toy for us. Some of us. Not me personally, but a few wealthier individuals than myself look to be in for an all-wheel-drive treat when the wee company from Sant’Agata, Bolognese releases its new Huracán to the streets this spring.

The newer, faster, more technologically advanced successor to the outgoing Gallardo will begin its 60 city, 130 event world tour starting in Geneva, Swisscheeseland on March 6th. The 610 hp Huracán LP 610-4, with continued all-wheel-drive and a more dynamic chassis, will need to work pretty hard to surpass the Gallardo’s ten year sales record and impress its loyal fan following.

vehicles sold, the Gallardo which has bread and butter/most successful mod decade, now gives the new ‘baby’ La quality start point from which to prove itself a legitimate successor.

So what Lamborghini p u t

Like most all Lamborghini’s that sport the bully logo, the newest addition to the Sant’Agata stable is named for a famous fighting bull. Huracán (Spanish for hurricane), a feisty Spanish bull from the Conte de la Patilla breed, apparently put up one hell of a fight in the Alicante ring that warmish August afternoon in 1879. So with Huracán’s character and attack skills as the bovine metaphor was set. With over Huracan shares various technological elements with 14,000 Audi’s R8/R10

redesigned intakes & cleaner hood line

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did

s been Lamborghini’s del for the last ambo a e

redefined punchier haunches & roofline

permanent all-wheel drive

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into the car to improve upon the outgoing Gallardo. Apparently in addition to a new chassis, Lamborghini is quick to point out the Huracán is its most technologically advanced model to date. The Spanish hurricane employs a new 610 hp V10 that uses Lamborghini’s new ‘‘Iniezione Diretta Stratificata’’ (IDS) fuel delivery system that delivers both direct and indirect injections into the explosion chambers.

This new 5.2 liter engine not only twists out 413 lb.ft (560 Nm) of torque but reportedly delivers better mileage and emission outputs as compared to the Gallardo V10. ‘Stop & Start’ technology, similar to the Aventador’s is to get some credit for the improved fuel efficiencies.

Of course it has to be faster, but how much faster.

Well with power going to all four wheels, Lamborghini claims the Huracán will make 100 km/h (62 mph) in a right bloody quick 3.2 seconds. This initial acceleration time makes it just a smidge faster than a 2012 Gallardo LP 570-4, but when it comes to hitting 200 km/h (124 mph) Huracán needs only 9.9 seconds to get the job done. To hit the reported top speed of 325 km/h (202 mph) you’ll need an airstrip or one of those German roads that lack speed restrictions to really find out.

And that new ‘hybrid chassis’ that Lamborghini outlines in the press material is a wicken mixture of carbon and aluminum bits, whose careful alchemist blending puts the car in the ring at 1422 kg (3135 lb) and a power to weight ratio of 2.33 kg/hp (5.14 lb/ hp). Given Lamborghini’s engineering share time with Audi there is a very strong likelihood of Germanic/ Italian crossover activities going on between the Huracán and the R8/R10 series. Details that will all be revealed at the Geneva show.

Where the drivetrain is concerned, the car gets a brand spanking new 7-speed dual clutch gearbox in which to play about. The ‘Lamborghini Doppia Frizione’ or LDF for short, is a new transmission system, that when partnered with the car’s fully electronic alle 58

more hexagonals here

new 616 hp/413 lb.ft 5.2 liter V10 hexagonal elements in head & taillights

Huracan, named after a famous fighting bull & Spanish for hurricane, will replace the outgoing Gallardo

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Huracan has top speed of 325 km/h with 0-100 km/h in 3.2 seconds

LED headlights very similar to Aventadors

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profile shows one continuous line from tip to tail

wheel-drive system, allows drivers to setup the car for track or various road conditions. Like the Aventador where drivers can adjust the car’s engine management system, transmission shiftpoints, suspension taughtness and exhaust outputs, the Huracán too features three modes.

Strada, Sport or Corsa modes, activated via a red switch at the 6 o’clock position on the sensually gripped steering wheel, will take the car from exotic cruiser to track beasty in only a few twists of the switch. If the Huracán is even remotely similar to the Aventador’s ability to scare the beejeebers out of your trousers then the kids are in for one hell of a carnival experience.

But seriously, what if I want to stop? Lamborghini has thought of that too. In order to keep the wee attack fighter between the rails the fine folks from Bolognese county have taken the time to outfit the Huracán with some rather serious carbon ceramic brake discs. With no diameter specifications to assist in deceleration, though exact tire and brake specifics are in the mail.

A variable steering setup called ‘Lamborghini Dynamic Steering’ is optional for managing the twisty bits as is something scientificky called the ‘magneto-rheologic’ suspension control system.

This system uses a magnetic/fluid mix that when surrounded by a magnetic field changes its viscosity quicker than a traditional oil damper system, thus providing a faster, more precise suspension experience. Manufacturers like Audi, Cadillac, Ferrari have all tried their hands at the ‘magnetorheological damper system’ with GM’s new 2014 Corvette being the most recent magnetic believer.

But whereas engineering improvements are open to subjective interpretation until the Huracán is properly driven, the immediate aesthetic impression the new model delivers is very much a visceral one. Retaining some elements from e 61off the Gallardo the Huracán immediately comes

as a cleaner design with less cluttered lines and a more cohesive overall language. While the Gallardo’s nose with more pronounced intakes was stubbier and heavier, the Huracán’s grille and hood treatment are lower, leaner and more fluid.

Lamborghini points out that the car’s design is premised around one continuous line that flows unimpeded from the grille, over the cockpit, down the engine shroud, finishing off beautifully at the taught, angular rear end.

Unlike the Gallardo with its tapered boxy cockpit design, the Huracán’s roofline fans out behind the B-pillar and flares out seamlessly over the rear haunches. Lamborghini’s signature hexagonal design elements, like the Aventador, can be found in various shapes and sizes throughout the car. The favoured geometry of Lamborghini’s head designer, Filippo Perini, can also be found in the car’s LED headlight treatments and taillight design.

Huracán’s interior, like the exterior, looks to be exotically fantastic. Driving, navigation, speed and engine outputs, plus infotainment specifics are all made available to the driver via a 12.3-inch TFT instrument panel. Behind the performance shaped wheel one can find quite tall shifter paddles, while to the right on the center console is populated with various

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toggle switches, AC dials, infotainment and radio dials, and the all important red-brushed aluminum starter panel. The interior, chock full of hexagonal shapes similar to the Sesto concept, does feature some rather nice Nappa leather and Alcantara finishes. A swack of different colour matching combinations are available to go with the exterior finish... personally I’m partial to the yellow or limey green.

Lamborghini’s Huracán LP 610-4 will begin its rounds with private preview events at various European venues. Prices to be confirmed but it would be safe to guess the car will come in around the $275k US mark to stay inline with McLaren and Ferrari’s offerings. Clients can start taking delivery of the car this spring. I look forward to experiencing the Huracán, in person, at some point in the very near future. www.lamborghini.com/en/models/huracan-lp-610-4/ *This article originally ran on gizmag.com

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12.3� TFT instrum delivers key infor

new 7-speed dual clutch gearbox

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ment panel rmation

Aventador-styled starter switch

Strada, Sport & Corsa driving modes increase car dynamics

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inhabitable aluminum The cold harshness of aluminum takes precedent over wood in this ultra-stark, metallic space in Montreal Images. FrĂŠdĂŠric Bouchard

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Architect Jean-Maxime Labrecque project ‘Inhabitable Sculpture’ may appear cold, harsh and metallic at first glance, because that’s how the client intended it. After receiving two awards at the Grands prix du design a few years back The simple yet unconventional directive from the client was to build a space “that people will find cold” while also experiencing what it might be like to “live in an art gallery.” The client, with either an allergy or aversion to wood or warmer surface treatments, made the decision after her 800 sq.ft. Montreal space was reduced to bare walls, floors and ceilings.

After stripping the space to its bare bones, “a delicate multifunctional sculptural piece of furniture made of raw aluminum, inspired by Donald Judd’s work was installed.”

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the metallic space is purposely designed to be harsh & cold, but in an art gallery kind of way e 71

a suspending sliding door system provides access to the hidden walk-in closet

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The aluminum modules are more than cold minimalist fare, they in fact fulfill all of the home’s required space functions. The bed, walk-in closet, bookshelf, sofa, counter, stools, kitchen, and storage are all available as part of the functional mandate.

According to the architect, another attribute of this metallic room is the design of a room within a room. A special system of suspended sliding doors provides access to the “corridor of arches�, or walk-in closet as it were.

Housing key mechanical and related systems is a technical glass block that contains appliances, storage space and the water heater. The 10 x 10 bathroom, finished in black with huge mirrors, is ominously housed inside an old concrete vault.

This aluminum sculptural project, completed in 2011, although a few years old became a part of this issue as a direct result of its metallic juxtaposition relative to the featured wood projects that populate these digital pages.

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H

H house

South Korean residence designed by Bang by Min meets the needs of 3 generations under one roof Photographs: Joonhwan Yoon

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The first of the ‘alphabet houses’ in this issue, the H-House, is located in the South Korean village of Seongbuk-

The elevation drop was the

dong. Designed by Sae Min Oh,

first problem for Min Oh but

H-House is situated just off an old alley,

figuring out how to get light

on the leeward side of the slope. One of the problems in designing the house was how to meet the client’s mandate of comfortably accommodating three generations while dealing with a site drop of 8 metres (26 ft) from front to back.

For the exterior elements the architect chose exposed concrete molded into rectilinear forms and mud coloured

wooden panels as key building materials.

In

contrast

to

other

residences in the area the H-House comes off as monolithic and vertically dominating, but with interesting architectural

visuals.

However,

the way the spaces are offset on the front gives the project a multidimensional quality that helps break up the vertical massing. Reminds of recycling projects where shipping containers ends are staggered to give the same effect.

into the various enclosed spaces was another. With such

a

narrow

footprint

the space required some innovative window open

approaches treatments

space

planning.

to and A

cutaway courtyard with a sunken garden, lined with tall rectangular windows from floor to skylight, provides light and an openness to most all of the otherwise constricted

structure.

The

previous structure not only had to deal with daylight issues but also ventilation

H-House was designed to comfortably accommodate 3 generations under one roof, with private and versatile communal spaces

The new design not only solved the lighting issue but provided better ventilation and flow-through to the lower spaces

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problems. The new design not only solved the lighting issue but provided better aeration and flow through to the lower spaces.

The living spaces required special attention in order to meet the generational living requirements. On the second floor the architect decided the space could be used as a gathering point, or communal area for the entire family. However, since not all families interact perfectly on a day to day basis Sae Min Oh divided the living room space into three separate levels. Each generation then has their own private space in which to enjoy some quality me time. Folding doors and a transformable wall were incorporated so as to provide a flexible space for residents various party requirements.

Then to make some additional monies to

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The beauty shop, or Miega, opens up to the alley, making it multi-use and money generating

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On the second floor the flexible space can be used as a gathering point, or communal area for the entire family

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cover heating and electrical, a commercial space on the ground floor was included as per the client’s request. The beauty shop, or Miega, opens up to the alley providing a true multi-use aspect to the H-House.

The Miega hair salon space can be also used for private parties, as an exhibition space, gallery or café. So in fact the hair salon is more than just a space for cutting hair, it’s mandate also speaks to the ‘community within the village’ concept.

Sae Min Oh, the Principal of ‘bang by min emerging design group’, was awarded ‘The 30th Seoul Architecture Prize’ and ‘The 16th Korea Interior Design Best Awards’ in 2012. [e]

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T-house Contemporary Quebec country residence by NDA architects takes inspiration from two fictional Italian villas Photography: Marc Cramer

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T House is inspired by the writings of Pliny and 2 Italian Villas, Tragedy & Comedy, from around 100 AD e 86

Located in the middle of a forest clearing, high on a plateau in Quebec’s Appalachian Mountains resides the house known simply by the letter ‘T’. Built by Natalie Dionne Architecture (NDA) the contemporary T HOUSE was inspired not only by the region’s natural surroundings but by a two Italian villas from nearly 2000 years ago.

T HOUSE, designed for an urban Montreal family received its inspiration from the writings of Pliny the Younger. For those unfamiliar with Greek literature, Pliny, or Gaius Plinius Caecilius Secundus for short, was a Greek observer who wrote letters for various governmental departments of the day and notes for the military around 100 AD. In one of his many writings he spoke of a two villas located along Italy’s Lake Como. One villa in the hills was known as ‘Tragedy’ while the second, located along the shoreline, was named ‘Comedy’. Bit of pre-Shakespearian going on there. The two large Italian villas and Pliny’s writing were apparently enough of an inspiration for NDA’s clients that they chose to remake the residence in the villa’s image, but with a modern interpretation.

a natural vertical element to the structure. The second volume, a dark slate grey 24 m long rectangle, 1 storey in height, is embedded in the ground on one side, and then cantilevered over the hill at the other end. At the center of the project is an open transitional space dedicated to providing yet another panoramic view of the Appalachians and Mount Sutton. According to NDA, “the residence takes cues from its bucolic environment, whose architecture is defined and modulated by the natural views, sunlight and the topography of the site.”

T House’s first volume, a semi-cubic wood sided 2 storey provides

Borrowing architectural cues from

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certain Christian structures, the T House is premised around a cruciform plan, with orientation around a North-South / East-West axes.

The residence itself, its gardens, terraces and the rectilinear swimming pool all play a part in finishing out the project’s semi-religious formatting.

The home’s three distinct parts which form the letter ‘T’, are smartly divided up to provide not only optimal enjoyment of the surrounding vistas but also to offer its residents a stylistic space in which to relax. In the first 2-storey space resides the master bedroom and kitchen while in another section exists the main living room.

Guest rooms have been relegated to the third space. One of the home’s key gathering spaces, the dining room has been purposely designed to not only bring key spaces together but to simultaneously afford residents three critical viewpoints.

Around on the home’s east side exists a wooden deck that provides not only a place to sip poutine during the summer months but to also enjoy the million dollar view of the distant Appalachians. On the south side another key relaxation amenity in the form of a long, narrow lap-pool awaits. Accessed by a stone patio off the central space, the open pool leads to the woods where custom landscaping frames both sides.

Around the west side, overlooking a water garden is the dining room that has been strategically situated to take advantage of the setting sun and view of the adjoining woods. e 88

Bespoke finishing details and built-in furniture in the T House are on par with the home’s overall stylistic mandate

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Borrowing architectural cues from certain Christian structures, the T House is premised around a cruciform plan, with orientation around a North-South / East-West axes

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Bespoke finishing details in the T House are on par with the home’s stylistic mandate. Built-in furniture like the living room bookshelves, kitchen furniture, guest bedroom butterfly doors, bathroom cabinetry and a customized fireplace are all part of the T House’s plan to stay stylish, inside and out. Exterior walls finished in torrefied wood, cement board, Corten steel and white oak paneling penetrate into the interior to help blur the line between inside and out.

climat, the home also uses a geothermal climate control system in order to reduce its eco-footprint. Key openings, architectural elements and the building orientation were carefully placed in order to optimize seasonal comfort throughout the year. On the south side of the building for instance, the roof projects out over the patio to protect the lobby from becoming too hot in the summer, while simultaneously allowing winter sunlight to bring solar gain to the space. Concrete and natural stone flooring were used to retain coolness in the space in the summer. A hydronic heating system takes over later in the year to provide proper warmth for residents during the longish Quebec winters. www.ndarchitecture.com

Designed with state of the art techspecifications and certified Novoe 91

T House’s 3 distinct parts that form the letter ‘T’are divided up to enjoy the surrounding vistas but also to offer residents a contemporary space in which to relax

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{ PROJECT DETAILS } Project: T House Location: Sutton, Quebec Architects: Natalie Dionne Architecture Design team: Natalie Dionne and Martin Laneuville Contributors: Claude Lafrance, Marie -Andrée Larivière Structural Engineering: Alain Mousseau -Calculatec consulting engineers Inc. Landscape Horticulturist: Jocelyn Lussier Topia Garden Solutions Green Building Consultant: Jean -Philippe Beaulieu, engineer synAIRgis General Contractor: Roger Elijah Cabinetmaker: Stéphane Bilodeau Couch and Recamier – living room: Périphère Wooden chairs: Olivier Desrochers Red painting: Carole Bernier Other tables: Gilles Carle, Hélène Goulet and Villalonga Lighting: Systémalux Red lamp: ISAMU Surface area: 300 sq. ft. / 3230 m2 Completed: March 2013 www.ndarchitecture.com e 93

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Whistler Lodging

BattersbyHowat Architects goes full on ski-lodge in a cozy 5800 sq.ft. wood/ stone Whistler residence Images. Sama J. Canzian

1

2

5

3

4 6

8 7

9

10

11

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ft

Up the road a ways from the land of overpriced

ceilings give the space a warm, ski lodgey feel. Which

everything, rain and poor attitudes, up in the

is ironic since Battersby Howat observed, “that in the

highlands of Whistler where urban hipsters getaway

often garish environment of Whistler vacation homes,

to their overly exaggerated getaway shacks comes a

we chose to, focus on the structure and experience

fantastic mix of wood, concrete and metal accents.

that captured the essential qualities of the ‘ski lodge’

Located just above Whistler, resides a residence by

archetype but without the typical formal and stylistic

Battersby Howat Architects, that is according to the

constraints.”

firm, ‘is a large volume program with extensive visual

On the main floor, with the kitchen island and eating

massing’, or something along those archi-speak

area as centrepieces, visitors are surrounded by a

lines. The trapezoidal form, built primarily below

voluminous, naturally lit space. Saturated with cedar

grade, required extensive bedrock blasting to make

and cement the space provides panoramic views

it all fit into the landscape without overwhelming

of the local ground squirrels and nearby Whistler

the neighbourhood. Extensive use of red cedar and

mountain peaks. The main floor doubles as the

exposed concrete, along with high, open-beamed

entertainment zone, opening up onto a large patio,

10

20

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patio provides guests a view of the project’s open-beamed, angular rising roofline and accent lighting e 98

that provides an perfect view of the residence’s open-beamed, angular roof treatment and accent lighting.

Outside, the architect has extended the walls beyond the interior space, giving the effect of a slightly concealed inner sanctum while providing additional privacy. The exterior is one big, rising trapezoidal form, with only rectilinear lines and shapes to draw the eye up mountain. Zero curvilinear shapes were harmed in the making of this project.

The lower level, connecting directly to grade, is a maze-like conglomeration of private and communal spaces. Bedrooms and the bathing area are treated with the same holistic cedar/concrete attention as the rest of the house. Concrete walls that bracket seamless wood-lined alcoves provide access to resident’s sleeping quarters, mechanical and storage spaces. www.battersbyhowat.com

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kitchen island acts as a centrepiece, leaving visitors to deal with a naturally lit space lined with acres of concrete and cedar

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20

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Whistler house’s trapezoidal form, built primarily below grade, required extensive bedrock blasting to make it blend into the landscape

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Innhouse China

Kunming, China was the location of WAN’s 2012 Hotel of the Year; an experiment in timber, bamboo and vertical influences Images. Oval Partnership

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Featuring 17 guest suites, the INNHOUSE is configured around a cluster of four L-shaped structures, each linked by trails and courtyards e 110

Continuing on with the wood theme, the wooden slatted INNHOUSE by Hong Kong’s Oval Partnership, set high on a forested hill overlooking Kunming, is designed as an ecoguesthouse for roaming travellers.

According to the architect, the timber-clad

buildings

consist

of

reconstituted bamboo decking in a simple arrangement of forms.

Featuring

17

guest

suites,

the

INNHOUSE is configured around a cluster of four L-shaped structures, each linked by trails and courtyards.

Each building is made up of three subsections, each with two wings and a semi-opened vertical circulation unit, all linked by a viewing bridgecorridor.

Protruding integrated

angular with

a

elements, cantilevered

balconies, allow travellers unimpeded views

to

the

open

greenspace

surrounding the property.

At 6,842 sq.m. the Kunming project’s eco-mandate is met by applying

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sustainable

techniques,

both

active and passive, to the mix. In addition to maximizing lighting in the day, the site also relies on natural ventilation, watershed conservation, solar and thermal hot water usage, and rainwater and grey water recycling. A highly insulated envelope was also incorporated in the build as was reconstituted bamboo. Special attention was paid to habitat preservation

and

intelligent

building control systems.

The Kunming INNHOUSE, was one in a series of projects by the Oval Partnership as part of a concerted effort to raise awareness around eco-friendly and sustainable design with the hope of influencing future projects in the region.

www.ovalpartnership.com

slatted, rising wooden turrets & open walkways give the innhouse an eco-fort like aura

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Brazilian Pairing Sao Paolo’s Mistral wine shop presents clients with slatted, rising corridors that ebb and flow with a subtle design pairing note Images. Arthur Casas

Wine distributor Mistral presented Brazilian firm, Studio Arthur Casas, the challenge of creating a store that would both challenge and enhance the way their clients see wine.

According to the firm, “Since most of their sales are done on the internet, we had to conceive a space that would showcase the wine in a recreational way, justifying the physical presence of the client, attracting both new customers and connoisseurs.�

At only 100 sq. meters the space is small, yet ambitious for the conceived program. In order to make space for sales, a wine cellar, an interactive gallery, storage space, and a reading and wine tasting room, Casas decided to go with a curvaceous design.

Above white lit display case individual bottles are displa museum pieces, tall wooden surfaces flow around the spac it a warm yet modern feel. Ac to Casas, “We aimed to in customer to discover the content of each bottle. Th creates a path where the appear gradually. Suspended follow the organic shape, by a backlight topped by lath, giving the store an eleg discrete atmosphere.”

An interactive table, projects information onto a screen w bottle is placed in the des spot. Bottles with sensors bottom, then become allowing consumers to rot selection that in turns reve details such as the region notations, interviews, etc. Me at the back of the store, woo form a bookshelf as a Lina B chair lets customers peruse materials as they rest next to wall populated with various vi

The store’s technical equ hidden in the walls, is separat the main corridor by a gla while a double height cellar own air conditioning is in p store rare wines as needed.

Many firms have attemp conjoin the design experien the client’s product manda packaging, and architectu one cohesive package. In the winestore, Arthur Casas has d outstanding job at accomplish required mandated by pairin critical elements altogether aesthetically innovative space www.arthurcasas.com e 116

es where ayed like n, slatted ce giving ccording nvite the unique he curve spaces d bottles formed a wood gant and

relevant when the signated on the cursors, tate the eals key n, year, eanwhile od laths Bo Bardi reading o a high intages.

a curvaceous design was chosen In order to accommodate a wine cellar, interactive gallery, storage, plus a reading and wine tasting room

uipment, ted from ass door with its place to

pted to nce with ate, with ure into e Mistral done an hing the ng these in one e. e 117

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Shearing Quarter House The award winning ‘Shearing House’ is ironically named for its sheepish proximity to a historically relevant sheep farm in Australia’s Huon Valley Images courtesy John Wardle Architects

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Bedrooms likely evoke an apple scent thanks to recycled apple box crates used as the primary lining

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Another brilliantly conceived residence of wooden influences is The Shearer House. One of the sheep inspired homes in this issue, this one designed by John Wardle Architects, is ironically named for its proximity to an existing historic cottage on a working sheep farm.

According to the firm the site is located where an old shearing shed once stood by was raised by fire. The space now houses old shearers, family and friends for weekends and getaways.

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The plan is designed to, “transform along its length to shift the profile of a slender skillion at the western end to a broad gable at the east. The geometry of this shift is carried through to the layout of internal walls, lining boards and window frames. A singular palette of materials is used with corrugated galvanized iron to the exterior, and timber internally. Inside is a large open living/ dining/kitchen area, bathroom and laundry, two bedrooms and a bunkroom.�

The inner wooden lining is that of Pinus Macrocarpa, a wood which is sourced from various suppliers primarily gathered from old rural windbreaks.

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Bedrooms likely evoke apple scent thanks to recycled apple box crates used as the primary lining. Sourced from old orchards in the Huon Valley region, the apple crate timber has remained stacked but unused since the late 1960s. The architect also reports the incorporation of other ‘unusual materials’ in the residence, again sourced from old shearer tools and the like from the now gone shed. www.johnwardlearchitects.com

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en memorial Calgary’s Poppy Plaza by Marc Boutin Architects and Stantec pays homage to war victims & veterans through an experiential landscape design Images. Angus MacKenzie

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B

Between the major military conflicts of the last hundred years where Canada has participated, approximately 117,316 soldiers have lost their lives in battle. To pay respect to those fallen on the field during WWI, Calgary in 1922 planted a tree for every one of the 68,000 soldiers lost. The stretch of road running parallel to the Bow River near

the city’s downtown core has for the past 90 or so years been known as Memorial Drive. But in 2013 Marc Boutin Architects, in collaboration with the City of Calgary, Stantec and federal veteran departments, unveiled a new memorial site in the form of Poppy Plaza.

The Poppy Plaza project presented Boutin and his team with a number of challenges.

How to connect contrasting access points to the site was one concern, was how to access the river, but most important was the creation of a space that could accommodate large events, informal gatherings, e 131

Poppy Plaza is the first in a series of nodes running parallel along Memorial Drive’s pathway system e 132

while still remaining an inclusive commemorative

low-maintenance Balau wood as a design dedica-

voice for the space.

tion in honour of the existing heritage tree. Under-

Located on the corner of Memorial Drive and 10th Street N.W. Poppy Plaza is designed to re-honour those fallen military members in a more contemporary narrative. The 86,100 square foot (8000 sq.m) plaza, organized around either side of the 10th Street Bridge is organized around two surfaces.

lighting on the decks many gravity defying benches not only cast light outward towards the river but also illuminate the water-cut poppies and maple leafs designed into the supporting metal arms. The second critical design element of the site is a “weathering steel wall that navigates the steep grade along the riverbank.� The steel wall is more functional than

First, on the west side of the bridge Boutin and his

decorative in its mandate of protecting the wood

team chose to use a folded wood deck made of

deck from Calgary’s ice flows in the winter. The e 133

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two surfaces of wood and steel were specifically

area, with its unique seating program is also popu-

chosen for their “abilities to transform and facilitate

lated by a grove of new Aspen trees. These As-

site-specific framing while opening up the space

pens, underlit by deck mounted pot lighting, when

to different opportunities in which to engage and

viewed at night take on an almost transformative

inform the public.”

poppy-like demeanour in their red hued form.

The wood deck surfacing was chosen to not only

Two stairways, one each side of the bridge, allow

act as a “singular, continuous surface” but because

visitors access down to the bike lane /walking path

of the site’s topography, the material helps bring

on the river’s edge. Along the stairways and path-

together varying spaces while simultaneously deal-

way a series of memorial narratives and quotes

ing with several grade changes. The primary deck

from various sources are water-jet cut into heavy e 135

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steel surfaces. These back-lit quotes from world leaders and Canadian citizens not only speak to “the sacrifice, honour, and hope associated with periods of conflict” but provide a poignant voice to the site, providing context to the space and added rationale behind its mandate.

According to the architect, “Lighting was used to stir emotion and evoke a sense of respect, awe and introspection tuned to memorialisation. Two illuminated sentinels were placed on the south bank of the river, framed by the visitor’s decent through the steel-cut quotes on the north side of the river.

On either side of the bridge reside massive angular steel sentinels. Rising up approximately 25 feet above the street, the skyward reaching twin elements appear to be almost torch like or victorious in their design. In a commemorative, narrative act, a e 137

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elements such as water-jet narratives, illuminated trees & sentinels offer an inclusive reflection on the sacrifice, honour, & hope associated with times of conflict quote from “Flanders Fields”, residing on a ris-

loud yelly presentation. Whereas the type treatment

ing water-cut elemente at the foot of the ‘steel

and staggering is a cool effect, and does draw the

torches’, forces the eye upwards in an obvious

eye to the site, the execution of the oversized letter-

manner.

ing comes off as perhaps too extreme for the site’s

The architect’s intentional use of angular, ag-

commemorative mandate.

gressive movement and forms in the site’s

Poppy Plaza is the first of a series of planned nodes

build was clearly designed to change visitors

along The Landscape of Memory, a 9.5 km pathway

perspective as they engage with the plaza’s

project running parallel to Calgary’s Memorial Drive.

various elements. Whereas giant assed metallic letters spelling out MEMORIAL on the

www.the-mbac.ca

site’s western edge are less than subtle in their

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hAMSTER

WONDERLAND Foster & Partners ‘Bow’ tower may be Canada’s 2nd largest tower but it ain’t no Plensa Wonderland Images. Angus MacKenzie

It’s big, it’s bow shaped, it really really looks likes Toronto’s City Hall, but at 58 stories it is taller than any other structure in the great gassy oily petrostate of Calgary. Hazzah.

But is Penn & Tellers, I mean Foster and Partners Bow tower really that great? Well yes and no. First it got us a Plensa so that’s cool. Secondly the sustainability aspects of the build and technological aspects of it are rather delightful and forward thinking. But in the grand architectural theme of things it just kind of stands there like a big crescent shaped honorarium device to Encana and Cenovus. No British gerkin here, just one big old semi-circular building that from space ironically resembles a politically slanted small c. Ironic that.

Taking up a total of 158,000 square metres (1.7 million sq. ft.) and at a cost of $1.4 billion Canadian, the Bow is the second highest structure in Canada outside of Toronto’s pointy CN tower. The southwest facing Bow, so aligned to take advantage of the giant glowing orb’s heat giving attributes in order to decrease heating requirements in the Calgary’s 9 months of winter. According to the architecturally minded F&P the diamond e 142

shaped bits on the external are in fact part

“...in the grand architectural scheme of things the bow is nothing more than a south facing, 58 storey pillsbury crescent roll�

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of a functional decision, “The diagrid structure,

access and direct traffic to the various office

in which each triangulated section unifies six

spaces where the workers may or may not have

storeys, help to break down the scale of the

their jobs from one day to the next, depending

building visually. Where the building curves

on the price of natural gas or oil, or both, on

inwards, the glazed facade is pulled forward to

any given day.

create a series of atria that run the full height of

The exposed exo-skeleton provides worker

the tower. These spaces act as climatic buffer

bees an interesting architectural view into the

zones, insulating the building and helping to

building’s criss-crossing structural members

reduce energy consumption by approximately

and functional details. The second floor allows

30 per cent.” I’m assuming atria is archispeak

‘gassy hamsters’ or ‘petroleum workers’ access

for atrium.

to their favourite fastfood feeding troughs and/

Three sky gardens, or atriums, provide vertical

or coffee huts via one of the many enclosed e 145

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walkways, or ‘hamster tubes’, before being herded politely back to their respective shaving laden cubicles. The Plus 15 system that’s been part of Calgary’s downtown since the 80’s, is designed to keep hamster workers warm from Calgary’s bipolar winters until it’s time to head home in their respective SUVs to their homes in the ‘burbs where a warmish meatloaf and bland pudding awaits. The second floor also has stores and stuff.

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“Wonderland’s face MORPHS from an evil oz-like character on the inside to a kind and forgiving diety WHEN VIEWED FROM the outside”

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But about the Plensa. Ah yes, the gloriously sculpted giant heed of steel located afront the crescenty shaped building. Whereas the Bow has been given title of 2nd highest structure in Canada, Plensa’s wirey head should be designated one of the country’s greatest public art offerings.

Commissioned

by

Encana,

the

oddly

named

‘Wonderland’ designed by Spanish artist Jaume Plensa is a 12 meter tall wire head, who’s design inspiration is taken from a young girl’s headshot.

Painted in white with openings for the people to walk through, Wonderland’s facial features change from that of a giant OZ-like character from the inside, to that of a kind and forgiving diety on the outside.

According to Mr. Plensa, “My vision for Wonderland was to inspire everyone who experiences the sculpture: I believe the architecture of our bodies is the palace for our dreams.”

An inspirational thought by Mr. Plensa, juxtaposed nicely against the big architectural phallic member/ big letter C/Toronto City Hall impersonator that towers ominously, yet metaphorically over the small headed one at its feet. http://jaumeplensa.com www.fosterandpartners.com/projects/the-bow

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The Opulent Pre-Depression Architecture of Detroit

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Photographic works by Philip Jarmain

Belle Isle Aquarium architect Albert Kahn, 1904

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Woodward Presbyterian architect Sidney Rose Badgley, 1908

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Since 2010, Canadian photographer Philip Jarmain has been documenting... the increasingly rapid destruction of

2009, the US recession hit Detroit like a

Detroit’s early twentieth-century buildings.

second Great

His emphasis is on the architecture itself

Depression, compounding the decline

of these vanishing edifices: The form and

and the ruin. The population dropped

the detail. In Jarmain’s own words: “These

from 2.8 million people in the 1950s to

are the last large format architectural

a current population of 706,000. The

photographs for many of these structures.”

unemployment rate is now over 30%. The

This is work of great visual impact, the scale

majority of these majestic pre-Depression

and definition of the images translating for

buildings are presently being destroyed

the viewer into space that one enters, a

at an exponential rate as they lie victim

physical presence that one feels, and

to scrappers, arson, and demolition.

history that one contemplates.

Despite these events Detroit -- Motown

The

city

of

Detroit

has

had

an

unprecedented impact on the industrial

-- remains a cultural powerhouse and the passion of its residents is infectious.

age and the modern world. Once called “The Paris of the Midwest,” it was a city driven by innovation and craftsmanship.

The architecture of Detroit in the early 1900s rivaled that of New York, Chicago, or Paris. Then came the Great Depression of the 1930s. Though Detroit would rise again, the era of opulence was over.

The boom of the 1950s did not produce another architectural renaissance. In

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◄ Michigan

Central RAILWAY STATION

architects Reed and Stem, Warren and Wetmore 1913

▼ Fisher

Body Plant No. 21 architect Albert Kahn 1919

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â–˛

The David Whitney Building architect Graham, Burnham & Co., 1915

â—„ East

Town Theatre

architect V.J. Waiver, 1930

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The German House architects Louis and Paul Kamper 1928

Ford Motor Company Model T Headquarters

architects Albert Kahn and Edward Gray 1910

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East Town Theatre Exterior architect V.J. Waiver, 1930

Highland Park Police Station

architect Van Leyen, Schilling & Keough, 1917 | demolished 2012

MICHIGAN Theatre e 162

architects Rapp and Rapp 1926

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▲ The

Lee Plaza

architect Charles Noble 1929

◄

The Farwell Building

architects Bonnah & Chaffee, the Russel Wheel and Foundry Company, and Tiffany Studios of New York, 1915

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▲ Vanity

Ballroom

architect Charles N. Agree 1929

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▲ Basement

of the

architect Louis Kamper, 1924

the Book Cadillac Hotel No.2

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That is

n t t y a

Toronto’s DX Exchange to explore urban vinyl as design and as a legitimate art form Images. DX Exchange

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In February at Canada’s Design Museum, the Design Exchange (DX) will host the world’s first ever large-scale exhibition dedicated to urban vinyl as contemporary art will go on display. Until May 18 vinyl fans will have the opportunity to see firsthand the phenomenon of designer “toys” as the DX Exhibition Hall is transformed and filled with toys ranging from the small to gigantic free-standing pieces.

Guest curated by singer/songwriter/producer Pharrell Williams the exhibit will feature international works that demonstrate conceptual sophistication, rigour and execution as provided by some of the industries most artists.

In addition to Williams guest curatorial duties, the exhibit will be cocurated by John Wee Tom, co-founder of the Templar Hotel and DX Associate Curator, Sara Nickleson.

This Is “Not A Toy” takes its name from the disclaimer found on packaging for objects geared to adults that might be harmful to young children. With roots in late 1980s graffiti culture, the subversive and cult-like art form of urban vinyl is as rebellious as it is fun. Lying at the intersection of fine art, marketing, pop culture, product and graphic design, toys are highly collectible objects for a post-Pop world, often selling from hundreds to tens of thousands

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▲ COARSE

so

▲ COARSE. FALSE FRIENDS

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â–˛

Additional artists on display include: Takashi Murakami, Yoshitomo Nara, DOMA, Misaki Kawai, Bill McMullen, Frank Kozik, Coarse, Huck Gee, and other influential toy artists, plus producers Kidrobot and Medicom.

The Canadian component includes custom toys by: Douglas Coupland, Castor Design, Bruno Billio, Bruce Mau Design, Julie Moon, Sid Lee Collective, Doublenaut Design, Team Macho, Rhed and Blok Design.

kidrobot dunny derek shapton

BRAND NAMES

ARTISTS + DESIGNERS With popularity beginning in Japan and Hong Kong, the movement has travelled west attracting prominent artists from around the world.

Designs range dramatically, from fashion designers like Vivienne Westwood to New York-based graffiti-turned-painting-and-sculpture artist Brian Donnelly, known as KAWS.

â–˛ murakami kaikai + kiki derek shapton

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KICKSTARTER COMPONENT

Unique to this exhibit is the Kickstarter component. With a goal of raising $75,000 by December 26, 2013 this will be the first time a crowd-funding platform has been used to raise funds for an exhibition of this scale by a public institution in Canada.

According to the DX Exchange, “The Kickstarter platform was chosen because of its metrics and demographics: its audience comprises the very same tech-savvy, socialmedia hungry, pop-culture vulture audience with a taste for the new that are typically fans and collectors of urban vinyl.”

A giant glass structure will be designed to house more than 100 blank Kidrobot Munnys, each toy representing one person who has donated to the exhibition’s Kickstarter ▲ Sushi & Octo by Huck Gee

campaign at the $500 and $1,000 tiers. Over the run of the four month exhibition, visitors will have a turn to shoot a paint ball gun at the group, creating a continuously-changing Munny landscape. At the end of the exhibition, each painted up figure will be sent to the respective donor as thanks for their support.

See the DX “This is Not a Toy” website for more information on the Kickstarter program and various donor packages.

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▲ COARSE

▲

PASSAGE: BY COARSE

Urban vinyl by the numbers 1,000 50,000 26,000

original release price of Yoshitomo Nara’s Sleepless Nights Sitting in 2007 Buy It Now price on eBay for Yoshitomo Nara’s Sleepless Nights Sitting

number of diamonds and gems that cover 7 white, yellow and rose forms of Pharrell’s everyday essentials, as part of The Simple Things: the 6 foot sculpture created by Takashi Murakami, Pharrell Williams and Jacob the Jeweller in 2009

1998 500 13 8 3

recognized as year zero of the urban vinyl scene

number of 3” production Kidrobot Dunnys that will be assembled behind a glassed-in display wall for This

Is Not A Toy

number of designer toys acquired in 2008 by MOMA for their permanent collection

foot monumental AD-AT sculpture to be unveiled by Bill McMullen, commemorating the 10th anniversary of the

original release of his Star Wars AD-AT Walker X Adidas Shelltoe toy larger-than-life plush pieces from DOMA that will be at the DX, including Stupid Tank

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▲ COARSE

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▲ kozik labbit 2 derek shapton

▲

HUCK GEE PENNY 1

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▲

John Wee Tom Exhibition Initiator and Co-Curator

murakami peach derek shapton

“These are toys in name only. They play with perceptions, imagination and expectations of what a toy is. But unlike ordinary toys, they have something for the designer or art critic because of their underlying messages. They’re just cool for kids, adults, jaded teens, hipsters, fashionistas, designers, artists and culture hounds alike.”

▲

▲

DOMA STUPID TANK

DOUGLAS COUPLAND

â–˛ huck gee bruiser

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▲ Huck Gee Elephant1

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salt lake 5.6 The stark contrast of the Bonneville Salt Flats provides the blank canvas for this motorized photo-essay Images. Julien Roubinet & Pauline Bellocq

salt lake 5.6 The stark contrast of the Bonneville Salt Flats provides the blank canvas for this motorized photo-essay Images. Julien Roubinet & Pauline Bellocq

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6

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∫∞ During the 2012 World of Speed, New York photographers Julien Roubinet & Pauline Bellocq focused their DSLRs on the cars and bikes of the Bonneville Salt Flats. The salty photoessay showed how the transformed, performance enhanced vehicles become striking subjects when placed against the stark white contrast of the Salt Flats.

Images.

Julien Roubinet & Pauline Bellocq Buy the book here http://voilabonneville.com/

∫

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2 days of quality seat time in McLaren’s 616 hp multi-talented piece of F1 inspired brilliance that is the 12C SPIDER

50 Hours of McLaren Words, photography, driving - Angus MacKenzie

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Apparently I’d been an inadvertent fan of McLaren since the ‘60s as a result of my extensive Strombecker’s slotcar interactions...

Before McLaren became synonymous with Formula 1, and before the release of the iconic F1 supercar in the 90s, there were slotcars. Yes you heard me, slotcars. Going through some old Kodaks, I realized I’d in fact been driving a scaled down, electrified McLaren back in the late 60s. I believe my slotcar of choice was an 8MD in which I consistently relinquished the checkered flag from my younger, slower brother. But the idea of driving a full-scale 616 horsepower McLaren 12C Spider, easily brought back memories of speckled cold

basement floors where the smell of ozone, overheated transformers and oiled down Strombecker slotcar tracks permeated the air.

But before we get into the brilliance of the 12C, let me go on record by saying that until I’d driven the McLaren, Ferrari’s F430 was my top of list road attack vehicle of an exotic nature. No more. Not only is McLaren’s mid-engined ride light years ahead of anything I’ve ever driven in respect to suspension adaptability, Formula 1 genetics, power management and gearbox performance, it’s also e 197

“The active rear spoiler pops up to increase downforce at speed but also becomes an airbrake during extreme stopping maneuvers�

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possesses the real world legitimacy to be used as a daily urban commuter. Except during Polar Vortex’s then its likely best you take the tram.

side, the 12C’s variable-rate, electro-hydraulic rack and pinion steering, is as close to perfection as one can get in a road-going supercar...in my opinion.

The ride, courtesy of McLaren North America was part of an experience celebrating McLaren’s 50th Anniversary in 2013...coincidentally the same year I ventured into the land of fitty somethings. God help us. But I will say, nothing solves a mid-aged crisis like maneuvering the 616 hp open-aired McLaren about Toronto’s Don Valley Parkway.

But any minor concerns vaporize like so many blurred road lines as soon as McLaren’s award winning twinturbocharged M838T V8 engine is let out of the yard. Featuring over 1,100 bespoke parts, the allaluminum engine specifically designed for the 12C weighing a mere 440 lb uses dry sump oil system and a flat plane crankshaft configuration. The 3.8 liter engine, located low in the body, produces 616 hp and 443 lb.ft of torque, of which 80 percent of peak torque is available below 2000 rpm. That low torque application provides a power band with extensive scope and usability. These figures are reported to give the 12C a top speed of 329 km/h (204 mph).

As brilliant as the car is there are a few minor complaints. One issue is the myriad of control stalks on the steering column. In total McLaren has placed six levers on the column, three per side, not including shifter paddles. The shift paddles, positioned at 3 and 9 o’clock require adjustment for those used to driving at the 10 and 2 position ie. continually needing to move my hands down the wheel to blip the gearbox. The 12C’s unconventional steering wheel design, is albeit beautifully wrapped in leather with carbon fiber spokes, but the grip is for some reason tapered on the trailing edge. I’m not sure of the rationale behind the design, but never grew to love it after 48 hours. On the positive

Overall the 12C Spider weighs in at 3,033 lb – not super light, but still very much acceptable for a car of this type. Measuring out at just under 4 feet tall and a tad over 6 feet across the hips makes getting in and out an interesting but nothing ridiculous like some. A weight distribution of 42 percent forward and 58 percent aft makes for an old-school rear e 199

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“The 3.8 liter engine produces 616 hp and 443 lb.ft of torque, of which 80% of peak torque is available below 2000 rpm”

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needs captions & stylistic comments, active rear spoiler, side ducts, etc...put in captions

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weight bias that makes for pivot-like handling characteristics and a car that feels very much like a track-bred exotic when prodded politely.

The 7-speed gearbox in the grey 12C, another bit of race-inspired brilliance, gets major British engineering kudos for its diverse capabilities.

The so called ‘Seamless-Shift Gearbox’ (SSG) pre-loads the next gear, which in turn provides some of the fastest, seamless shifts I’ve ever experienced. Driving about Toronto’s varied urban and country roadways allowed me to try the gearbox out in its many forms. In partner with the V8’s expansive power range, the gearbox is fantastically adept at throwing out lightning shifts in performance mode when called upon.

Out in one of Rob Ford’s many industrialized areas I had the opportunity to explore the engine and 7-speed gearbox partnering capabilities out in a more spirited fashion.

With 0-100 km/h times of 3.3 seconds (3.1 on Corsa tires) the 12C communicates power so directly and effectively that you can almost hear Bruce McLaren giggling like a school girl as the car revs up to 7000 rpm.

Another engineering feat is a near zero presence of turbo-lag from the twin-turbos.

McLaren says it achieves this seamless boost by adjusting one turbo bank to kick in a little earlier, but unlike a sequential turbo arrangement, this car’s system uses smaller turbines. Smaller impellers that spin up faster, with slightly different wastegate adjustments, makes that evil procrastinator of power turbo-lag, damn near non-existent on initial acceleration. Well done chaps.

On the other side of the 12C’s gearbox/engine pairing is a diversity and range that few cars of this ilk can match. Driving up and down Toronto’s Bay Street with the gearbox in auto-

“12C’s design, courtesy of frank Stephenson & co, is a fluidly dynamic thing of beauty, where biomimmicry influenced elements flow about effortlessly”

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“driving toronto’s indy course the first night, i realized how effortless it would be to acquire many speeding tickets, everyday”

12C SPIDER Specs HorsePower 616 hp

| Torque 443 lb.ft.

Cylinders/turbos 8 / 2

| Top Speed 329 km/h

| Gearbox 7 spd dual-clutch

mode, I found the car could easily be used as a daily driver. Unlike other exotics where gearboxes are anything but well-behaved in auto-mode, McLaren seems to have done the impossible and made a performance gearbox that could easily be mistaken for something out of a Mercedes or BMW. Further to the 12C’s long list of desirable traits is McLaren’s Proactive Chassis Control (PCC).

Developed in Formula 1, the PCC system is comprised of linked hydraulic dampers that adeptly manage the car’s roll and ride stiffness, enabling the 12C to transition from an agile thing of beauty, with flat supercar handling characteristics, to an inner city commuter quite competent of handling most road imperfections.

Like most exotics of this nature, drivers are given the choice of Normal, Sport and Track Modes, which are adjusted by a knob on the center console. During my short stint I did manage to experiment with all three.

I found ‘Normal’ mode to be perfect for cruising about as the 12C soaked up Toronto’s nefarious tram-tracks and irregularities with ease. But for the most part I left the car in ‘Track’ mode in the event I needed more research material.

Then another bit of English wizardry hidden in the car - that I was unaware of until after I’d driven the car - is this F1 bit of inspiration known simply as ‘Brake Steer’ (BST) technology. The system, designed to manage traction, minimize mid-corner understeer and control oversteer when cornering at speed, is

|

0-100 km/h 3.3 sec

| Weight 3,249 lbs

| Carbon Fiber Monocell

actually an outlawed piece of F1 technology. Using their MP4-13 as a test mule, McLaren found their brake-steer system gave them significant braking and handling advantages in the corners. The hidden technology didn’t last long after it was inadvertently discovered by a journalist who poked their camera in the cockpit, accidentally revealing the hidden third pedal.

The current day system however takes into consideration speed and steering angles, then calculates best braking pressures to the back inside wheel, causing the car to pivot around that point rather than just steer through. Something that came in very handy when I was negotiating Wendy’s drivethru in an effort to acquire the #7 Chicken Grill combo. Of course I would never allow crumbs into the 12C so I left it outside, over watched over by Toronto’s finest.

Aesthetically, the car is a photographer’s wet dream. My dog man, the car, absolutely stunning from most any angle was capable of causing many an individual i.e. business persons, rich persons, Wendy’s customers, Toronto police persons and Niagara Falls tourists to gape and gawk in a most open mouthed WTF fashion. With the exception of the nose, which I found to be a bit abruptly stubby on profile, the McLaren is one seriously dynamic and stunning piece of machinery.

The 12C’s two-piece roof, like the rest of the car, is an exercise in lightweight form and perfection.

“until I’d driven this glorious piece of british kung fu, Ferrari’s F430 was my first choice for exotics...No more”

“an innately adept gearbox, plus a fantastic suspension & power management system means the 12c could easily be used as a daily driver�

With a small electric window located behind the passengers, air and engine noise can be allowed into the cockpit space, but should one desire the full open air experience, flick a switch and 17 seconds later the top is down. The top can be raised or lowered at speeds of up to 19 mph.

With the Spider’s top down, air turbulence and wind noise in the car was acceptable up to around 120 km/h, but even at higher speeds the cockpit stayed reasonably hospitable thanks to some clever wind tunnel engineering. McLaren’s climate control system, designed to compensate when the roof is down, redirects airflow and fan

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speed to the passenger compartment making for a cozy space for me and the wife...who by the way, gave the car serious kudos.

The 12C’s Meridian audio system is also responsive to the topless scenario, adjusting volume and tone to individual speakers to ensure output is similar under open or closed conditions.

Inside the 12C, unlike some exotics, the seats are comfortable enough for 3-4 hour drives yet supportive enough for more enthusiastic driving.

Legroom and headroom was also excellent.

Temperature gauges on the dihedral doors

are ergonomically odd and perhaps a little distracting, but they did help free up space on the center console. The driving position was also excellent, as was overall visibility. Impressive for a low running car of this type.

It’s also worth mentioning McLaren’s incorporation of a carbon fiber monocoque (passenger tub) in the 12C. This Formula 1 world first introduced in 1981 is not only lighter than steel or aluminum, but provides significantly better strength and torsional qualities. The latter is a critical factor when designing convertibles, because when you whack a chunk of roof away, chassis flex and twist becomes an issue. But in the 12C Spider thanks to that expensive miracle of the carbon fiber monocoque, chassis flex remains almost identical to that of the coupe.

On paper, with all these Formula 1 influences at play, one would expect a car that was clinically bereft of personality and about as appealing a city-car as a go-cart, but no. Somehow Team McLaren, with the input and direction of Chairman Ron Dennis and Design Director Frank Stephenson, managed to produce what may be one of the best all-round road cars in the world today. But it’s that transitional ability of McLaren to bring over so many of its Formula 1 technologies, and then apply them to a roadgoing supercar like the 12C so successfully is what at the end of my 50 hour experience won me wee cold black heart over.

Thanks to McLaren Toronto & McLaren North America. This story originally ran on gizmag.com www.McLaren.com

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HEXAGONALR

Lamborghini av

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REVOLUTION

amborghini ventador l ’s $400,000 viagra replacemen p 700-4, put t, the 700 hp a bull in y rds, photogra our kilt to phy, driving day!

Angus Mac Kenzie

The sailor-inspired superlatives emanating from the passenger seat were almost enough to drown out the Aventador’s outrageous V12...

Actually to be fair, the enthusiastic Con McGuinness-like (RIP) vocalizations coming from the passenger seat aka. the wife, were sort of justified. As it turns out, the ‘roid consuming individual in the Aventador in front of me had decided to slow down much quicker than I’d anticipated. That unexpected deceleration from 120 to 40 mph resulted in a sound testing of the big Lambo’s oversized brake devices and engine braking. All which worked as I’d hoped. No need for that potty mouth or repairs to the $400,000 front end after all.

So why is the wife swearing like a sailor in a navy blue 700 hp Lamborghini south of Monterey, California? As fate would have it, my other gig as Sr. Automotive Writer/Photographer for the clever Aussie kids at ‘Gizmag.com’ provided me the opportunity to not only attend Monterey’s Car Week last August but also

gave me the chance to experience one of the world’s most technically advanced supercars.

Sponsored by Lamborghini as part of their ongoing 50th Anniversary the Aventador drive provided select clientele, journalists and industry types the opportunity to blast about and experience first-hand this nefarious piece of Italian/Audi technology - the LP 700-4. Think F35 fighter jet sans missiles, wings, and the ability to fly. At a fraction the cost of a single F35, Harper’s defense cronies would be better served by putting a couple hundred Aventador’s in the hands of RCAF fighter pilots, thus making Canada’s Air Force the most ineffective, yet coolest in the world.

Bam. Done. Problem solved.

In speaking with CEO Stephan Winkelmann and lead design guy, Filippo Perini, they see the Aventador as not only an examination of aerodynamic extremes but also a supercar exercise in

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“The car is an amalgamation of thousands of hexagons, delicately combined to make one ridiculously fast, brain snapping, oxygen stealing attack fighter� e 216

engineering, technological advancements and aesthetic interpretation. For Perini, it’s all about the hexagonals. I will give $19.95 Cdn to the first person to find a nonlinear, curving line anywhere on this car. The car in actuality is essentially a clever amalgamation of thousands of hexagons, carefully formed together to make one really really fast, brain snapping, oxygen stealing car. In Lamborghini no one can hear you scream...they can hear your wife swear like sailor but they can’t hear you scream.

This 700 hp hexagon on wheels, that’s about as subtle as a Cuban hooker in a convent, was so purposefully designed to be overtly aggressive and highly combative that it reminded me of the next-gen body armour from the GI Joe films. Terrible movies, just awful, but fantastic body armour. So how do all these hexagons handle that big V12, an advanced AWD system and $400,000 US price tag. Let’s find out.

Now the setting for the exclusive Aventador drive experience; a private, custom built residence situated high in the hills overlooking the Pacific Ocean south of Monterey, was one of those places that could exist in one of Europe’s finer designer mags like Frame, Wallpaper, or elemente. In our very much underpowered Nissan Note rental thing, we were directed two miles up one very narrow, very winding road, up into a ‘Gorillas in the mist’ like environment. And there at the top, Sigourney Weaver awaited us with Italian sodas and Lamborghini wrist bands.

Actually the check point, manned by frantic red jacketed valet persons, asked that we hand over the keys to our economy minded rental car.

Escorted by a fifties something gentleman wearing a law enforcement badge (who may or may not have been CIA/NSA) guided us up the driveway, where what to my wandering eyes should appear but a $4 million Veneno and 8 tiny reindeer…actually it was more like two stalky Spanish gentlemen sitting in wooden lounge chairs smoking hand rolled cigars. I believe in literature this is known as a surreal experience.

Next to the Veneno, a beautiful burnt orange coloured Aventador rested while cigar smoking gentlemen of affluent abilities discussed things. Out back a BBQ/grilling station some of the regions hottest young, tattooed chefs e 217

were doing spectacular culinary things to roasted avocados, chicken, lamb and Brussels sprouts. Forget Lamborghini! The grilled Brussels sprouts could go head-to-head on a track any day with the Veneno. Of course all the Veneno has to do is back over the wee sproutlings to win the day, but that is clearly beside the point.

Mingling amongst the select set of guests was Lamborghini CEO Stephan Winkelmann, Design Director Filippo Perini, a variety of customers, myself and the lovely wife. Like Gorillas in the Mist we’d come to this idyllic Monterey mountain top residence to experience not the ridiculously fantastic Brussels’ e 218

“In Lamborghini no one can hear you scream... they can hear wife swear like sailor but they can’t hear you scream”

Sprouts, but Lamborghini’s ground-attack fighter.

Ferrari has its pretty ponies, Ford has a pony, Fisker has a bankrupt symbol and Lamborghini has its bulls. The Aventador like most Lamborghinis also gets its name from a bull. In a 1993 bullfight in Spain’s Saragossa Arena, a bull named Aventador took on the local matador with enough courage and honour to earn it the coveted ‘Trofeo de la Peña La Madroñera’ title. In the hills of misty Monterey,

the car does sort of evoke a rather scary, hexagonal advanced bullish presence. But hopefully the day ends better for us than it did for the four-legged Aventador that fateful day some 20 years ago.

Starting at US$400,000 the Aventador is anything but affordable, but this car is designed specifically for an elite audience. Still, is it worth the near half-million dollar asking price? It depends. In the supercar context where Bugatti’s Veyron exceeds $1 e 219

million and Sweden’s Koenigsegg Agera R tops out at $1.6 million, then yes, the Lamborghini is indeed good value for the money.

However in comparison to Nissan’s GTR, the US$100,000 giant killer, then no, the Aventador is a silly thing. In the end it comes down to which side of the financial fence one sips their mojitos from. And at 3,472 lb (1575 kg) the Aventador isn’t light by supercar standards but not near as hefty as Bugatti’s tubby Veyron at 4,162 lb (1888 kg).

The 700 in the Aventador’s badging just happens to coincide with the power output of the brutally powerful 6.5 liter, naturally aspirated V12. Sporting 48 valves, 509 ft.lb of torque and 691 hp, Lamborghini’s mid-mounted motivator is not only capable of reducing asphalt to tears, but its auditory emanations are on par with some of Italy’s most famous automotive composers. The Aventador’s 4.96 lb/hp power/weight ratio, when unleashed, propels its occupants to 62 mph (100 km/h) in what can only be scientifically described as ‘holy fucking shite my kilt!, or 2.9 seconds to be exact. Faster by the way than Rob Ford can say ‘crak-smack-a-lack’. That force, which we only experienced a few times, can best be described as pure, raw, controlled violence - but violence with the best of intentions.

The Aventador’s driving modes; Strada, Sport and Corsa, present the driver with three performance options. As Stephan Winkelmann recommended Corsa, so once firmly behind the wheel of a shiny Royal Blue Aventador I dialed the gearbox, differential and engine into their maximum performance settings. In Corsa mode from a rolling start, the gearbox is lightning quick through the changes, the engine comes across as tighter while the suspension remains serious. There is zero room for subtlety amongst the hexagons and carbon fiber of the Aventador.

Even though the Aventador needs to be let loose on a track in order to fully appreciate its potential, the power being passed down to the massive tires is the stuff of Greek mythology.

Steering feel was heavy but direct as expected, and the car did bind a bit under tight turns as is typical with most AWD systems. The ride was surprisingly compliant for such an extreme piece of machinery.

One hidden eco-aspect I wasn’t aware before driving the car was Lamborghini’s new Cylinder Deactivation System (CDS). At speeds under 135 km/h, or under light loads, the CDS system shuts down one cylinder bank ie. six cylinders. Losing six cylinders would be problematic for most cars, but with

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“The stealth fighter’s lair is a place where curvilinear elements are outlawed & hexagonal orgies unite in a blatant show of angular defiance” e 221

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“The 700 hp v12 when unleashed, propels the big lambo to 100 km/h in what is scientifically known as ‘one expeditiously aggressive motion’ or in layman terms 2.9 seconds”

lp 700-4 specs

Horsepower.................690 hp Torque.................507 lb.ft.

Top Speed.................350 km/h (217 mph) 0-100 km/h.................2.9 sec # Cylinders.................12 # Valves.................48 Suspension.................Pushrod Gearbox.................7 Spd ISR Drivetrain.................Always All-Wheel-Drive Chassis.................Carbon Fiber Monocoque Frame.................Aluminum frame

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350 hp still on tap, the big Lambo seems to have no trouble maintaining cruising speeds. The system is so clandestine that the difference between six and twelve cylinder activation was imperceptible. According to Lamborghini the Aventador’s fuel consumption improves seven percent to 16 liters/100 km during average use thanks to the new CDS system. At cruising speeds of around 130 km/h they report a further 20% reduction in emissions and fuel consumption.

d r i v i n g mode buttons and to the left of the steering column can be found recessed switche controlling various interior a lighting functions.

Inside the Aventador, external design details carryover. The seats are surprisingly comfortable, the headroom spacious and the scissor hinge doors make ingress and egress reasonable for a supercar. The bulk of the car’s controlling switches and buttons are located on a raised console while a military-style start button sleeps beneath a red anodized panel. Below the seat heaters reside the three

In person, Filippo Perini’s and more dynamic than in The stealth fighter’s lair is are outlawed and hexagona defiance. From the futuristic the razor sharp induction ve Active aerodynamics and ven the doors, add to the angula

The brakes, as with everythin across on the front, the mass when asked. Huge sticky m rubbers on the front manage end, earth mover sized 335 like acceleration.

The Aventad Gallard a

“almost as quick, but At a fraction the cost of an F35 fighter, Harper’s cronies would be better served putting a Aventador’s in the e 224 hands of RCAF fighter pilots”

es for and exterior

design is even sharper the stylized promo materials. a place where curvilinear elements al orgies unite in a blatant show of angular c cockpit to the filler cap to the rear spoiler to ents, it’s nothing but a sea of flowing hexagons. nting systems, along with gaping intakes behind ar argument.

ng else on the car, are extreme. At almost 400 mm sive carbon-ceramic discs are more than capable mother ducking 255/35 R19 high-performance e steering responsibilities, while out at the arse 5/30 R20 rubbers take care of the important stuff

dor’s transmission is very much improved over the do from a few years back. Shifts off the paddles are lightning quick at 50 milliseconds between gears - faster than both the Gallardo and outgoing Murcielago. And the new 7-speed ISR gearbox is also lighter and smaller, which when combined w i t h

the 6 0 d e g r e e banked V12, translates into a more compact powertrain arrangement and a lower profile.

First to second to third gear is an exercise in controlled violence that brings to mind images of the Millenium Falcon doing that whole jump to hyperspace thing. Even though the gods of Lamborghini made 7 gears available, we were only able to experience 4 of them due to speed restrictions and copious amounts of doddling SUVs. But when you punch the thing through the initial gearings, you can hear your head whap into the seat, the oxygen in your gullet becomes temporarily anaesthetized, your eyes roll back in your head and you find yourself staring at the upper portion of the windscreen. Shift to 2nd and repeat.

(Instead of all this verbose verbology and to see the car in action, check out Top Gear’s boy-bandish Richard Hammond and his initial impressions of the Aventador as it played out on their test track from a few years back.

YOUTUBE HERE So what’s the verdict for this supercar with permanent all-wheel-drive.

It’s actually hard to say given the speed limits, traffic stuff and brief seat time. With the exception of a slightly heavier feel from the nose, it was difficult to feel much discernible difference between Lamborghini’s Haldex

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“like a surreal version of ‘gorillas in the mist’ the designer home in the hills featured a $4 million Veneno, grilled brussels sprouts, lambo ceo winkelmann and stubby spanish men smoking hand rolled cigars”

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system splits 70% of the available power to the rear wheels, leaving 30% of the Aventador’s 691 hp, or 207 hp, to empower the front wheels. When the Aventador runs into less than ideal conditions the Haldex system goes all socialist, displacing power out to all the wheels. But as Filippo Perini noted, to fully appreciate the car’s AWD system performance abilities, it really needed to be run out on track – under both wet and dry conditions. For us Canadians, it’s good to know the 4x4 system is there and ready to tackle our 9 month winters, floody summers, mudslides, locust infestations and donut acquisitions.

AWD system and a traditional rear drive only exotic. I will say that on launch, and in a few longer sweepers, the car did feel as if there was added grip coming from the front. Otherwise I think you’d need to get downright nasty with the car in the snow or Salt Lake Flats to really ring out the system’s various layers.

At something slightly over the speed limit, the car handled like it was on the proverbial rails, almost mocking me to push it harder.

No…bad car! The Aventador’s near perfect weight distribution of 43 percent up front and 57 in the rear assisted in providing a neutral cornering attitude and planted stance during our all too brief encounter.

This is one of those cars that could get you into big trouble in little China in a big hurry if you weren’t careful.

Under regular driving conditions the AWD e 228

So we know how those 700 horses get out, but what suspension configuration has Lamborghini designed into the Aventador to secure both car and myself securely in place. Exactly.

Pushrod suspension is in fact the correct answer.

This rarely used form of suspension architecture is actually borrowed F1 racing technology. What makes this arrangement so special is it aids in reducing unsprung mass (anything on the car not supported by the suspension – tires, control arms, brake components, etc.), while simultaneously improving underbody aerodynamics and cutting down on unwanted road feedback to the driver. For the short time we were in the car, the F1 system made for a ride where the car felt confident and magnetized to the road and steering feedback was firm and direct,

but not overtly obnoxious. So whatever the pushrod suspension was supposed to do, it seemed to do it well. Again, track time needed to fully gather sufficient data and informed opinions.

And that no so subtle, mildly aggressive sound emanating from the V12 engine bay behind the head, changes in an instant from a respectable, soothing growl at low speeds to a deafening symphony as rpms build.

And it doesn’t let up. The cacophony of aural destruction just kept on building and building and building....

Sure the Aventador is built around all the latest engineering and performance technologies, with the occasional smattering of carbon fiber thrown in for good measure, but the car still manages to retain its genetic rawness from those heady days of Yuri Gagarin and Sputnik…I mean DNA traits from the likes of the Countach and the Miura.

Lamborghini’s 320 km/h ground attack fighter is a hexagonal marvel that still communicates Ferruccio’s oldschool narrative but with just the right analogue overtones.

Lamborghini’s Aventador LP 700-4 will initially set your wallet back US$400,000 for the hardtop, however the company is more than happy to see you spend $475,000 for the open aired roadster. www.lamborghini.com More Lamborghini...Go to www.gizmag.com

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S model

Tesla’s premium performance sedan sets the standard for next-generation electrics

Story/Photos Angus MacKenzie

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All that ev torque, and zero emission aftertaste!

Having been available for over a year now, Tesla’s Model S has received more than its fair share of acclaim and accolades. Yes there have been fires, that for some have become a lightning rod for anti-electric arguments.

When put in context against the number of fires that occur with gas fueled vehicles and the argument from small minded individuals becomes irrelevant. But gas vs electric debates aside, what is it actually like to drive Elon Musk’s 416 hp all-electric stylized saloon and how does it compare to other premium sedans. As part of a gig with Gizmag. com I stopped over at Tesla’s Palo Alto HQ on my way to Monterey’s car week last fall to drive a P85 Model S and see what all the hype were about.

Tesla, considered one of the more significant leaders of electric vehicle (EV) development, has definitely played a role in the EV revolution, but the history of the EV goes back further than one might think. During the 1830s several inventor/designers were

in the process of configuring carriages with electric powerplants. Scotland, Holland and Vermont, USA all contributed to the game with crude but ambitious EV’s. In the later part of the 1800s both France and the UK got behind the development of the electric vehicle, with Belgium producing the “La Jamai Contente”, the world’s first electric racecar. Designed by Camille Jenatzy, the car set a land speed record of 68 mph (109 km/h) in 1899 proving that electric was capable of providing adequate power to the new horseless carriages.

In the early 1900s the US got in on the EV act, with electric vehicles outselling steam and gas powered vehicles. Like the Tesla, the electrics in the day had a simpler transmission setup and did not stink or produce acrid exhaust like the early-day petrol powered alternatives. But the death stroke for electrics would ultimately be petrol’s increasing availability, limited battery systems, range limitations and charging options. Many e 233

“the rising whine of the generator, which sounds like a jet turbine winding up is at first a bit disconcerting�

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of these factors still remain relevant in the current EV renaissance, but technology has come a long way in a hundred years. Case in point, the Model S. But first up, how does an all-electric compare against a petrol infused vehicle? To be honest, having never driven an electric vehicle before, I wasn’t quite sure what to expect. I am and have long been a dedicated fan of the gasoline explosion engine. So would driving a fancy pants $100k Model S turn me into EV convert. Let’s see what the road to Alice’s Restaurant has to say about it.

First up we need to clear the air on that weighty issue. On paper, the Model S at 4,647 lb (2108 kg) is definitely no lightweight sports saloon. When put up against similarly priced Euro-sedans the Tesla comes out heavier than BMW’s ActiveHybrid 5 Series and the Mercedes-Benz S Class by a few hundred pounds.

However neither German can touch the Model S in terms of acceleration. The Benz gets the closest at 4.8 seconds to 100 km/h (62 mph), which is light years behind when compared to Tesla’s 4.4 seconds in the 85 kWh model.

As for technology, the Model S has no shortage of next-generation functionality. One subtle yet important tech item is the ‘creep’ function. No it’s not Mitt Romney app but rather a clever device that imitates a vehicle’s slow forward movement when the right foot is off the brake pedal. This small but important change ensures people are tangibly attached to the car and aware that it is in fact running. Starting the car is easy peasy. Simply take the Tesla shaped key into the car, press the brake and a bunch of lights and dashboard things signal you’re good to go.

That complaint from petrol junkies regarding the lack of aural emanations is a valid one. I too appreciate the need for the noisy, high-revving pleasures of a Lamborghini , a McLaren or late 60’s muscle car. When you first step on the Model S’ accelerator, which of course has no mechanical linkage to fuel injector rails

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“The P85 Model S’ with the 85 kWh battery/generator combo produces 416 hp & 443 lb.ft of torque at zero rpm” e 236

or carburetors, the only sound you expect to hear is ... nothing. Actually that’s not true. The first sound to become noticeable is the word ‘whoah!’coming out of your mouth as the car launches in a pure linear fashion like no other gas powered vehicle I’ve ever driven. After this initial verbal outpouring the generator starts to chime in.

Now the rising whine of the generator, which sounds like a jet engine powering up, is I have to say, a bit disconcerting. Maybe not disconcerting, maybe more like the brain is experiencing cognitive dissonance because of the aural disconnect? I should see about government grant money for a thesis on the topic.

But after a many many acceleration tests, I got used to the generator’s unique aural statement quite quickly and began to appreciate its alien like emanations.

Our premium Model S with the P85 option has an 85 kWh battery pack and produces 416 hp of power and 443 lb.ft of torque – Tesla’s top of the line performance package. This power rating puts the Model S comfortably in the same luxo-performance league as comparable Euro and American saloons. But what’s really important in this conversation is the prominence of electric torque and what it delivers in real world applications.

Gas powered engines produce their output by throwing about numerous pistons, crank rods, gears, pushrods and valves, whereas some vehicles can achieve quality torque as early as 2500 rpm, but with an electric drive system, torque is available from the word go. In the case of the Model S, this means 443 lb.ft of torque is available from 0 to 5100 rpm. No need for left foot braking, no need for smaller turbochargers, no need for lighter flywheels and adamantium forged connecting rods and crankshafts. No sir. All that old world weight and technology just got replaced by the same thing that used to power your slot cars tiny little rear wheels. Of course the tangible note from a V8’s exhaust and old-world shifting and revving is something that is missed as a result of the experience. It’s like putting slippers on Old Nelly or ski boots on a donkey.

In driving the navy blue Model S out and about on the

windy, rolling hills west of Tesla’s Palo Alto headquarters, the car’s full torque at zero rpm is the thing that dominates the conversation. Without the need to keep revs high to maintain power like a gassy sedan, the P85 can accelerate out of corners much like a McLaren 12C or an electric go-kart ... a large, 4700 lb electric go-kart. Come off power for braking, which again the S does extremely well, and the car handles like a much smaller performance coupe. As for the car’s hefty 4,700 lb curb weight and 1000+ lb battery pack, you definitely notice the heft on quicker transitions, but because of the battery’s flatpack setup under the passenger compartment and low center of gravity, body roll isn’t as pronounced as in a similar petrol powered sedan.

Handling? The car is quicker than I had imagined, with athletic abilities on par with or surpassing any gas-powered euro-sedan I’ve driven. Without the usual gas engine weight waving about up front, not only is handling more composed and flat, but braking is also significantly better with that big chunk of steel gone from the equation. Big tires and wheels are good.

Steering is of a variable ratio, speed sensitive configuration, which provides excellent wheel feedback under performance or cruising scenarios. The system responded quickly to inputs on the varying switchbacks outside Palo Alto with some initial understeer. Straight line feedback was also nicely dialed in, as was feel and assistance when parking.

The ride is another surprising aspect of the Model S I didn’t expect. The Model S is even quieter in the cabin than you expect, with very little road noise making its way in. The ride, thanks to Tesla’s advanced air suspension was comfortable when cruising, but became tight and responsive when called for. The air suspension can be adjusted via the display screen to clear speed bumps but also lowers itself as the car accelerates to give it a more dynamic stance, with better high speed stability and improved cornering abilities. Oh, and gear changes aren’t an issue, because the car only has only one gear. Okay not one gear per se, more like an one really big gear with e 237

extensive scope and range thanks to that electric rotor configuration.

Model S is another nail in the coffin of the notion that EVs need to be boxy and boring sub-compacts to exist.

Inside the beautifully styled Model S, which I have to say should receive bonus points for surpassing design expectations for an electric, is a modernly minimalistic interior. The swooping door trim plays off exterior design elements while head, leg and cabin space is spacious thanks to the lack of engine intruding into the firewall or transmission hump impeding into the center console area. Seating is sportingly comfortable up front with more than enough space for three adults in the back.

Amongst the many cool technological touches in the Model S is a huge 17-inch touch screen positioned in place of the HVAC and entertainment controls/interface. Tesla’s highly configurable touchscreen provides interaction that is highly intuitive for anyone who has indulged themselves of a Steve Jobs’ iPad.

“sans the need to keep revs high to maintain power, the P85 accelerates out of corners like a McLaren or electric go-kart...a large, 4700 lb electric go-kart” Notable design elements include solid metal door handles that remind me of something from the art-deco movement. The simple clean handles disappear cleanly into the doors when parked or driving, but open at a simple touch when approached with the key. The other thing that struck me about the Model S’ design wasn’t that its proportions and lines weren’t aesthetically stunning, but that from an engineering perspective the car didn’t have to be this way. The sculptural, elongated hood doesn’t need to be there to cover the non-existent engine, nor does the long forward overhang or grille treatment. Look at BMW’s aesthetically controversial i3 and you immediately see where the engineering mindset overruled the visual execution.

The only part of the Model S’s design that bothers me is the fake plastic grille cover, but I guess it would be too much of a visual departure to do away with the standard grill completely. The long, low arcing roofline gets major points as it settles out nicely into the rear hatch and stubby bum. In short, the visually stunning e 238

The multi-functional display does more than just replace buttons and dials. A slider bar on the touchscreen opens the biggest sunroof I’ve ever seen with a simple swipe. The smarty pants display also presents a virtual model of the car showing what doors are open or locked, and which lights are on, both interior and exterior. The other thing about this electric generating deal I wasn’t aware of is that both AC and heat can be instantly made available without starting the car. Start the car! For any Canadian or Fargo-ian who’s ever had to freeze their snowpants off waiting 15 minutes for the engine of their 1978 F150 to warm up in the midst of a Polar Vortex knows this godsend of a heating amenity could single-handedly justify the $90,000 asking price.

Or say you’re in California where snow knows no name, drivers might appreciate the oversized sunroof that provides open-air backup to the instantaenous cooling system. The downside to this instant climate system is of course a loss in range due to extra battery usage, which I’m sure many a Saskatchewanite would gladly sacrifice for a pre-warmed vehicle. Overall, Tesla has made the Model S interior experience a darn near perfect one.

For multi-driver families, the Model S offers the ability to enter ten driver profiles into the system. Profile settings like lumbar and seat positioning are there, as is the ability to create musical profiles. Another nifty feature of the Model S media interface is the way fade or balance can be moved around the car by sliding your finger across the screen. The sedan’s gadget infused awesomeness is also backed up by a sound system that can easily compete with many a premium unit.

The infotainment system also offers up internet access and an impressive GPS system. A scroll button on the steering wheel allows drivers to access and display

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“Experiencing what an electric like the model s is capable of is a sensory festivus that really needs to first hand participation�

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up to four apps on the gauge cluster to the left of the speedometer/energy dial thing when needed. Tesla’s iPad-esque display gets major points for ease of use, intuitiveness, visual real estate and for making the overall user experience a relatively painless one. Actually I would even go so far as to say it was enjoyable, which is more than I can say for most other systems on the market.

The Model S also provides range and power usage back to the driver via a histogram window on the lower part of the display. The energy and regenerative braking app shows how drivers can optimize range by adjusting their driving patterns and how much energy they’ve used over the past 8, 24 and 48 km. This app thus applies a real-time mileage cost to the obvious - that by driving at higher rates of speed the car’s projected range can be affected by approximately 70 percent, whereas driving at a more conservative pace obviously delivers more optimal mileage. The concept and premise is the same as gas vehicles, except Tesla’s model provides a very much more accurate mileage picture.

Halfway through our test drive the display produced a histogram chart akin to a 7.5 earthquake reading...providing direct visual evidence that my more ‘energetic’ driving style with its Himalayan peaks, had reduced the car’s range from 480 km to something significantly lower.

What that figure was, I don’t know but it was definitely lower. However, regenerative braking did assist in recovering some of the range and charge previously

misplaced due to my slightly enhanced/ energetic/spirited/entertaining like driving behaviours.

Speaking of regenerative braking, Tesla has configured the car with two regen options – standard and low. When set to low the car slows down at a less aggressive rate, providing less charge back to the battery pack. Standard braking mode on the other hand, provides similar engine-braking characteristics as a gas powered car. This setting allows the car to not only decelerate more aggressively like a tiptronic geared transmission but also recharges the battery pack at a much quicker rate. The performance difference between the two is quite remarkable but I could see where the more aggressive mode could become an issue when driving more passively over a longer outing.

Rumours of an all-wheel drive Model S continues to float about the twitterverse. This 4x4 scenario, were it to occur, would not only promote this brilliant piece of electrical ingenuity even higher up my list of automotive must-haves but would also propel the car into serious supercar territory. Experiencing what an electric vehicle is truly capable of is still a sensory feast that really needs to be enjoyed first hand. You may never look at your petrostate powered Benz the same again.

Thanks to Tesla for the opportunity. This feature initially ran in gizmag.com www.teslamotors.com

For more on Tesla and related stories visit www.gizmag.com e 241

Resurrection of the Turin Scorpion Photo-editorial look at the sculptural artistry of a near-restored turin showcar - the 1953 Abarth 1100 Ghia Photos. Angus MacKenzie

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Hidden away in a Calgary garage exists a 60 year old piece of automotive history. An Abarth 1100 Ghia currently residing in semi-restored form, was originally the showcar for the Fiat/Abarth team at the Turin Auto Show in Italy, circa 1953. What makes the car’s story so interesting is the history behind its voyage from making it to the New York auto show as one of the year’s more defining models, to ending up next to a barn for an extended period.

Founded by former race car driver/designer, Carlo Abarth in 1949, the original cars were designed with racing intentions but after partnering with Fiat in 1952 turned towards more bespoke touring cars. With more than a passing resemblance to the undeniably iconic Ghia Supersonic Fiat 8V, the Abarth Ghia showcar is more confined in its wheel treatments, stubbier in the arse and less organically fluid on profile as compared to the forward reaching headlights treatments on the Supersonic.

The current owner who rescued the car from obscurity a few years ago has had to hand-make a number of key design pieces, including the nose cone, door handles, etc. but work from an old black/white image to recreate the gauges and instrument panel.

In its unfinished form one can see the handsculpted Italian influences in the raw metallic lines.

The Abarth’s diminutive size and proportions are in keeping with the brand’s smaller is better mandate. The unfinished, metallic interior is roomy enough for two with the wheel on the right hand side.

Abarth today is better known by the masses for its performance influences on the current Fiat 500.

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Top. Abarth Ghia at Turin Auto Show, 1953 Lower. Founder, Carlo Abarth, with the original showcar (right)

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the last page This 1960’s Indy 500 racer, shot Pebble Beaches 2013 Concours d’Elegance, gets last page for its brickyard functionality, contrasty mechanicals, hyperbolic yellow paint and for keeping its Firestone lettering perfect. photo. Angus MacKenzie e 258

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