Modular Lighting Magazine

Transcription

threemonthly edition
october_november_december 2003
modular lighting magazine
issue 8
1974
Editorial
01
Emmanuelle’s multiple choice
by Peter
FAR LEFT:
TOON STOCKMAN
NEXT TO TOON:
BJORN VERLINDE
NEXT TO BJORN:
B ERNARD ROMMENS
FAR RIGHT:
DOMINIQUE
M EERSMAN
EMMANUELLE:
CHARLOTTE DESCHRIJVER
BOTTOM RIGHT:
B RAM COUVREUR
BOTTOM LEFT:
KRISTOF MORTIER
All rights reserved. No part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopy, recording or
any other information storage and retrieval system, without prior permission in writing
from the publisher.
Zinetta 08
Zinetta is published three monthly by Modular Lighting Instruments NV.
Zinetta editions are entirely made by RotoR.
Printed on 30.800 copies. Not to be sold. Distributed by a local
Modular Lighting Instruments Dealer or by a local fan club.
Although Zinetta has endeavoured to ensure that all information is
correct, all info in this magazine may be subject to change.
2
Zinetta would like to thank the following contributing players:
Editorial Office: RotoR crew & associated Modular members
Layout, illustrations and concept: RotoR
Contributing photographers: Studio Boa, RotoR
Contributing illustrators: Franquin
For subscriptions contact our website:
www.supermodular.com/zinetta.
Editorial office and other enquiries: Ms. Zinetta,
Rumbeeksesteenweg 258-260, B-8800 Roeselare, Belgium,
phone +32 51 25 27 25, [email protected].
01_EDITORIAL
p2
02_CONTENT
p3
03_PROJECTS
p4
09_LOST IN MUSIC
p39
Modular's review takes you back to the gloryful days of
glam rock, highlighting the legendary Frank Zappa and an
upcoming band called "Queen"
Food for creative minds, inspiring examples of modular
lighting applications, indulge yourself in the most recent
modular projects
09.2
04_NINE QUESTIONS
Amongst modular's staff we have a musical pioneer who
was part of the illustruous "Once More", winners of the very
first Rock Rally contest in Belgium. Once More's rhythm
guitarist Geert Salomez explains how life was for a young
rock god in 1974.
p14
"There has to be light, yet shade is important to. With a
nuance of shade, intimacy can be evoked." Toon Stockman
talks to belgium's leading architect Arthur De Geyter.
10_MMMODULAR
05_PRODUCT SPECIAL
p40
Mmmmodular goes where no present day diet guru has
ever gone before and comes up with a full grown menu for
calory lovers.
p30
Modular Lighting Instruments' complete range in a nutshell.
11_OEUVRE
06_MODUNEWS
p42
Jacky Ickx was Belgium's one and only ever F1 hero, back
in the days when racing still was racing and not a computer
science.
p34
What have they been up to lately? Modular News
13_REVIEW PAGE
p44
Been here, seen this?
07_MOTIVATED PEOPLE
p36
These days, hardly anybody is still surprised when seeing
streakers catching the attention of the audience during
major events. Way back in 1974 the trend was set. Get
your kit off on
08_AT THE MOVIES
14_GASTON LAGAFFE
p46
15_AGENDA
p47
p38
The dawning of the age of erotica comes back to life as we
republish an article on the very first x-rated blockbuster
"Deep Throat". Sit back and relax…
Exhibitions and events ...
16_Errata
p47
FRONT COVER SOLUTIONS
Ghijs Louwye
Peter Pollé
Kris Cathenis
Stefaan Jaecques
Fernand Vermeulen
Bjorn Verlinde
Eric Navarro
Geneviève Marginet
Karin Devolder
Vicky Dujardin
Stefan Soens
Sven Daelman
Sophie Teirlinck
Dominique Meersman
Koen Van Puyvelde
Ronny Coene
Philippe Michotte
Joost Debevere
Kate Demonie
Kathleen Dendauw
Brecht Kindt
Mieke Lampaert
Kris Dewulf
Geert Salomez
Paul Rommens
Toon Stockman
Wendy Baghein
Philip Dedrie
Stefanie Rommens
Dries Wyffels
Annemie Denecker
Bernard Rommens
Caroline Holvoet
Herlinde Buyze
Maarten Demunster
Lies Devos
Kristof Mortier
Koen Billiaert
Bram Couvreur
Yannick Decaestecker
3
Projects
03
Studio - Ghent
Architect: Genevieve Marginet
4
by Peter
recently finished projects
products: K1 + LC1
Bananas - Lille
Architect: Jean-marc Vinckier
featured products: giro + flush dynamix
+ mini multiple TL
5
Praxisklinik Kaiserplatz - Frankfurt am Main
Architect: if-group
6
featured product: thub
Bank de Groof - Brussels
Architect: Art & Build
picture below: diablo + nomad
bottom picture: downie + vector
7
Hotel Messeyne - Kortrijk
Architect: Stefanie Laporte
8
featured product: square moon backlit
Restaurante Bestial - Barcelona
featured products: ninety
Architect: Sandra Tarruella & Isabel López
9
039 - Marseille
Architect: Pierre Lallemend for Ionic Yachts
10
featured product: lab interior
Hype137 - Kortrijk
featured product: downut
Interior Architect: Francis Billiet
11
Belga Queen - Ghent
Architect: Antoine Pinto
12
picture below + bottom right: blimp
picture bottom: giro + 2flat2c
Campus Kronberg - Bad Homburg
featured product: SL100
Architect: Accentura
13
hall
Villa DeFour in Mouscroun
1964
exterior view
office
bedroom
living room
exterior view
Nine Questions ...
04
... to Arthur Degeyter
by Toon
When architect Arthur Degeyter (°1919) welcomed me in
his house that forms part of a group of houses in the
centre of Bruges, I noticed straight away that, despite
the limited surface area of his patio, he had managed to
transform it into a small city garden. Of course he used
boxwood, which he had recently trimmed. This is typical
of Degeyter, as is the interior with wide parquet boards,
white walls and a single light over the dining table.
Degeyter built houses using “open” architecture and
made extensive use of the typical “Degeyter ochre
bricks”, which he used for both walls and floors. He also
tried to blend in each house with nature as much as
possible.
1. Many of your projects still have a contemporary feel, but
how would you describe your architectural style yourself?
Modern, everything reduced to the simplest form possible,
almost strictly minimalist, without skirting boards, doorposts,
almost completely purified.
This modernism started with the doctor’s house (Villa Defour)
for which I received the first mention on the occasion of the
Van de Ven prize in 1964.
Personally, I like the white villas best. But a lot depends on the
period so, for example, in the 1960s I designed a number of
villas in white painted brick, or with flat roofs. Later, during the
oil crisis, the spirit of the time changed and I then built more
houses with sloping roofs or made more extensive use of
ochre bricks.
2. Which of the projects that you built do you regard as
most characteristic of your work, as the closest to
fulfilling your vision?
That still has to be my old house on the Zeeweg in Bruges.
Villa Defour in Mouscroun and Villa Jult in Kortrijk are also
interesting.
And, of course, I also greatly appreciate Villa Vancaneyt in
Rumbeke. I think it’s very beautiful since it has hardly any
interior doors and everything flows together. It was very nice
that the former owner of this villa really co-operated during the
design phase.
Another favourite is in Zandvoorde, where there is an estuary and
where the house is located very close to the water.
3. Who are your favourite contemporary or historical
architects?
Stephane Beel, Vincent Van Duysen, Architectenbureau LMS
Vermeersch, and among my contemporaries, Luc Dujardin.
4. What is striking is your measured and balanced, we’ll
call it non-use, of colours? Do you dislike colour?
No, colour can be beautiful, but I never used it because I mainly
used white or ochre bricks, for the floors, patios, walls, for
everything, and this meant that I didn’t need to use any colours.
5. Nature...
I don’t want to say that I was also a landscape architect, although
I actually did design the gardens for almost all the houses or
14
© Photo R. Vanroelen
buildings I built. This is because I think that the garden has to
relate to the architecture and possibly also because I feared that
the owner would not design it as well. For me, the relationship of
a house with its environment is very important.
6. So how do you judge the town and country planning of
the past few decades? You once said that it isn’t industry
that pollutes our environment, but the ill-considered
cutting up of extensive areas into hundreds of small plots.
I still agree with that. There is no sound vision of town and
country planning in Belgium. I much prefer houses to be next to
each other, to be in a group and thus form a whole surrounded
by nature. What I dislike as well is the exaggerated use of
different materials. Nowadays, all houses have roofs and walls
made of different materials. I think it would be much better if
brickworks were to produce just two rather than thirty different
types of facing bricks.
In this respect, Flanders must be just about one of the ugliest
regions in the world.
Once again, a solution would be sound town and country
planning, and of course good architects, because not all
architects are fit to exercise their profession.
7. Your own house (Zeeweg) has a room, which on the
plans you marked as “provisions and wines”. This sound
much more noble, much more respectful, than the
contemporary term “cool storeroom”. May I conclude
from this that you do not only enjoy wine, but that you
are an epicurean as well?
No, quite frankly I am not a wine drinker, but I do enjoy good food.
8. You have designed several churches and abbeys
(Veurne, Oostrozebeke, Beernem). Does the creation of
ecclesiastical architecture differ from say domestic
architecture?
No, ecclesiastical architecture is the same as domestic architecture.
An ecclesiastical building gets a religious character by using the
right proportions, by using beautiful lines, but you also have to do this
when building regular houses. The religious feel of those
ecclesiastical building is nothing more than respecting proportions.
9. What does light mean to you?
Sun(light) is very important. It is crucial that houses be correctly
oriented. There has to be light, yet shade is important to. With a
nuance of shade, intimacy can be evoked. Nevertheless, you
always have to make sure that there is enough light to read.
Regarding lighting, this has to be incorporated in a subtle
manner, indirect or built-in where possible and definitely not
spread over an entire ceiling. Lights should preferably be
clustered in small groups.
I always put a light over the dining table, because you always
have to be able to see what you are eating.
Outside, I also try to place spotlights invisibly among the plants
as much as possible. For example, I really dislike ‘lanterns’
mounted on outside walls.
Special thanks to Jeanpierre Dherdt for the photographs and information.
© Jeanpierre Dherdt
“Zeeweg” residence (1968) of Arthur Degeyter
the place where he lived until a few years ago.
15
All references marked in grey will be sold out from 1st december onwards untill stocks last. These will gradually be replaced by innovating new lines. Please also check out our Product Special on page 30 to find out about the new fixtures.
16
17
18
19
20
21
22
23
197
197
352
197
495
197
188
352
638
352
197
170x170 h: 220
325x170 h: 220
470x170 h: 220
multiple
1x CDM-R PAR30
2Lx CDM-R PAR30
3Lx CDM-R PAR30
4SQx CDM-R PAR30
4Lx CDM-R PAR30
alu / complete alu
10352105 / on request
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x MR30 / E27
max.70W 230V
2x MR30 / E27
max.70W 230V
3x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
159
159
314
159
160x160 h: 210
325x325 h: 220
615x170 h: 220
185
185
185
185
185
457
159
314
458x160 h: 210
315x160 h: 210
314
159
315x315 h: 210
600
601x160 h: 210
multiple trimless
1x CDM-R PAR30
2Lx CDM-R PAR30
3Lx CDM-R PAR30
4SQx CDM-R PAR30
4Lx CDM-R PAR30
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x MR30 / E27
max.70W 230V
2x MR30 / E27
max.70W 230V
3x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
4x MR30 / E27
max.70W 230V
197
197
352
197
170x170 h: 220
188
188
188
188
188
495
197
352
470x170 h: 220
325x170 h: 220
638
352
197
325x325 h: 220
615x170 h: 220
1x PAR30 halogen
2Lx PAR30 halogen
3Lx PAR30 halogen
4SQx PAR30 halogen
4Lx PAR30 halogen
alu / complete alu
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x HEGPAR30 / E27
max.75W 230V
2x HEGPAR30 / E27
max.75W 230V
3x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
multiple
159
159
159
185
185
185
185
314
457
159
185
314
314
600
159
160x160 h: 210
315x160 h: 210
458x160 h: 210
multiple trimless
1x PAR30 halogen
2Lx PAR30 halogen
3Lx PAR30 halogen
4SQx PAR30 halogen
4Lx PAR30 halogen
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x HEGPAR30 / E27
max.75W 230V
2x HEGPAR30 / E27
max.75W 230V
3x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
4x HEGPAR30 / E27
max.75W 230V
197
601x160 h: 210
188
188
495
352
197
197
315x315 h: 210
188
188
188
197
638
352
352
197
170x170 h: 220
325x170 h: 220
470x170 h: 220
325x325 h: 220
615x170 h: 220
multiple
1x CDM-T
2Lx CDM-T
3Lx CDM-T
4SQx CDM-T
alu / complete alu /
gypkit
10410130
10410230
10410330
10410430
10410530
lamptype
1x MT / G12
max.70W 230V
2x MT / G12
max.70W 230V
3x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
159
159
159
160x160 h: 210
4Lx CDM-T
185
185
185
185
457
314
314
159
315x160 h: 210
185
458x160 h: 210
314
315x315 h: 210
600
159
601x160 h: 210
multiple trimless
1x CDM-T
2Lx CDM-T
3Lx CDM-T
4SQx CDM-T
black / alu
recessed frame
10450130
10450230
10450330
10450430
10450530
lamptype
1x MT / G12
max.70W 230V
2x MT / G12
max.70W 230V
3x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
4x MT / G12
max.70W 230V
103
103
220
325
210x110 h: 130
4Lx CDM-T
220
103
103
220
110x110 h: 130
120
120
120
120
210x210 h: 130
315x110 h: 130
mini-multiple
1x ES50-ES63
2Lx ES50-ES63
3Lx ES50-ES63
4SQx ES50-ES63
alu / complete alu
conbox / gypkit
10400130 / 10420130
10400230 / 10420230
10400330 / 10420330
10400430 / 10420430
lamptype
1x HRGI / Gz10
50W or 75W 230V
2x HRGI / Gz10
50W or 75W 230V
3x HRGI / Gz10
50W or 75W 230V
4x HRGI / Gz10
50W or 75W 230V
181
181
203
203
204x204 h: 210
24
188
188
188
188
206
206
203
203
204x204 h: 210
232
232
210x210 h: 240
232
232
210x210 h: 240
multiple trimless
2x 18W TCD
multiple trimless
2x 18W TCD + louvre
multiple
2x 18W TCD
multiple
2x 18W TCD + louvre
alu
10362605
10362705
10354105
10354205
recessed frame / gypkit
10450930 rec. frame
10450930 rec.frame
10410930 gypkit
10410930 gypkit
lamptype
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
2x FSQ / GX24d-2
18W 230V
Supergeil, Copenhagen
Arch.: Johannes Torpe - multiple trimless
25
26
27
28
Product Special
halfpipe + bolster
05
by Dominique
Bolster are a brand new range of organic lighting fixtures offering both a new range of colour finishes, lamp types as well
as functional appliances. More about that later. First of all a little bit of history: The new Bolster saw the light when
Modular’s design laboratory were thinking of the perfect fitting combined with the Half Pipe structure (that was presented
at last year’s Interieur Exhibition). As the Half Pipe’s forms are organic and not straight, a rectangular shape was out of the
question. This is how Bolster came about, both as an independent light fitting as well as a Half Pipe module.
Bolster as a light fitting:
Bolster come in matt white, matt black and chrome. Both AR111 as well as the brand new CDMR 111 light source can
be used. the Bolster range has a number of different varieties meeting everyones needs: Bolster can be used as a fixture
on jack appliance, as a recessed fitting, as a spot on adaptor and finally also as a spot on track. Users really are spoilt for
choice. Have a closer look at the pictures and details to see what the Bolster range is all about.
Half Pipe + Bolster:
First of all, the Half Pipe range now also comes as a recessed mounted version offering a whole series of modules. One
of these is the brand new Bolster lighting fixture which has been provided as one of the possible Half Pipe modules with
both the AR111 as well as the CDMR 111 light source. A range of different TL5 Modules have been provided amongst
which a TL5 fluorescent wallwasher module in different sizes and a choice of one or two lamps. Also, the so-called "Fuse"
TL5 module is a cilinder perfectly incorporated into the Half Pipe's round forms.
Please be our guest and discover which other TL5 Possibilities Half Pipe offers. You will be surprised how many possiblities
this structure offers.
All commercial release dates will be communicated soon
halfpipe out unit 2x modupoint with bolster AR111 jack
halfpipe out T5 down
halfpipe fuse
halfpipe in
halfpipe
halfpipe out
halfpipe out
30
2x AR111 alu cover - wallwash
2x modupoint with bolster AR111
T5 polyc superior - wallwash
bolster 2x CDMR111 35W
HALFPIPE OUT
93270005
93270050
93270055
93270060
93270061
93270062
93270065
93270070
93270075
93270160
93270150
93270151
93270152
93270153
93270155
93270156
93270157
93270158
93270108
93270181
93270188
93273000
HALFPIPE OUT PROFILE ALU/m
HALFPIPE OUT 180° CONNECTION
HALFPIPE OUT 90° CONNECTION VERTICAL UP
HALFPIPE OUT 90° CONNECTION VERTICAL DOWN
HALFPIPE OUT T - CONNECTION
HALFPIPE OUT X - CONNECTION
HALFPIPE OUT CONNECTION 90° - 270°
HALFPIPE OUT WALL SUPPORT
HALFPIPE OUT SUSPENSION SET 4m
HALFPIPE OUT CONNECT.BOX FOR FLEXIBLE
HALFPIPE OUT FLEXIBLE /m
HALFPIPE OUT RAL* SUPPL. CONNECT. BOX
HALFPIPE OUT CONNECT.BOX FOR POWER FEED TUBE
HALFPIPE OUT POWER FEED TUBE/m
HALFPIPE OUT RAL* SUPPL. POWER FEED TUBE/m
HALFPIPE OUT RAL* SUPPL. SUSPENSION SET 4m
HALFPIPE OUT RAL* SUPPL./m
HALFPIPE OUT ENDPLATE
HALFPIPE OUT RAL* SUPPL. ENDPLATE*
HALFPIPE SUPPL. EXTRA CIRCUIT /m(2 STANDARD)
93270411
93270412
93273175
93270254
HALFPIPE 2x AR111 B + ELEC 105VA / ALU COVER - WALLWASH
HALFPIPE 2x AR111 B + ELEC 105VA / BLACK COVER - WALLWASH
HALFPIPE IN SUPPL. 2xAR111 105VA i.o. 60VA
HALFPIPE OUT UNIT 2x MODUPOINT EQ + ELEC 105VA
93273135
93273235
93273170
93273270
HALFPIPE OUT BOLSTER 1xCDMR111 35W + EL.GEAR
HALFPIPE RECESSED
93280005
HALF PIPE RECESSED PROFILE ALU/M
93280050
93280055
93280060
93280061
93280062
HALF PIPE RECESSED 180° CONNECTION
HALF PIPE RECESSED 90° CONNECTION VERTICAL UP
HALF PIPE RECESSED 90° CONNECTION VERTICAL DOWN
93280108
93280180
93280188
93283000
HALF PIPE RECESSED RAL* SUPPL./m
RECESSED ENDPLATE
RECESSED RAL* SUPPL. ENDPLATE*
RECESSED SUPPL. EXTRA CIRCUIT /m(2 STANDARD)
93280200
93280201
93280302
93280411
93280412
93283175
RECESSED 1xBOLSTER AR111 60VA T.I. WHITE
RECESSED 1xBOLSTER AR111 60VA T.I. BLACK
RECESSED 1xBOLSTER AR111 60VA T.I. CHROME
RECESSED 2x AR111 B + ELEC 105VA / ALU COVER - WALL WASH
RECESSED 2x AR111 B + ELEC 105VA / BLACK COVER - WALL WASH
RECESSED SUPPL. 2xAR111 105VA i.o. 60VA
93283135
93283136
93283137
93283170
93283171
93283172
RECESSED BOLSTER 1xCDMR111 35W WHITE + EXT. EL.GEAR
RECESSED BOLSTER 1xCDMR111 35W BLACK + EXT. EL.GEAR
RECESSED BOLSTER 1xCDMR111 35W CHROME + EXT. EL.GEAR
RECESSED BOLSTER 1xCDMR111 70W WHITE + EXT. EL.GEAR
RECESSED BOLSTER 1xCDMR111 70W BLACK + EXT. EL.GEAR
RECESSED BOLSTER 1xCDMR111 70W CHROME + EXT. EL.GEAR
halfpipe recessed fuse
93275213
93275220
93275227
93275234
93275223
93275238
93275253
93275214
93275221
93275228
93275235
93275222
93275237
93275252
HALFPIPE IN T5 1X14W POLYC SUPERIOR - WALLWASH
93275713
93275720
93275727
93275734
93275723
93275738
93275753
93275714
93275721
93275728
93275735
93275722
93275737
93275752
HALFPIPE FUSE 1x14W
HALFPIPE FUSE 1x21W
HALFPIPE FUSE 1x28W
HALFPIPE FUSE 1x35W
HALFPIPE FUSE 1x24W
HALFPIPE FUSE 1x39W
HALFPIPE FUSE 1x54W
HALFPIPE FUSE 2x14W
HALFPIPE FUSE 2x21W
HALFPIPE FUSE 2x28W
HALFPIPE FUSE 2x35W
HALFPIPE FUSE 2x24W
HALFPIPE FUSE 2x39W
HALFPIPE FUSE 2x54W
93275613
93275620
93275627
93275634
93275623
93275638
93275653
93275614
93275621
93275628
93275635
93275622
93275637
93275652
HALFPIPE OUT T5 1x14W INDIRECT
93285213
93285220
93285227
93285234
93285223
93285238
93285253
93285214
93285221
93285228
93285235
93285222
93285237
93285252
RECESSED T5 1X14W POLYC SUPERIOR - WALLWASH
93285713
93285720
93285727
93285734
93285723
93285738
93285853
93285714
93285721
93285728
93285735
93285722
93285737
93285852
HALFPIPE RECESSED FUSE 1x14W
93276514
93276521
93276528
93276535
HALFPIPE OUT SUPPL. 3x i.o. TL5 2x14/24W
HALFPIPE OUT SUPPL. 3x i.o. TL5 2x35W
93277214
93277221
93277228
93277235
93277222
93277237
93277252
HALFPIPE OUT T5 2X14W DOWN
93277513
93277520
93277527
93277534
93277523
93277538
93277553
93277514
93277521
93277528
93277535
93277522
93277537
93277552
HALFPIPE IN T5 1X14W BAP FULL - WALLWASH
HALFPIPE IN T5 2x14W BAP FULL - WALLWASH
93287513
93287520
93287527
93287534
93287523
93287538
93287553
93287514
93287521
93287528
93287535
93287522
93287537
93287552
RECESSED T5 1X14W BAP FULL - WALLWASH
RECESSED T5 2x14W BAP FULL - WALLWASH
halfpipe recessed T5 polyc superior - wallwash
101
114
72,90
137,50
122,50
181
Ø 160
245
halfpipe recessed 2x modupoint with bolster AR111
halfpipe recessed
halfpipe out
31
bolster
128
Ø 155
11050109 / bolster AR111 JACK matt white
HMG/G53 max 75W / 12V / IP20
11050132 / bolster AR111 JACK matt black
class III / transfo not incorp.
11050107 / bolster AR111 JACK chrome
fixation: ceiling-wall / adjust: 359° - 90°
85
210
150
Ø 155
Ø 155
11050209 / bolster AR111 TI track matt white
HMG/G53 max 50W / 230V on adaptor
11050309 / bolster AR111 TI foot matt white
HMG/G53 max 50W / 230V / IP20
11050232 / bolster AR111 TI track matt black
IP20 / class I / transfo incorp. / dimmable
11050332 / bolster AR111 TI foot matt black
class I / transfo incorporated / dimmable
11050207 / bolster AR111 TI track chrome
11050307 / bolster AR111 TI foot chrome
157
157
Ø 155
Ø 155
Ø 152 h: 95
Ø 152 h: 95
11050409 / bolster AR111 recessed matt white
HMG/G53 max 50W / 12V / IP20
11050509 / bolster CDMR 111 recessed matt white
CDMR111/GX 8.5 35W / high tension
11050432 / bolster AR111 recessed matt black
class III / transfo not incorp.
11050532 / bolster CDMR 111 recessed matt black
IP20 / class I / gear not incorp. / not dimm.
11050407 / bolster AR111 recessed chrome
11050507 / bolster CDMR 111 recessed chrome
70
218
218
105
105
Ø 155
Ø 155
50
50
11050609 / bolster CMDR 111 matt white
CDMR111/GX 8.5 35W / 230V / IP20
11050709 / bolster CDMR 111 track matt white
CDMR111/GX 8.5 35W / 230V on adapt.
11050632 / bolster CDMR 111 matt black
class I / gear incorporated / not dimmable
11050732 / bolster CDMR 111 track matt black
IP20 / class I / gear incorp. / not dimmable
11050607 / bolster CMDR 111 chrome
11050707 / bolster CDMR 111 track chrome
32
33
Modu News
06
fairs and exhibitions
HOTEL HERMITAGIE GANTOIS
34
by Bjorn Verlinde
HOTEL HERMITAGIE GANTOIS - Lille
The Gantois project was build in the fifteenth century for old and sick women, by Jean de la Cambe,
a well-settled man. He called himself Jean Gantois, as his family lived in Gent, and in 1460 he
founded the Gantois Hospital. Several donations made the hospital a remarkable and well-known
place in Lille. In 1989 men were allowed in the Hospice. In 1995 the Hospice closed his doors after
535 years of good and loyal services.
In November 2001 the restoration begun. The Court Central is the main place of the Hotel Hermitage
Gantois, which is covered by a transparent roof and where the lounge is situated. The Hotel
Hermitage Gantois is located in the heart of the old city of Lille and has a capacity of 67 rooms.
The rooms of the former sisters, where restored and transformed into 5 romantic rooms and a suite.
Jean-Marc Vynckier, a French interior architect, was responsible for the interior of the building. Due
to a perfect collaboration between Modular and Mr. Vynckier, every place has his own characteristic
lighting. Light has become part of the historical building. Baseline, Halfpipe, 2Flat2C, LotisAR111,
SL149, Grannos, Lumiflat and Intro are the most important fixtures used in this project.
Fractal built the night desks and table for the rooms.
SHOWROOM MODULAR
Since 1st September 2003 Modular Belgium have a brand new showroom. The concept of the
showroom is to introduce the visitor in the world of Modular. The entrance is connected to the
showroom by a gallery, where we show what Modular stands for. Innovative, creative and original,
three characteristics that are shown to the customer as we want to create the same feeling when
using our lighting instruments. Several light sources are shown so clients can feel different light
conditions.
The showroom can be visited by making an appointment and accompanied by architect, interior
architect, electrician or dealer.
UPCOMING FAIRS
Batimat, 3 - 8 november 2003, hall 7.2/G/51, Paris, Expo Porte de Versailles
The hotel manager is Madame Danièle Gey, a member of the SLIH Group, a well-known French Hotel group.
NEW MODULAR SHOWROOM - crosslink
35
Motivated People
07
by Herman Henderickx
knack ,20 March 1974
© CAPRICORN/ANP
streaking
as cool as
you like ...
in your
birthday
suit
In Athens and Paris, streaking (running naked like lightning
through the street or wherever) has already caught on. It
has only just blown over from the United States.
The first mild weather days of 1974 have witnessed the
blossoming of a new sport at American universities. So far,
there have been no requests for this new sport to be included
in the Olympic Games, even though interest and participation
are growing by the day, or rather by the night, since ‘streaking’
is a sport which is practised mainly after the sun goes down.
The rules of streaking (running and hurrying about) are
childishly simple: you remove your clothes and run in the nude
across the campus, through a shopping centre, or any other
place where there is a crowd and limited police presence.
Those are the rules: rules with literally nothing to them.
Streaking started timidly at the end of last year in California, but
the movement soon witnessed ever-increasing popularity. From
all corners of the U.S. (including Alaska, where thermometers
show very low temperatures at this time of year) reports of
streakers are emerging: there are lone streakers, groups of
streakers and streakers in gangs of a hundred.
This movement is certain to grow. The press have had
enough of Watergate and impeachment and are sending
journalists to campuses where a streak has been announced.
Even TV stations are dispatching full camera crews and
making a slot in the evening news to broadcast this latest
expression of academic ingenuity (or bad taste) to people’s
living rooms.
Police intervention is rare. Before the long arm of the law can
respond to a complaint, the streaker has long since reverted to
more traditional attire and cannot be recognised or tracked down.
Psychologists are scratching their learned heads to find a
plausible explanation for this streaking wave. Some regard it as
an expression of individualism, while others think it shows a
drive to return to nature. Pessimists regard it as a showing of
contempt for generally accepted values. Less scientifically but
equally revealingly, a streaker said on TV that he did it because
of the thrill, the fun and the shocked looks on people faces.
Gradually, streaking activities are becoming more varied. Two
streakers raced through a police station in St. Louis and the
first record-setting attempts are already there: longest distance,
largest number of streaks, streaking from an airplane with a
parachute.
Finally, there is the anti-streaking phenomenon: a man ran fully
clothed through a nudist colony.
36
At the movies
08
by John Rijpens
Knack, 27 February 1974
Deep Throat: a hard act to swallow
The most talked about film since Last Tango in Paris had
its European premiere last week. No, not in London, Paris,
or Amsterdam, but in Antwerp, which is quite something.
It all went off rather secretly. The event was carefully shielded
from the press, but the organisers still hoped to draw enough
people for the two showings to have to turn some cinemagoers
away. After all, the film had never, and was not now, going to be
shown free of charge, as it had already brought in an estimated
six million dollars for the producers. The Belgian organisers
were undoubtedly influenced by the decision of the American
Supreme Court to prohibit public showings of Deep Throat and
the hesitation of our northern neighbours to show what the
Amsterdam ‘Movie’ Theatres have called The Godfather of
porno films.
In New York and elsewhere around the world, Deep Throat has
been called a sociological phenomenon. Everyone wanted to
see the film. Every day has witnessed silly giggling emanating
from shuffling rows of onlookers as yet another stately
limousine stops outside the New Mature World Theatre so that
the film may be shown to the richest and most famous
celebrities in the United States. This is because Deep Throat is
now regarded as a must.
© CAPRICORN/ANP
For Antwerp, the matter has now grown into a somewhat
melancholy event. It is a poignant but artificial situation. No
expensive fur coats or flashy hairstyles. No chauffeurs driving in
the area around the Borgerhout Drink. Neither do you see the
somewhat hardened regulars of the nude circuit in their faded
raincoats, glancing to the left and right in order to drift in as
unobtrusively as possible. No, the viewers who came to see the
film in Antwerp were film enthusiasts and intellectuals.
Where they all came from suddenly, who knows, but it is
obvious that in Belgium as well ‘Deep Throat’ has become one
of the most prominent discussion topics in receptions, editorial
offices and film circles. Wim Verstappen and his buddies at Vrij
Nederland were busy for weeks talking about ‘The breakthrough
of hard porno films’ and other matters in which the film was
always the focus. In the December edition of Playboy 1973, the
leading lady, Linda Lovelace, was with her frizzy hair described
as the heroine of America’s hottest porno hit, Deep Throat, and
proclaimed the sexiest female star of the year. The rest is, as
one says, history. She has recently written a much talked-about
autobiography (Inside Linda Lovelace) and she has never
minced her words as a victim or celebrity in interviews for the
London Times, Screw, Women’s Wear Daily, and, of course, in
Playboy. She made an impressive contribution to the colloquium
New Sexual Life Style.
Pound for the elite
It was inevitable, I think, that porn would permeate through to
the elite. Lazlo Kovsaka and Francis Ford Coppola had already
filmed hardcore porno before they respectively made Easy
Rider and Five Easy Pieces or The Godfather.
Deep Throat has some elements which were lacking in all the
previous porno films: a professional approach, colour, and on
35mm film (instead of second-hand 16mm cameras and no
sound), plus synchronised hi-fi sound. In other words, Deep
Throat could count on the finishing attributes which make a film
a real film, despite the fact that it was shot in barely six days in
Florida with a budget of 25,000 dollars.
The film was also shot in a relatively professional manner
(written, directed and cut by Jerry Gerard) and even has an
original music score. The copy used in Antwerp was simply
pathetic, and that is a pity because now it looks as though this
was the umpteenth attempt to take the public for a ride, which
is by no means the case here. Quite the contrary, since what is
merely suggested in other so called sex films is shown here in
full detail.
Deep Throat only lasts sixty-two minutes, i.e. half an hour less
than a ‘normal’ feature film. During that hour, the viewer
witnesses fifteen sexual acts, ranging from vaginal intercourse
to sodomy, fellatio and cunnilingus. Nothing is left to a decent
cinema visitors’ imagination. You could use the clinical close-up
fragments for training films for a new Kinsey Report or for
teaching material for gynaecology students.
Unlike most porno films, Deep Throat offers a (truly rudimentary)
bit of intrigue. The film is about a timid girl who cannot
experience sexual pleasure until a doctor comes to the
staggering conclusion that her clitoris is in her throat. Really.
You can guess the rest.
Scandalous success
According to reports, the producer of Deep Throat wanted to
make it a comedy porno film. The smutty jokes are certainly not
of a very high intellectual or witty level, but that’s another matter.
The film only becomes really witty at moments when the makers
did not intend it to be that way. The style of the entire picture
leans towards baroque, rude, coarse and badly written army
sketches and large parts of the film are also painfully tedious.
For some viewers, the sixty-two minutes seemed more like sixtytwo hours. So why the appreciation, interest and scandalous
success? Linda Lovelace? Most actresses in porno films make
a coarse, stupid, and somewhat slobbery impression. 22-year
old Linda from Texas is young, lively, quite pretty and has a
38
supple figure. However, it is relatively clear that she doesn’t
know the first thing about acting. A film authority at the New
York Times expressed it like this: she has immense talent for
fellatio. She performs her numbers in the art of oral sex (even
five times) with the vigour of unsurpassed sword bearers.
Another reason why the multitudes flock to see Deep Throat lies
in the fear that one day certain authorities may take the film from
film clubs to the evidence room of a judicial court.
In the United States, the decision by the Supreme Court was
clearly aimed at the flood of porno films which is swamping
America at the moment. The ‘obscenity rules’ (which have
become notorious in the meantime) were phrased so
ambiguously that indecency could be applied to almost
everything. What is obscene? A lecture on abortion or
euthanasia? Is there a writer anywhere from any literary genre
whose work contains nothing which can be interpreted as
obscene? Which films or texts from pop songs can pass this
test? The best way to remove so-called obscenities is to let
them prosper. Outlawing pornography only stimulates its
popularity and drives it straight into the hands of the mafia.
Pornography was certainly in decline in the US before the
Supreme Court intervened. Deep Throat has been very
fortunate and has definitely been boosted by a publicity
overdose. I have seen ‘serious porn’ with just a few people in
the hall. The Antwerp audience which saw Deep Throat gave no
impression of being sleazy. Those under 21 were prohibited in
any case, so who has to be protected? No one forces you to go
and see porno films. Wanting to save us from a feigned
immorality is a form of hypocrisy and shows a disregard for the
intelligence and individual freedom of choice of ordinary people.
Deep Throat will undoubtedly never be shown to the general
adult public here in Belgium. In some respects, that is a pity. For
if everyone had seen Deep Throat, there would have been no
need to go and see Deep Throat II, which Linda Lovelace and
co. are currently filming. Let Deep Throat loose on the masses
and no one will talk about it any more.
Lost in music
09
by Peter Cnop
Knack, 17 April 1974
A new spring, almost a new sound
After a fairly drawn out period without any really good
music, a number of newcomers promise to blow a fresh
breath of wind into the rock ‘n’ roll pantheon, which is
still dominated almost exclusively by the old squad. A
new spring?
This week has witnessed second or third releases from people
who made a very reasonable impression with their debuts last
year, and these new songs should prove whether or not they
have the ability to succeed. First of all, there is Roll on Ruby by
the English group Lindisfarne (Charisma 6369946). Lindisfarne
have already been making records for some years and they
became famous in the wake of the superb Fairport Convention
with strong traditional elements in their music. Their previous
record Dingly Dell was a first step towards a more rock-oriented
repertoire, and this resulted in the loss of some people who set
up Jack The Lad to devote themselves more to folklore music.
But of course Lindisfarne, even in a new cast, kept the legacy.
They have done their best to ignore it as much as possible or,
in a few cases, to assimilate it, but they have not dared to take
the final step to the tougher work. That is why Roll on Ruby has
become a respectable, if not spectacular, folk rock unit in which
true spontaneity and good melodies are noticeably lacking.
Despite these missed opportunities, the skill, musical
competence, reasonable lyrics, and the peaceful enjoyment will
always ensure that the renewed Lindisfarne will provide joyful
music for a while without ever really becoming a trendsetter.
The chance of taking a place among the better groups seems
to be there once again for the English group Queen. Last year,
they made their debut album which included a number of very
strong numbers, splendidly sung, decently played and perfectly
produced. In the meantime, the boys have developed their
09.2
following considerably so that the facilities have expanded and
so Queen II (Emi Ema 767) has been produced with even
greater care. The consequences of this have been, for once,
very positive because it has enabled Queen to exploit its great
voice potential in a more refined manner. From start to finish, the
songs are sung splendidly, in beautiful harmonies and
intermittent choruses, such as the Americans who wanted to
mimic the Beatles. In some cases, Queen resembles the
legendary Turtles and the, sadly, less well-known Halfnelson
Sparks. Likewise from a musical point of view, Halfnelson is the
group to which Queen is most comparable.
There is not much spectacular on the first side with a rather
tame Procession and, apart from Father To Son, there is nothing
special. But the level does not fall below a good average. The
event actually begins on the Black Side: a vigorous unfinished
fragment of rock music, such as is heard all too rarely. It opens
with Ogre Battle, an unbelievable sound hurricane of shrieking
guitars and keyboard violence which does not deteriorate into
showing off and ends with fast-selling single Seven Seas of
Rye, while in between there are a number of highly imposing
main songs which are amongst the best to have emerged from
the English scene in recent years. Together with Hudson and
Ford, Queen belong to a new batch of groups which have
processed hard rock elements into a powerful type of rock ‘n’
roll without rejecting the folk influence, the Beatle harmonies
and the Stone’s crudeness.
Whether or not the whole thing looks more like the Who, there
is one number on Queen II, Fairy Feller’s Masterstroke, which,
with its light bossa nova rhythm, seems to have been influenced
by one of the most subdued influences of the moment, Steely
Dan. This American group’s first album brought a splendid
by Peter Willems
What happened to Geert Salomez
former member and guitar-player of "Once More"
mixture of West Coast, bossa nova, and New York sinisterness.
This has been developed on the second album into a very
individual style with an immediately recognisable melody
structure which was adopted very quickly by a number of more
famous groups. On Countdown to Ecstasy, this is all done
rather uncertainly, somewhat tentatively, so that the whole
album, despite the good lyrics, the pleasant singing, and affable
accompaniment, is not a complete success. Pretzel Logic
(Probe SPBA 6282) is the logical continuation of Steely Dan’s
earlier work, which is dripping in self-assuredness. The boys
have ensured support for this album from a number of brass
instruments, and not the least, so that there is a strange
swinging, threatening atmosphere in the background. Of
course, it is first and foremost about the other numbers and, as
we can expect from Steely Dan, these are once again excellent.
The album opens with the grandiose Rikki Don’t Lose That
Number, which strongly resembles their first hit Do It Again.
Some numbers remind us of the soft West Coast sound of the
first album, such as Any Major Dude Will Tell You, the mid-sixties
style Barrytown, and the country-tinted upbeat number With a
Gun. A few other numbers use a varied arrangement in an
endeavour to bypass the limitations of the Steely Dan idiom
determined since the second album. Night By Night is both
funky and soulish with a lot of brass work in the background,
Through With Buzz has been given Beatle-style violin work, and
the white blues arrangement of Paul Butterfield furnishes the
background of Monkey In Your Soul without indicating that the
numbers would not have come into being without it. Pretzel
Logic is a perfect product of a talented group of musicians who
only need be careful not to overestimate themselves. There is a
danger of this because the Steely Dan albums follow each other
very quickly, perhaps too quickly to maintain good quality. After
Pretzel Logic, it seemed very likely that Steely Dan, with
Countdown, had experienced a transitional period of
undigested inspiration, the jewels of which could have been
saved up to make this album a milestone. For even here there
are some poor pieces, the title song in particular, that are
completely out of place. That does not detract from the fact
that everyone can once again be very pleased with this work,
which confirms Steely Dan as one of the major players for the
coming years.
© CAPRICORN/ANP
The seventhies were prosperous not only for bands such
as Queen, the Jackson Five and many others.
Here at Modular, in some dusty grey office resides a rare
relic of that glamorous rock era. Our home archeologists
dug him up and managed to squeeze an exclusive
interview out of him.
a very pleasent dinner with the "Claudettes", who were Claude
François' ("the electrician") dancers.
Back than we used to tour around with Arno, Gruppo Sportivo,
Kajak and many other famous bands. At the very height of our
succes we were so hot we made it supporting act of ACDC.
(We whistle)
beginning; performences in small pubs and all the trouble
related to that; malfunctioning equipment, power failure, fights,
booing, police raids, sex, drugs and rock&roll...
Geert, tell us; how did it all start?
The five of us started with three groupies, a few second hand
amplifiers, guitars and an old VW van. We ended with a lorry
loaded with new equipment, a car for every one of us ... loaded
with groupies, lots of showoff and blabla. At that point I had it
up to here (makes a unambiguous gesture with his hand)
At first we were driven by great expectations, worldwide
succes, the glory and glitter and all that nonsens. But then
again, we were young and in no time our enthousiasm began to
bear fruit. In 1978 we won the first edition of HUMO's Rockrally
(De Kreuners were 2nd (laughs)), released some vinyl material
and made some guest appearances together with some of
those days' hot shots on national television. I clearly remember
Was it fun touring around with the band?
Oh yes! At the Paris' club: Le Golf Drouot, we won the first
prize. (gets a little exited) Man, those were the days! There were
other festivals like Mallemunt, Lokerse Feesten and a unique
festival in Antwerp were "The Kids" had their first concert. I was
really impressed by their performence and the energy they
exuded ... . (silence)
... and the Penny Lanes?
Never married one of them. (laughs)
Sorry dudes; must get back to work now.
Any regrets?
Not really. After all; life turned out very well for me.
Do continu Geert!
This was the point where things started to get too serious for
me. So I wisely decided to leave the band. My substitute was a
guy called Dirk Blanchard.
But as I already mentioned before; The biggest fun was in the
39
Mmmodular
10
something ‘s cooking
by Francis
Normandy Sole
SERVES 4
- 4 large soles
- 400 g unpeeled prawns
- 800 g mussels
- 200 g mushrooms
- 2 tomatoes
- 8 miniature puff pastry crescents
- 1 carrot
Rum Baba
- 1 onion
- 1 stalk of white celery
- 1 lemon
- 5 dl water
- 2 dl dry white wine
- 2 dl cream
- Bay leaf, thyme, pepper
- Butter
- Pureed potatoes made from 1 kg potatoes, 50 g butter
1.5 dl milk and 2 egg yolks,
pepper, salt and nutmeg.
Start by peeling the prawns. Set the heads and
tails aside.
Filet the soles (or have the fishmonger do this)
and set the bones aside.
Stew the finely chopped onion, carrot and
celery in a little butter. After a few minutes add
the sole bones and the prawn shells. Cover and
allow to sweat for a few moments. Add 2 dl
white wine and approximately 5 dl water so that
everything is covered with liquid.
Also add half a lemon, some crushed
peppercorns, as well as the thyme and bay leaf.
Simmer very gently for 30 minutes.
In the meantime take the mushroom caps off the
stems. Don’t throw away the stems, they will go
nicely in our fish bouillon. Then slice up the
mushroom caps and stew them in a little butter,
water, the juice of half a lemon, freshly milled
pepper and salt.
Remove the skin and the seeds from the
tomatoes. Again, don’t throw away, but add to the
fish bouillon!
Finely dice the tomatoes and set aside.
At the last moment add the carefully cleaned
mussels to the fish bouillon. As soon as the
mussels open, remove them from the bouillon
and discard the shells.
Strain the bouillon and set aside half a decilitre.
Reduce the remainder by half by boiling
together with the cooking juice from the
40
mushrooms. Add the cream and reduce once
again by half. Season the sauce with pepper
and salt and add the mushrooms, the mussels
and the prawns. Keep the sauce warm but do
not reduce it any further!
Roll up the sole filets (with the skin on the
inside) and arrange them in a buttered oven
dish. Sprinkle with the remaining fish bouillon
and cover with aluminium foil. Bring to a boil and
place in a hot oven for about ten minutes.
In the meantime use a piping bag and zigzag
nozzle to pipe a decorative border of mashed
potatoes on a metal serving platter. If desired
you can brown off the potatoes slightly under
the grill.
Arrange the sole filets in the middle of the
platter and cover richly with the sauce. To finish,
sprinkle the diced tomatoes on top, and
decorate with the miniature puff pastry
crescents (which have been warmed up in the
oven) and a few sprigs of parsley.
Today, this dish is still an unsurpassed classic!
- 250 g flour
- 20 g whipping cream
- 15 g honey
- 25 g yeast
- 7 g salt
- 7 eggs
- 80 g butter
- 300 g sugar
- 225 g water
- 100 to 125 g rum
- fresh pineapple
- candied cherries
- 300 g whipping cream, whipped with 30 g of sugar
For the dough, mix the yeast in the lukewarm
whipping cream together with the honey.
Pour the flour into the mixing bowl of a food
processor and make a well in the middle. Break 3
eggs into the well. Pour in the dissolved yeast.
Mix this briefly and then add the salt. One at a
time, add the remaining eggs, beating the dough
for about five minutes. Cream the butter and add
to the dough. Mix until the butter is completely
incorporated, but no longer!
This produces a fairly liquid dough which needs
to be allowed to rise in a warm place for about 45
minutes. Then pour it in a buttered baba mould.
Only fill the mould half way up! This is because
the next step is to leave the dough to rise once
again until it reaches the edge of the mould.
Place the mould in a pre-heated oven at 180° for
about 35 minutes.
Remove from the mould immediately!
Boil the sugar and the water until you obtain a
syrup. Then add the rum.
Place the baba on a large platter and drench with
the syrup. The idea is for the baba to absorb all the
syrup.
Finally, fill the middle of the baba with pineapple
chunks and whipping cream and finish by
decorating the edge with whipping cream,
pineapple and cherries.
NORMANDY SOLE & RUM BABA
1
2
3
41
Jacky Ickx
1 1 Oeuvre
by Peter
Jacky Ikcx, born as Jacques-Bernard Ickx on the 1st of January 1945 and son of the respected Belgian
motoring journalist of the same name, Jacky began his career successfully in motorcycle trials events
and later raced a Lotus Cortina with great success in saloon car events. He exploded to prominence
at the age of twenty-two when he drove a Tyrrell F2 Matra MS7 with remarkable zest in the German
GP at Nurburgring, running amongst the leading F1 aces in the top half-dozen before the French
machine broke its suspension. Ickx scored a Championship point on his first GP outing at Monza that
same year at the wheel of a Cooper-Maserati, but it was his success in winning the 1967 European
F2 Championship for Matra that secured this very formal young gentleman a place in the works Ferrari
team the following year. He drove brilliantly to win the French GP at Rouen and was in the running
for the World Championship right up the Canadian GP where a stuck throttle in practice resulted in
a broken leg.
For 1969 he switched to the Brabham team. But the team is focused on owner Brabham. His first
results are poor, but when Brabham breaks his foot, Ickx gets the first car and things immediately start
to improve. winning the German and Canadian Grand Prix, but this move had been massaged by the
Gulf Oil Corporation who wanted to have Ickx driving their GT40 sports cars; it was a worthwhile
move, however, for he won Le Mans for them! In 1970 he returned to Ferrari where he used the superb
new flat-12 312 to win the Austrian, Canadian and Mexican Grand Prix, only just failing to exceed the
points total accumulated by Jochen Rindt prior to his death at Monza. The 1971 season yielded no
victories for Ickx, but 1972 saw him win the German Grand Prix at Nurburgring, the last such success
of his career. In the middle of 1973 he quit Ferrari and transferred to Team Lotus alongside Ronnie
Peterson the following year, but apart from a fine wet weather win in the non-title Brands Hatch Race
of Champions, Ickx now found himself locked into a gradual decline.
© CAPRICORN/ANP
42
He quit the team mid-way through 1975 and then squandered what was left of his prestigious
reputation with a disastrous foray with the Wolf- Williams team during the first half of 1976. A brief
foray with Ensign in the second half of 1976 went some way to restoring his reputation, but his F1
career petered out in 1979 after he deputised for the injured Patrick Depailler in the Ligier squad. He
subsequently became Clerk of the Course for the Monaco Grand Prix, but had his licence withdrawn
in absolutely outrageous circumstances following the 1984 race when he was obliquely accused of
favouring Alain Prost's Porsche-engined McLaren which had just emerged victorious as he flagged
the race to a premature halt in monsoon conditions.
Ickx's links with Porsche made him partial, so the critics said. Truth be told, it was a ludicrous reflection
on FISA inability to administer the sport even- handedly. Gentlemen who know their stuff like Ickx were
rare gems and badly needed on the administrative side. He was married for many years to Catherine
Blaton, daughter of the wealthy Belgian industrialist Jean Blaton, a regular Ferrari privateer at Le mans
in the 1960s who raced under the pseudonym of 'Beurlys'. Ickx continued with sports cars for several
more years, winning Le Mans five times.
© CAPRICORN/ANP
© BELGA
Review page
13
been here, seen this?
RUBIK’S CUBE
Rubik's Cube literally took the world by storm in
the early 1980's, winning England's "Toy of the
Year" award for two consecutive years (1980 and
1981) and becoming one of the best-selling toys
ever. The Cube was so popular during the early
part of the decade that the entire decade is now
associated with the Cube and an entire
generation of children grew up with a Cube in
their hands.
Ernö Rubik actually invented his Magic Cube in
1974. A teacher of three-dimensional design at
the Academy of Applied Art in Budapest, Rubik
designed his Cube to help teach his students to
think in three dimensions and to develop spatial
reasoning skills. He did not envision the
immense popularity that his puzzle would obtain,
nor could he imagine the impact that his Cube
would have on the world of mathematics.
by Peter & Toon
MCM/782 APL
The MCM/782 APL computer, designed by a
Canadian company Micro Computer Machines
Inc. (MCM) in the period between 1972 and 73,
is the earliest example of a microcomputer
manufactured specifically for personal use.
MCM was among the first companies to fully
recognize, articulate, and act upon the immense
potential of microprocessor technology for the
development of a new generation of cost
effective computing systems. The MCM/70
looks a bit like an old-fashioned answering
machine with a built-in keyboard. Designed in a
time before floppy disks, the MCM/70 used
automated 100 kb built-in tape drives to store
information and weighted 9 kg. But it was
coveted by computer programmers, accountants
and insurance agents for its power, small size
and reasonable price tag. It’s inventor Mers Kutt
wanted something that could fit in a suitcase, so
he built around Intel Corp.'s 8008
microprocessor. Weighing 20 pounds, the
MCM/70 wasn't as light as today's laptops.
SUPER BRUTE 295 SNOWMOBILE
Manufactured by Alouette Recreational Products
Limited (a subsidiary of Coleco Ltd.) of Montreal,
Quebec, Canada.
The 1974 Super Brute 295 was distinguished by
its avant-garde design. It offered a number of
important new features, the main one being its
front Ski-Sorber suspension system. A shock
was mounted on an articulated arm to replace
the leaf springs previously mounted on the
directional skis.
Internally operating track with a horizontally
toothed sprocket, reducing vibrations and
providing better performance.
Embossed aluminum frame for more body.
Highly profiled seat hiding the gas tank, which
was located under the handlebars.
Windshield, dials and headlight located on the
vehicle’s steering mechanism.
Many of this model’s innovations would be
borrowed by other manufacturers.
THE TANGA
1974 was the year when the string, originally
called tanga, made its way to Europe and the
States. It came over from Brazil where it was first
spotted on the beaches of Rio de Janeiro. The
seventies being the decade of sexual
emancipation, thousands of women couldn’t
wait to lay their hands on the thing. The tanga
consists of two tiny triangles of cloth joined by a
cord over each hip. fashion designer Rudi
Gernreich has been credited with introducing
the first on in the US where they soon started
calling it “thong” after the "Thong Song," This
catchy hit song, which catapaulted the Dru Hill
frontman up the music charts, had people of all
ages singing about the hottest piece of clothing
in years—the thong, th-thong, thong, thong.
DISCREET 59201
FRANK ZAPPA
Yes, dear readers, the Brain has been busy again.
And how! Zappa is clearly going through a
rejuvenation. After the first period of the Mothers,
full of cynical parodies, and the long instrumental
period, followed again by a parody with old Turtles
and all in line with a very tedious jazz period, Zappa
came on strongly with Overnite Sensation: fairly
simple music with cynical lyrics and filthy words
sung by the master himself, through which he has
apparently processed all his influences. This time it
happened without the Mothers, even though a few
faithful friends did enter the studio. They produced
an album which links up closely with the previous
one as regards the lyrics and delivery. The melody
structures, too, are still very simple, but as regards
the arrangements, it uses elements from every
period of Zappa’s musical past: this means brass,
cymbals, individual tempo variation, the marimba
sounds of Uncle Meat, do-be-do-wa-wa choirs from
‘Ruben and the Jets’, the mass choirs of ‘200
Motels’, all supporting a splendid album ‘for your
dining and dancing pleasure’ as Zap says it himself:
Well said Zap: the musicians whom Frank has
invited have names to make choirs of angels burst
into songs of rejoicing, and you, too: Aynsley
Dunbar, Jim Gordan, Jack Bruce, George Duke,
Jean-Luc Ponty Sugar, Cane Harris, Ian
Underwood, Bruce Fowler, Ray Collins, and a
number of others. All to be enjoyed one by one, and
even Zappa shines in their midst, because apart
from the only instrumental piece on this album,
Zappa is in very good shape.
44
The album opens with a short story with four
numbers about Nanook the Eskimo, who is not
allowed to eat any snow which has turned yellow
(because of what? Yuk!). He is pestered by a fur
hunter, puts him out of action, and more specifically
blinds him with the yellow snow crystals. The only
one who can cure him is St. Alfonso, where Father
Vivian O’blivion marks the spot and other things.
That’s the story, with splendid fifties choirs and a lot
of musical jokes. The first side concludes with one
of Zappa’s major numbers about the mystery
maker, gurus and such like, Cosmic Debris, sung
(or, rather, spoken) by Zappa in old style, with a lot
of participation/interventions from a genuine
Broadway Musical. Side two is brilliant and proves
that only Zappa can produce seventies music with
a fifties feeling. Excentrifugal Forz is a splendid
blues parody, Uncle Remus is once again full of old
rock elements, even delivered with very modern
means. ‘Stink Foot’ is about sweaty feet and
enables Zappa to perform some praiseworthy work
with the guitar and pedal, which is never really
absent, of course, much like this album in fact. This
is worthy of recommendation, and since you can
hardly speak in letter symbols (‘) you can ask for an
apostrophe at the record shop.
Peter Cnop
DIAMOND DOGS - DAVID BOWIE
After Ziggy's suicide and temporary resurrection
as Aladdin Sane (who retreated into his mod
youth on Pin Ups), David Bowie had to look
futurewards-and being David Bowie, went as far
as he could, to Apocalypse Now. After plans to
stage a musical 1984 were thwarted by George
Orwell's estate, David Bowie stirred in a cast of
androgynous deviants and completed Diamond
Dogs, abandoning the Spiders, hiring
sessioneers (Herbie Flowers, Tony Newman) and
handling all guitar chores himself. Diamond Dogs
was musical years away from David Bowie's past
too; from 1984's Phillyfunk excursion and the
futuristic garage band raunch of the title track
and Rebel Rebel (an anthem of prime Ziggyish
glitter-pop) to extravagant ballads like Rock 'n'
POST-IT
No one got the idea and then stayed up nights
to invent it. A man named Spencer Silver was
working in the 3M research laboratories in 1970
trying to find a strong adhesive. Silver
developed a new adhesive, but it was even
weaker than what 3M already manufactured. It
stuck to objects, but could easily be lifted off. It
was super weak instead of super strong.
No one knew what to do with the stuff, but Silver
didn't discard it. Then one Sunday four years
later, another 3M scientist named Arthur Fry was
singing in the church's choir. He used markers
to keep his place in the hymnal, but they kept
falling out of the book. Remembering Silver's
adhesive, Fry used some to coat his markers.
Success! With the weak adhesive, the markers
stayed in place, yet lifted off without damaging
the pages. 3M began distributing Post-it Notes
nationwide in 1980. Today they are one of the
most popular office products available ... and we
hate it. Although it has proven to be very handy
most employees seem to use it primarily to cover
their desks and computers with it. The post-it is
everbodies favourite reminder ... but reminde
that it’s not a very aesthetic invention.
Roll With Me, Big Brother and Sweet
Thing/Candidate that used a scene-painting
Moog, mellotron and pining sax to considerably
dramatic effect. David Bowie's voice also added
a rich, sonorous warble to its register. The reissue's bonus tracks, the early plastic soul
prototype Dodo and a completely different
Candidate, lack clarity and finished arrangement
but are nevertheless semi-precious curios.
Gaston Lagaffe
13
by Franquin
© Editions Dupuis S.A.
46
Agenda
15 by Peter
© vercruysse & dujardin fotografen
Have an eye on the work of Pieter De Bruyne, a well known Belgian architect and furniture designer
who died sixteen years ago at the age of 56. During his brief life he was very productive and ideas
and work have influenced many generations of designers and architects. The three pictures show
some of the interior of the house in which he lived.
ICONEN VAN DE VLAAMSE DESIGN
The exhibition “Icons of Design in Flanders” is the first exhibition of a series of exhibitions the
Flemish Parliament will hold in “De Loketten” in the next few years.
The impressive exposition hall, the former “counter hall” of the Postcheque, is a part of the Flemish
House of Representatives.
The Flemish Parliament is proud of exhibiting a remarkable selection of objects made by Flemish
Designers. Modular is also selected with the Square Moon 4x 18W and the Nomad AR111.
ICONS OF DESIGN IN FLANDERS
Brussels, Belgium
Until 04/03/2004
www.vlaamsparlement.be
Errata
16
Errata from Zinetta 7, page 5
This project was credited wrongly in our previous issue.
We apologize for our mistake.
My Sushi - Milano
Architect: studio 8&A : Anna Barile & Antonio Ottoboni
featured products: square moon
47
Main office - Belgium
The Netherlands
Modular Lighting Instruments NV Rumbeeksesteenweg 258-260 8800 Roeselare Belgium
Tel: **32 (0)51 26 56 56 Fax: **32 (0)51 22 80 04 Email: [email protected]
Modular Lighting Nederland BV Bouwerij 54 1185 XX Amstelveen The Netherlands
Tel: **31 (0)20 347 30 47 Fax: **31 (0)20 347 30 48 Email: [email protected]
Australia, South-East Asia
Spain
Modular Lighting Australasia 189a St. Johns Road Glebe N.S.W. 2037 Australia
Tel: **61 295 71 88 00 Fax: **61 295 71 88 11 Email: [email protected]
Modular Lighting Spain PG. Sant Joan 10, 08010 Barcelona Spain
Tel.: **34 93 244 43 43 Fax: **34 93 265 59 63 Email: [email protected]
Italy
United Kingdom
Modular Lighting Italy Via Machiavelli 9, 34132 Trieste Italy
Tel: **39 040 347 61 65 Fax: **39 040 348 37 91 Email: [email protected]
Modular Lighting U.K. 22-24 St. Giles High Street London WC2H 8LN United Kingdom
Tel: **44 (0)20 7681 9933 Fax: **44 (0)20 7681 9943 Email: [email protected]
Japan
Germany
Modular Lighting Japan Terrace House B 1-9-7 Nishi azabu, Minato-ku Tokyo 106-0031 Japan
Tel: **81-357 75 25 11 Fax: **81-357 75 25 12 Email: [email protected]
Modular Lighting Germany GmbH Lichtstraße 43 G 50825 Köln Germany
Tel: **49 (0)221 88884 0 Fax: **49 (0)221 88884 444 Email: [email protected]
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