It's an ongoing learning experience
Saturday 12 April 2014
Discover Local Artists
The Art Gallery at Eissey Campus at Palm Beach State College holds its annual juried student art show, the 28th Annual Student Art Exhibition now through May 7. The variety of work reflects the many art disciplines offered at the college: ceramics, digital and traditional photography, drawing, life drawing, applied and digital design and painting. Featuring 160 pieces in the exhibition, much of the art is available for purchase, with prices ranging from $20 to $1,000.
Kayla Morrill entered the world of photography with her struggles and pains clutched tightly to her chest and she used the lens of her camera to examine them from every angle, she said. “I spent years posing models to reflect the insecurities, the longings and the dreams that I was feeling at the time. One of the reasons I love Gloss and the other pictures in the Headless series is that they don’t, in fact, mean anything personal to me. It’s a sign of my own progress that I am finally able to look out at the world instead of always looking in.”
Gloss by Kayla Morrill
Carla Gia Larosa, from New York City, studied art and design at F.I.T. She moved to Palm Beach County five years ago and decided to go back to college. “There I discovered the wonderful world of ceramic arts. I am fascinated by pre-Colombian art and it has been my greatest influence,” she said.
Finding Lella by Carla Gia Larosa
Talya Lerman, this year’s curator of the show, graduated with a Bachelors in business administration, management from Northwood University. She is currently the director of education at the Armory Art Center in West Palm Beach. Previously, she was the tour and volunteer coordinator at the Norton Museum of Art and the director of public programs for the Palm Beach Institute of Contemporary Art. Both as an independent curator as well as affiliated with local non-profits, Lerman has been heavily involved in the South Florida art scene for over two decades.
Gallery hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday; and 9 a.m. to 8 p.m. Tuesday. The Art Gallery at Eissey Campus is located in the first floor of the BB building, 3160 PGA Blvd. For more information, call the gallery at 561-207-5015 or visit http://www.palmbeachstate.edu/artgallerypbg/current-exhibition.aspx
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Sunday 16 March 2014
Do you hate expressways and trips to the airport? Do you like to hover?
Then you might really like owning a helicopter.
Let’s talk about the LongRanger, Bell Helicopter 206L4, which was shown at the 2013 Fort Lauderdale Boat Show on the deck of the 190-foot yacht Mi Sueño (Spanish for “My Dream”).
“This one costs about $3 million,” said Anthony Moreland, managing director of Bell’s North America commercial business. Other models range from $1 million to $12 million.
The cabin of the LongRanger can hold the pilot and six passengers, with five seats in the back and two in front.
Features include a high-inertia, two-blade rotor system and a patented suspension system that delivers a smooth ride, club-seating configuration that allows for face-to-face conversation, and 61-inch doors that open wide for easy access to its 80-cubic-foot cabin.
It’s not necessary to go into decorative details, because the sky’s the limit. The helicopter “can be painted any color the customer wants,” Moreland said. “Sometimes they paint them to match their boats, planes and homes; and some people have a fleet, matching leathers and woods.”
And they are fast, safe and comfortable, he added. “They can go up to 10,000 feet, cruise at 125 to 130 knots (130 to 135 miles per hour), typically fly 300 to 400 miles, and, in an emergency, there’s still a lot of control. If there’s engine failure, they can still be landed very safely. An advantage over a plane — they don’t need forward motion, meaning there are more places for them to land.
“And they can hover.”
Bell International, an 80-year-old company, has its main location in Fort Worth, Texas, with independently owned service facilities all over the country. In the United States, Bell serves five types of clientele: offshore (e.g., flying people out to oil rigs), corporate, law enforcement, emergency medical services, and utility operators.
Individual customers, usually affluent people who are entrepreneurs, senior executives or retired senior executives, use them for flying themselves or their guests from their home to the airport, their businesses or to yachts, Moreland said, noting that he had fewer than 12 Palm Beach customers.
“This type of client I place in my corporate segment. They are a good business for us,” Moreland said.
Some of the owners have their pilot’s license; some don’t.
“Often, even if they are enthusiastic for aviation, they’ll have private pilots, or they have an arrangement with service providers who provide the pilot and the maintenance personnel, and we have a facility in north Fort Lauderdale,” he said.
Some yacht owners like to come back and forth, from boat to land, in a helicopter rather than a tender, Moreland added.
“They keep the helicopter in a hangar on land; a few have their own hangars. The owners come down in their airplane, get on the helicopter, get on the boat, and the helicopter goes back to the hangar. It can stay on the boat, which is under way, but the deck has to be designed so that you can secure the helicopter — that’s not ideal.”
Looks like helicopters prefer not to rock and roll.
Written for Palm Beach Daily News
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Sunday 16 March 2014
It’s business before pleasure, even for floating pleasure crafts. With cruises headed for the Caribbean along with area boat shows, it’s full steam ahead for ocean-going yachts, South Florida and Rybovich.
“A very typical sequence: Many yachts come to our facility from the Mediterranean at the end of their summer season. They cross the Atlantic on their own or on a transport ship,” said Francois van Well, vice president of business development for Rybovich. “We do the maintenance, repair, paintwork, etc., in preparation for the boat shows or their cruising season.”
Or both. Take the 190-foot Mi Sueno, for example. Built by Trinity in 2010, the yacht that can accommodate up to 12 guests for charter is shipshape inside and out. With luxurious interiors designed by Patrick Knowles, amenities include Honduran mahogany, maple burl and wenge-wood finishes; an elevator; Jacuzzi; splash pool; garage for toys; and touch-and-go helicopter capability.
It’s also fast, said its captain Glynn Smith. “Along with our many special features, we also have a great capability to increase our cruising footprint. While most yachts cruise at 13 or 14 knots, we cruise at 17 knots. That means we can get to places quicker.”
Last fall, Mi Sueno came across the Atlantic in bad weather and had to stop in the Azores and Bermuda, which caused a week delay. Normally, it can run across the Atlantic in 12 days.
This meant a very fast turnover at Rybovich before the Fort Lauderdale boat show.
“Once we got to Rybovich after thrashing about in the ocean, we had to do a huge clean up, get the engines and generators serviced, and have the minor wear-and-tears repaired,” Smith said.
He and his crew unloaded the sundeck so that they could put the helicopter onboard, took part in the boat show, came back to Rybovich, reloaded the sundeck, provisioned the boat and left for a charter in The Bahamas. “Each time at Rybovich, it took us about 12 hours, and they worked through the night as well, because time was so short,” he said.
On the move
Over a year’s time, Rybovich sees between 30 to 50 ocean-going yachts (from 160 feet to 350 feet) making these kinds of turnarounds, van Well said.
“It’s a big part of our business,” he said. “A lot more man-hours are required on larger boats, and these clients have a limited availability to do their repairs because they are constantly on the move. They know their schedule and they tell us when their yacht has to depart, and we get the work done.”
If a boat has been at the Monaco boat show in September, it’s at Rybovich in October at the earliest. If not, it’s here mid-December in time for a Christmas cruise. Some turn right around Jan. 2 or 3 for spring cruises, and then they head back to Europe or New England in April and May for summer cruises, he explained.
This particular segment of business from the yachting world is new to West Palm Beach, van Well said.
“Large yachts are coming to us because we have the ability to facilitate and service them,” he said. “We bought the dry dock so that we can get large yachts out of the water, and we are continuing to invest toward building a larger facility in Riviera Beach to cater to these yachts, which can bring economic growth to our business and West Palm Beach.”
To make that happen, Rybovich is waiting for a permit to dredge. Also, Huizenga Holdings, the company that owns Rybovich, recently proposed to West Palm Beach a plan to develop a six-tower village on 14 acres along the Intracoastal Waterway. Already approved by the planning board, it will go to the city commission in February.
Now for the pleasure side, using Mi Sueno as an example again. The yacht, which currently is for sale and for charter through Worth Avenue Yachts in Palm Beach, uses South Florida as a base for its Caribbean charters and the boat shows.
It’s offered for sale for $36.95 million and to charter, the price is $300,000 a week in winter for The Bahamas and Caribbean tours, and its high-season summer rate in the Mediterranean is 325,000 euros, said Shannon McCoy, Worth Avenue Yacht’s head of business development.
“Glynn Smith has one of the best ‘can-do’ attitudes of anyone we’ve worked with, and his crew is young and energetic,” she said. “They are so fun, and they cover every detail. They go above and beyond, creating unforgettable once-in-a-lifetime experiences.”
These months are great for cruises to the Virgin Islands, she said. Here’s her suggestion for an enjoyable outing: “The yacht picks up its clients at Yacht Haven Grand in St. Thomas. They cruise to Jost Vandyke, a small island in the British Virgin Islands. It’s fun to anchor out and go to the beach by tender and enjoy the local drink, Pain Killer, at the Soggy Dollar Bar (it’s named that because customers swim in). Then they can walk down the beach and watch a magic show performed by local islander, Seddey, who owns the One Love bar. For dinner that evening, it’s pleasant to visit Foxy, a restaurant that boaters made famous.”
Captain Smith, who hails from Southampton, England and now lives in Fort Lauderdale, especially enjoys his charters around Italy.
“We typically go to Capri and it’s only a seven- or eight-hour hop to Stromboli north of Sicily in the Aeolian Islands,” he said. “With a live volcano, Stromboli is an incredible island. In the evening, our guests watch it erupt while they eat dinner.
“Positano on the Amalfi Coast is absolutely stunning, and another beautiful area is the entrance to Bonifacio, Corsica, where our clients love going through the huge cliffs. It’s a fjord and we back in stern first all the way down about a mile.”
While Mi Sueno can accommodate a helicopter, not everyone charters one, he said. However, there are tenders and plenty of toys on board that his clients can enjoy: jet skis, WaveRunners, Seabobs, inflatables, skis, wakeboards, snorkel and dive gear, even a regulation basketball hoop.
“We did wakeboarding behind this boat down the coast off of Tuscany for a client. It was a spectacular day. Our client was an avid wake boarder, and I asked him if he wanted to do something really cool that nobody had done. We towed two people from 300-foot lines at 16 knots with a wake of 5-to-6-feet high. He loved it. That was one in a million, a magical day, with dolphins jumping in the wake. His face lit up.”
Concerning food, clients will have what they want. No exceptions. “There are no ‘I’m sorry, we can’t get it,’ ” Smith said. “A client might drop $20,000 in caviar, and one wanted to buy $70,000 of Cristal Champagne. Normally we get it in advance, but we will fly it in to make it happen.”
With 7,000 square feet of interior living space overall, on the main deck are a stunning main salon, wine cellar and elegant dining room with a table that can seat 14 guests comfortably.
The full-width, split-level owners’ cabin with 270 degrees of panoramic windows is forward on the main deck and includes a king bed, study, lounge and his-and-hers bathrooms.
Five en-suite staterooms on the lower deck include a full-width VIP king suite, two king staterooms, a wheelchair-accessible queen stateroom and a twin stateroom with a Pullman berth.
There are multiple conversation areas throughout, including three exterior living areas. The upper deck features a panoramic sky lounge with oversized windows and an air conditioned aft deck, and on the sundeck, which is touch-and-go helicopter-capable, are a workout area, bar, Jacuzzi and splash pool.
The crew accommodations support up to 14 crew in seven cabins, including the captain’s cabin aft of the pilot house.
The lower deck is laid out with a beach club/tender garage, the main machinery space, engineer’s cabin and additional crew cabin.
“The mantra of this yacht is ‘fun.’ It’s a toy, and there’s no hotel in the world that can match what we do,” Smith said.
Written for Palm Beach Daily News
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Sunday 16 March 2014
Deep (limited only by the depth of your pocket). Dark (where sunlight fears to go). Cold (but air-conditioned and temperature-controlled).
Inhabited by creatures that few have ever seen, the ocean’s depths hold vast unknowns. Fortunately, a Vero Beach company, Triton Submarines, builds submersibles that make that world accessible to private owners.
A Triton’s sub — it looks like a big bubble on floaters — is small enough to be towed behind a yacht. But its main advantage is its 360 degrees of view, said Troy Engen, Triton’s pilot, head of operations and mechanical-systems specialist. “I used to drive subs with little tiny windows, and what you wanted to see seemed to be just around the corner.”
When you scuba dive, it’s not about what you see directly in front of you; it’s about the surroundings, Engen said. “The Triton’s transparent hull has the same refraction as water. People put their hand out to where the water looks to be, because it’s like a window that just goes away. You feel kind of like a fish.”
You can go where no one has gone before, and you’ll see things no one has ever seen, he said. “We are diving to depths that scuba divers haven’t gone. Sport divers can go 130 feet, and we go far beyond that. A lot of creatures that we see at those depths, we’ll take photos and try to document them, show them to scientists.
“Corals, sponges, fish, jellyfish, things like that. I don’t know what they are, but neither do the scientists.”
In 2008, the company’s owners, Bruce Jones and Patrick Lahey, put together a team with a submarine background. They hired Engen four years ago, and they’ve built two 1000/2 models — that can transport two people to depths of 1,000 feet — and one 3300/3, which is capable of transporting three people to depths of 3,300 feet.
“We have three more 3300/3 models under construction and are currently negotiating another three orders,” Jones said.
There are 10 models, priced from $2.275 million, and Triton is looking for its first customer for the 36000/3, its deepest-diving multi-passenger submersible (price tag: $25 million).
Here’s a little background about those who’ve gone before, and about the Triton’s 36000/3. In 1960, Swiss engineer Jacques Piccard and U.S. Navy Capt. Don Walsh dove 36,000 feet — to the bottom of the Mariana Trench in the western Pacific Ocean.
A couple of years ago, James Cameron, the director of Titanic and The Abyss, and billionaire Richard Branson set out, separately, to be next to reach the bottom of the trench. (Cameron got there first, in March 2012.)
But while members of the Triton team would like to build a submersible to go to those depths, they are not racing to do it. “Our submarines have great visibility. The main difference between us and the others’ efforts is that what they are doing is a sort of publicity stunt,” Jones said.
“Ours is designed to be a commercial sub that can go down to the bottom of the ocean every day of the year. Ours is designed to do useful work on the bottom of the ocean. Each one we build will make thousands of dives in its lifetime.”
Already, Triton has undertaken some interesting dives.
Unusual dive mates
In June 2011, a Triton team went to Japan for its first charter with the Japan Agency for Marine-Earth Science and Technology, in search of giant deepwater sharks. And, yes, they found them, thanks to the craft’s bubble design.
“When we were in Sagami Bay, a 25-foot shark was lying on top of the sub. If we didn’t have all that acrylic visibility, we wouldn’t have known,” Engen said. “And when we were looking for the giant squid, it was a real advantage to be in a transparent vehicle, because we didn’t know where it was going to show up: in front of us, on the side, on top.”
Following that expedition, Triton went to the Ogasawara Islands with Discovery USA in search of the giant squid (they found it).
Triton has recently finished an Antarctica and a South Pacific trip.
But scientific organizations aren’t alone in chartering Triton subs. Adventurous long-range-cruising yacht owners and charterers like them, too.
Owner Jones said, “There are companies that we work with (EYOS and Henry Cookson Adventures) that utilize our subs for specialty charters to go to parts of the world where their clients are interested in seeing.”
Tritons, classed as “+A1 Manned Submersibles” by the American Bureau of Shipping, also are certified by the Cayman Island Shipping Registry. Licenses to operate are not necessary, and an existing yacht crew member can be trained to pilot as well as to maintain the sub, or the owner can be trained.
The subs have relatively small deck footprints — ranging in length from 10.5 feet to 13.5 feet — but they are heavy, for they need to weigh as much as the water they displace.
The sub can be towed out to a dive spot by a yacht. But the company also has designed a number of yachts with special launch-and-recovery systems for the subs.
And although one can’t say “the sky’s the limit” for Triton, the company’s executives are taking their concept as deep as they can. Jones wants to develop a multimedia company that would produce documentaries on how subs are built and where they go.
Jones also envisions building a seafloor resort, with a hotel and underwater residences. The cost of an ocean-bottom home? He estimates $12 million. “We can build it for you. It will have 2,600 square feet. I’d love to live in one, but I don’t know if I could afford it.”
Written for Palm Beach Daily News
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Wednesday 5 February 2014
Discover Local Artists
Fourteen south Florida artists will exhibit their latest ceramic works at “SoFlo: On and Off the Wall” at the Art Gallery at Eissey Campus at Palm Beach State College February 18 to March 21. The opening reception will be from 5:30 to 8 p.m. on February 18.
Jupiter resident Chris Riccardo’s latest series of work is based on his long-time admiration of the Chinese war horses that were produced during the Tang Dynasty. He admires the Sancai glaze technique and has tried to emulate that.
“The idea that these horses were mass-produced hundreds of years ago instantly drew me to today’s mass-produced Chinese horses that we all know and love, My Little Ponies,” he says.
As he researched more about the Pony phenomenon, he came across a group of people who call themselves, Bronies.
Tang Brony, priced at $4,500.
“This subculture is made up of mostly men who find the series, My Little Pony, and the actual pony characters both happy and joyful and in some instances sexually attractive.
“So, I have tried to incorporate the history of the Tang horses with aspects of today’s mass produced toys and I hope to delve deeper into the Brony world which will be reflected in the new work to come.”
An interest in objects that serve a specific purpose motivates Justin Lambert of Jupiter to make functional pottery. He is also interested in how pottery can inherently initiate a certain situation with a single user and companion.
“It is through the grouping of particular pots that I am able to suggest a special moment to occur,” he said. “It is the interaction of my pots that lead to certain scenarios alluding to the ideas of companionship and solitude.”
Anagama fired stoneware plate $90
Anagama fired stoneware jug, $80
Groupings of bottles or cups invite the viewer to slow down and take notice of the subtle diversities in form and the infinite variety of surface texture and color attainable through wood and soda firing.The scale of his work brings the viewer in close to examine the subtleties of form and surface, and creates a more intimate experience through its utilitarian qualities.
“The firing process I choose provides a direct interaction between the clay and the user,” he said. “My work is not covered with any glaze, rather the firing itself glazes the work, enriches the surface and brings out intrinsic color from the clay.” His investigation into high alumina clay bodies in both wood and soda firing leads his research. He reduction-cools these kilns to achieve deeper colors. The process allows him to explore a “palette somewhat unknown. Frosty, dry, movement rich glazed surfaces provide information for future work, and my careful analysis of surface to form integration provide insight to new formula’s and firing schedules.”
Victoria Rose Martin
For Lake Worth resident, Victoria Rose Martin, the making of art is a spiritual thing.
“While sculpting, I zone out and it’s as if I make a connection to another place and time. In the small faces I can see members of my family, people and places, and even myself. The work tends to be whimsical or dreamlike with a slightly dark under current,” she said. “I want my pieces to evoke emotion.
“My sculptural forms are hand built using earthenware clay, and no two figures will ever be alike. The surfaces are decorated with stamped words, geometric shapes, and a variety of finishes, including oxides, underglaze, and glaze.”
Skipper and Peg, ceramic and wood, $425
SoFlo is a group of artists and educators working at institutions from Jupiter to Miami. The exhibitors are Deborah Adornato, Shannon Calhoun, Angi Curreri, Angel Dicosola, Nazare Feliciano, Rebeca Gilling, Bryan Hiveley, Judith Berk King, Justin Lambert, Victoria Martin, Chris Riccardo, Bonnie Seeman, Gerbi Tsesarskaia and Karla Walter.
The exhibit will feature 40 pieces of sculptural and functional work, each offering a perspective of current trends in south Florida. Both the reception and the exhibit are free and open to the public. Artwork will be available for purchase. Prices range from $200 to $6,000.
The gallery is located in the Palm Beach Gardens campus’ BB building, Room 113 and hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday and 9 a.m. to 8 p.m. Tuesday. For more information, call Art Gallery Specialist Karla Walter at 561-207- 5015 or email firstname.lastname@example.org.
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Friday 31 January 2014
I wrote this feb 2014 for the coastal star. would like to do an update…
Yes, it is possible to buy a home on the water and near the beach for around $40,000. If…
…If are over 55 years old, don’t have a pet, can get through the screening, have cash, don’t mind small spaces and don’t need to rent.
For those who can and do, they reap the rewards. They end up sitting poolside watching boats go by on the Intracoastal. Or they are at the beach taking a breather, because, well, the beach is just there.
Tropicana Gardens, at 4001 S. Ocean Blvd., a co-op with 65 units ranging in size from 350 to 700 square feet does have a few units for sale. Studio #106 is priced at $34,000 through Diane Duffy of Illustrated Properties. Studio #209 and a one-bedroom unit #210 are offered for sale together for $80,000 through Victoria Corsel, a realtor with Lenson Realty, Inc. And there are others.
“We do have a lot of restrictions, which won’t meet people’s needs,” said Peggy Beutel, president of the Tropicana Gardens Homeowners Association. “But having restrictions makes living here so nice. Because we don’t allow renting, for example, we know everyone.
“On the positive side, we have no assessments and aren’t planning any, our maintenance is caught up, and they just gave us a $22,000 reduction on our insurance because our building is so sound.”
This really is home sweet home, not an investment, she added. “My husband Al and I bought our unit ten years ago.
“We have a one bedroom, about 550 square feet, but that’s big enough for us. We paid $40,000 back then and it’s probably worth around that much today.”
To clarify, there are difference between condos and co-ops. Often co-ops are land leases and things might change when the lease comes up. So, ask about that.
Maintenance fees vary, and also, do ask about past, present and future assessments.
For example, unit #109 at the Dune Deck, 3610 S. Ocean, is a short sale, with an asking price of $99,000. There are issues, says listing agent Roger Basso with Jeffrey Ray & Associates. A $1.5 million loan to make repairs – some of them structural – is in the process of being paid off, costing each unit’s owner around $18,000 to $25,000 depending on square footage. Another $1.6 million assessment needed for more structural repairs is, as of this writing, under discussion.
“Some owners are walking away and there are foreclosures in that building,” he said.
On the other hand, “the majority has made repairs since the hurricanes, so they are in better shape than they were before and that’s making them more desirable,” said Courtney Fallon of Scott Gordon Realty Associates, Inc.
Now, here’s information for those with a pet, younger than 55, or want the option of renting: On the strip from The Ritz Carlton north to Sloan’s Curve, 235 units sold in the past year and 46 percent of them were less $200,000 according to the Regional MLS, Fallon reported.
“There are some nice deals out there,” noted Jennifer Spitznagel, broker of Manatee Cove Realty Inc. “We are at historic lows for this area. Prices have rolled back to 2001-2002 prices.”
And another thing, distressed properties are hard to find on the strip, she added, noting a short sale at Southgate, 3605 S. Ocean Blvd, #439, which is listed for $89,900 by Anthony Petrollia, Jr., a realtor with Re/Max Services. Another Southgate property, bank-owned unit #139, where mold remediation work has just been completed, is listed for sale for $79,100 by Barbara Lilley, a realtor with True Blue Realty Inc.
Satu Barish, a realtor with Coastline Realty agrees. “Foreclosures and short sales? I’ve been looking. You can’t buy them.
“Foreclosures get multiple offers and one of my clients offered $10,000 more than the asking price and didn’t get it.”
To compare with other coastal areas, there’s nothing for sale under $100,000 on the ocean in Highland Beach, and there’s only one unit for sale in Briny Breezes under $100,000 — K-27 Juniper, for $64,900.
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Sunday 26 January 2014
Luxury + Uncategorized
For $42,000, you can feel like a frog. All you have to do is own a Quadski.
Half ATV (all-terrain vehicle), half PWC (personal watercraft; think Jet Ski), the four-wheel, motorcycle-like amphibian, built by Gibbs Sports Amphibians Inc., goes up to 45 miles an hour on land and in the water.
A fun toy, it was meant to be enjoyable and easy to use, said Graham Jenkins, Gibbs Sports’ head of public relations and marketing and son of one of the founders. “And we were not trying to build the fastest thing, because the Quadski is the fastest thing. We are pretty happy about that.”
There are other amphibians, he said. But they are speedy either on land or in the water, not both, which makes Quadski an amphibian of a different color, so to speak.
“It handles very smoothly,” Jenkins said. “It’s got a good center of gravity and wider wheelbase, so it’s smoother than an ATV, and it can handle off-road conditions — hills, gravel, dirt, etc. — without trouble.”
He can attest to that because he’s ridden it over the 5-mile track at the company’s test site in Stuart. (Gibbs Sports is headquartered in Michigan.)
Easy to handle
“I am not a light guy, and going around corners on an ATV, it was incredibly easy to tip over. When I got on the Quadski, I did not have a problem. Each time I went around the track, I got going faster and faster. It’s a very forgiving machine, with a good suspension; I didn’t feel like I was being kicked by a mule.”
Some particulars: the 1,300-pound, 10.5-foot-long Quadski draws power from a BMW K 1300 Motorrad motorcycle engine capable of producing 175 horsepower. The engine is mated to a five-speed transmission with an automatic clutch. The craft can carry up to 260 pounds.
Jenkins enjoyed the water experience, too. “I am not an outdoor kind of guy. But I spent a lot of time on the Quadski in the water and had a lot of fun, stopping only because the sun went down. Then, when I was finally finished, I was able to drive the Quadski back onto land and into the trailer. Done. Finished. No dragging out of the water. It was so easy.”
The Quadski came after another invention, the boat/car Aquada. That, too, was conceived by New Zealander and entrepreneur Alan Gibbs. Why did he invent such a vehicle?
Explained Jenkins: “Because in the 1990s, he lived in a tidal area and got fed up while waiting for the tide to come in to launch his boat.”
Then Gibbs met engineer/entrepreneur Neil Jenkins (who came from Nuneaton, England, and now lives in Orchard Lake, Mich.). The two started working on the amphibian car.
They built 30 Aquadas. But they put the project on the back burner because the process to satisfy all three regulatory agencies (Environmental Protection Agency, National Highway Traffic Safety Administration, Coast Guard) to make the craft road-legal has been a long process.
However, the company was able to meet EPA, Consumer Product Safety Commission and Coast Guard criteria, as well as California Air Resources Bureau standards, for the Quadski.Gibbs and Jenkins had started developing it in 2007, announced it in 2012, and began selling the craft in 2013.
The two have also noted an interest in other amphibian vehicles — part of their larger Amphitrucks line — which they plan to develop as emergency vehicles for first responders.
The Quadski has been popular, Jenkins said. Gibbs Sports has sold about 1,000 of them and plans on producing 3,000 to 4,000 this year. Yacht owners particularly enjoy them and often have them custom-painted to match their boats.
Saving the best for last (and guessing what it might feel like to kiss a frog), here’s an explanation of Quadski’s land/water transitional phase.
“If you are on land and you start to drive the Quadski into water, it feels incredibly strange. You are floating. Then you press a button, the wheels fold up, disengage from the engine, and off you go,” Jenkins said.
“The other way around, just make sure you are floating before you put the wheels down,” he said. “There’s nothing else quite like the feeling. It’s a very strange thing that takes the mind a little while to get used to.”
Quadskis are carried by Riva Motorsports in Pompano Beach and Cycle Springs Powersports in Clearwater.
Christine Davis has learned that she’s a boating enthusiast, much to her surprise. If you manufacture or want to purchase a really cool craft, email her at email@example.com. She’d love to know about it, write about it and come along on a test drive.
Written for palm beach daily news
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Sunday 26 January 2014
“I have to lay down the laws and keep people in line.”
“I’m fortunate to have a good group. When I come across someone good, I stick with them. There’s a valid reason for that: I know what that person is capable of.”
“Say ‘yes’ to one and ‘no’ to another, and you have an issue.”
This might sound like Downton Abbey’s Mr. Carson talking about managing his staff, but it’s not. These quotes are from Francisco Chadinha, captain of the 200-foot superyacht Diamonds Are Forever, who was discussing his crew.
The ultra-luxurious Diamonds Are Forever was designed by Azimut-Benetti, with interiors by Evan K. Marshal. It contains an owner’s apartment, three double cabins, a twin cabin, a VIP apartment, and crew quarters that can accommodate 15.
He and his crew love to watch Downton Abbey, especially since they enjoy a distant connection. The yacht’s hostess, Kirstin Podmore, has a sister who used to be an au pair at Highclere Castle, where Downton Abbey is filmed.
And, most certainly, Chadinha and his crew can relate. “What’s said by the captain filters through the service areas,” observes Chadinha. “And the whole daily operation and maintenance of Downton Abbey is run exactly the same way as on the yacht.”
The “rules” are similar, too. For example, the Tom-Branson-and-Lady-Sybil liaison would not be considered a good idea on board, Chadinha notes. “There’s no mingling. There’s a line. Do not cross it. Staff or guests. When mingling develops into marriage, there’s friction.”
Mr. Carson is exemplary in his position as butler, Chadinha says, and that’s the way it should be. “Much is learned by observing your mentors. It’s a little like teaching a child how to have manners. You have to respect your elders.
“When I was a deckhand, I was lucky to learn from the right captains. If you have a bad leader, you will get bollixed up,” he says.
Like an estate, the yacht must be kept tidy and well-maintained, and the process of keeping it that way must be discreet. Aboard Diamonds Are Forever, “Most of the work gets done in the evening, after the charterers are asleep. Our owner doesn’t mind if we continue to work while he’s on board, but charter clients don’t like that.
“We get a feeling for what time they wake up, and arrange our schedule around that. We do shifts — beginning very early with the crew member whose job it is to get the boat ready.”
Like grand estates, circulation patterns are separate for crew and guests. Stairs on the port side are designated for crew, while stairs on the starboard side are for guests. “And except for the service staff, crew stays clear of the pool deck,” Chadinha explains.
“But the crew does play a tremendous part in creating the atmosphere. If your crew doesn’t jell and work as a team, the guests will feel the resulting conflict and politics. It’s noticeable. In the past, they’ve come to me about it.”
While the crew sets the tone, the owner or guests call the shots, Chadinha adds. “Too many ‘no’s’ is a bad thing. They hate ‘no’s.’ You have to be diplomatic. For my part, it’s important to be a can-do captain, relocating the boat and giving the owner and charterers what they want.”
But the crew members do have some impact, notes his wife, Chief Steward Lylani (they married in January, kind of like John and Anna Bates, but without the drama). “Not in all cases, but I find that the crew does have the ear of the owner.”
If you have a happy crew, you have a happy owner, explains Mark Lacey, captain of the Arianna, a 164-foot Delta superyacht that can accommodate 12 crew and 12 guests. “The crew affects guests’ and owners’ experience more than anything. A good chef, good food, and the way it’s served go a long way, too.
“We use cameras in the dining room to see when to serve. Guests don’t want to feel like they are being stalked, and the crew must provide service without hovering. A huge amount of the job is about being discreet,” he says.
“It’s the owner’s boat. He pays us. It’s not part of our job to know his life. We have to be friendly and personable, but not too personal. We must be attentive, know where the line is, and don’t step over it.”
Good communication among crew members is important, too, Lacey adds. “To be aware of guests’ needs, we have to know where our guests are and what they are doing.
“For example, the chief officer will call us at intervals when he is bringing charterers back from the beach, letting us know how close they are to returning. That way, as soon as the charterers step onboard, we are there with a towel and a drink.”
When David Clarke served as build captain for the 240-foot Laurel, he was given latitude to incorporate design and layout elements with the crew in mind. Laurel has room for 17 guests and 25 crew.
Like Downton Abbey, “There are underground passageways, service entrances and guest entrances. Even on a large estate, you never see the grocery car or the provisioning vehicle show up at the front door,” Clarke notes. “The garbage is never at the front. We designed Laurel the same way.”
On Laurel, the service entrance is on the port side, which leads to the crew area and the tank deck. The tank deck (on the lowest level) houses freezers and refrigerators, the laundry room, dry-goods storage rooms and the waste-management room. The tank deck and lower corridor also handle the flow of the crew.
“A crew member can move from bow to stern without going on deck or to the guest area. Although we had 20 or more crew, you don’t see them,” Clarke says.
Crew quarters are forward, while the owner’s stateroom is midship. “This gave crew full access to the boat, and allowed us to move throughout the yacht without being seen, too,” he says.
Laurel has two galleys. Owners and guests congregate in the guest galley, which also serves as the place for the executive chef to discuss menu and event planning, since it’s a better place to meet than the full working galley.
Notes Clarke: “If you go to one of those beautiful old restaurants in Italy, they have the show galley, where you can see the chefs cooking. The ‘grunt work’ is done in the lower galley.” Same with Laurel. And there are lifts to move the food from one deck to another, too.
Clarke, like Downton Abbey’s Mr. Carson, believes in keeping things shipshape: “My grandfather said, ‘Plan your work. Work your plan,’ and I’m a fifth-generation captain. We put equipment in places where it’s going to be used. Everything has its place on board, and it should be cleaned and put back after it’s used.
“We have an amazing amount of stuff, and if it isn’t put back, it takes too much time to find it. If the owner says, ‘Where’s the water-ski rope?’ at 11, and you take 45 minutes to find it, that only gives him 15 minutes to water-ski before lunch at noon.”
Laurel was sold in March; Clarke had worked for the previous owners for 10 years. Many of his crew were long-time, too. “Like Downton, we were a family,” he says. “We were employed to complete a task, and the owner was happy with the outcome. It was a two-way street. The owner and crew enjoyed each other and the boat. It just worked.”
After leaving Laurel — and based on his many years as captain — Clarke launched his new business, Superyacht Operating Systems (SOS). It’s an online database of operational policies and procedures that ensure safety and efficiency.
written for palm beach daily news: http://www.palmbeachdailynews.com/news/news/local/superyacht-captains-take-lessons-from-downton-abbe/ncYM3/
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Monday 9 December 2013
Discover Local Artists
Li Hongbo, Bust of Marseilles, Eli Klein Gallery
Hongbo's paper sculpture, Bust of Marseilles
Click here to watch how it works
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is to him an endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering. The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance.
U joo Lim and Hee Young, Nice Engine
A married couple Korean U joo and Lim Hee Young , are engaged in quite an original artistic work. They exercise their imaginations through a variety of forms of visual expression, including kinetic sculpture, drawing.
Click here to see video
Tony Oursler, Variant Love Finds a Way
I can’t even explain this. It’s like a multi-screen movie theater, with different movies going at the same time, but each movie screen is the size of a postage stamp.
Can’t find a video of this particular piece, however, here’s his youtube page.
Tapes, Installations: 1977-1989
Tony Oursler is known for his fractured-narrative handmade video tapes including The Loner, 1980 and EVOL 1984. These works involve elaborate sound tracks, painted sets, stop-action animation and optical special effects created by the artist. The early videotapes have been exhibited extensively in alternative spaces and museums, they are distributed by Electronic Arts Intermix. His early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. In these projects, Oursler experimented with methods of removing the moving image from the video monitor using reflections in water, mirrors, glass and other devices. For example, “L-7, L-5″, exhibited at the Kitchen NYC 1983, used the translucent quality of video reflected on broken glass.
Oursler began working with small LCD video projectors in 1991 in his installation “The Watching” presented at Documenta 9, featuring his first video doll and dummy. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Oursler then produced a series of installations that combined found objects and video projections. “Judy”, 1993, explored the relationship between multiple personality disorder and mass media. “Get Away II” features a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt direct address.
Signature works have been his talking lights, such as Streetlight (1997), his series of video sculptures of eyes with television screens reflected in the pupils, and ominous talking heads such as Composite Still Life (1999). An installation called Optics (1999) examines the polarity between dark and light in the history of the camera obscura. In his text “Time Stream”, Oursler proposed that architecture and moving image installation have been forever linked by the camera obscura noting that cave dwellers observed the world as projections via peep holes.
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Sunday 8 December 2013
Discover Local Artists
This year, I went to see Art Basel. Not to write about it, but, I couldn’t help myself. As I learned more about what I saw, I wanted to share the information.
Walking-around-time was limited, and I could not talk to gallery owners who were busy talking to real customers. So here’s what drew my attention, coupled with bits of bios cut and pasted from here and there….
Wade Guyton\Kelley Walker at Green Naftali Gallery
Guyton and Walker are two New York artists who collaborate to deliver visual pop and sculpture.
“One day, we were approving the tufting designs and mattress tape for our prototypes, the next day this old family from New Jersey that made them was out of business—100 years, then two mattresses with us and gone. They made them by hand and we haven’t found anyone with comparable skills. Who knew buttonless tufting was such a rarified technique?”
In any case, just because they will be featured in a gallery doesn’t mean they aren’t still suitable for sleeping or hanging out on. Or, as Guyton\Walker says, “They’re meant for use! Meant for life!”
Nir Hod, Once Everything Was Much Better Even The Future, Paul Kasmin Gallery
The sculpture consists of a moving scale model of an oil pumpjack encased within a large globe of oil, creating a world suspended in time, where the contradictions inherent in oil production and consumption peacefully coexist, while also alluding to the nostalgic scenes often depicted in snow globes. Hod, from Tel Aviv, lives and works in New York.
Once Everything Was Better
Globe by James Naras at Paul Kasmin Gallery
James Naras was born in London; lives and works in New York. His paintings and projects seek to capture the very moment of their own creation. They are most frequently made in a single brushstroke, recording a gestural passage of time and motion across the canvas. Using brushes of his own design, he repeatedly creates and erases his strokes until he feels he has made one that represents a precision of balance between intent and improvisation.
Nares’ films and videos reference many of the same preoccupations with movement, rhythm and repetition, while also ranging further afield in their scope. To see this in motion, click here.
Richard Wentworth, Local Produce Animal Vegetable Mineral, Peter Freeman Gallery
Wentworth lives and works in London. His work encircles the notion of objects and their use as part of day-to-day experiences. By transforming and manipulating industrial and/or found objects into works of art, Wentworth subverts their original function and extends our understanding of them by breaking the conventional system of classification. The sculptural arrangements play with the notion of ready-made and juxtaposition of objects that bear no relation to each other.
Local Produce Animal Vegetable Mineral
Will Cotton, Sweet, Scott Campbell Galleries
In 1996, Will Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works.
Erika Verzutti; Venus Major, Venus Yogi, Venis Aluna; Galerie Peter Kilchmann
Erika Verzutti is interested in the formal qualities of things found in nature, and her work reveals the beauty and symbolic power of common objects with enigmatic properties. The intuitive and material qualities of Verzutti’s sculptures, collages, drawings and paintings recall the mid-20th-century Neo-Concretist movement in her native Brazil, which rejected mechanized and overly intellectual approaches to art making in favor of a sensual, intuitive relationship between the artist and the object.
Venus Major, Venus Yogi, Venis Aluna
Tony Tasset, Snowman with Scarf, Kavi Gupta
Mixed-media Chicago artist Tony Tasset sends up Americana and the American dream in his sardonic, psychedelic sculptures, installations, films and photographs, which he describes as “Pop Conceptual.” These include a giant Paul Bunyan with uncharacteristically drooping shoulders; trompe l’oeil snowmen and smashed jack-o-lanterns; abstract compositions on panel of colored blotches spilling from various consumer products and fast foods; and a grotesque, cartoonish figure composed of hotdogs. Citing Norman Rockwell and Walt Disney as influences, Tasset aims to tap into and twist iconic American imagery, asking: “Could I take something that’s so banal, so quoted, that everybody has kind of made, and could I treat it like a Giacometti? Could I give it that pathos and existential angst?”
Snowman with Scarf
Rashid Rana, Notions of Narration II – Transiliteration Series at Chemould Prescott Road
The work titled, Notions of Narrations II is a continuation of Rashid Rana’s most recent “Transliteration Series.‟ In this series, Rana selects a random image from one time and place in history, cuts it into pieces and reassembles it together, forming another image from another time and place. By doing so, he creates an unusual relationship between both, a method which he refers to as visual transliteration.
In Notions of Narrations II, a famous painting by Rubens, Rape of the Daughter of Leucippus has been digitally sliced and its micro fragments scrambled in mixed order. The macro image is not easily recognizable as a known image in this case; however, the emblematic figurative objects within it hint towards a bold narrative involving the entanglement of both violent and carnal acts. Although the original image Rana uses is from an older period in time, it is not dissimilar to modern notions of the same. The process of pixilation aids in transcending the immediate/local link, thus, a relationship is established between both the composite image and constituent fragments.
a section of Notions of Narration
Shilpa Gupta, I look at things With Different Eyes From Yours, Chemould Prescott Road
Soap, microphones, sign hoardings, books: these are some of the familiar materials that Shilpa Gupta uses to engage audiences with wider and deeper issues. The artist also has a background in graphic design, and she has an ability to transform mundane imagery into something more profound. In her 2009 work Threat, Gupta created a sculpture with 2,400 bars of soap, engraved with the word ‘Threat.’ The audience was invited to take a bar of soap away and use it, washing away any trace of any imagined threat by the end of the exhibition. Fear is a tool often used to manipulate groups of people in power struggles, and Gupta’s works often harness participation and interactivity, shaking up our ideas about why we are asked to act the way we do.
In this piece, which includes a print on a mirror framed by an embroidered curtain on a metal rod, I took away an image of myself with my friend Mike, standing in the background…
I Look At Things With Different Eyes From Yours
A Gentile Carioca
Paulo Nenflídio, White Noise
Paulo Nenflídio constructs absurd machines and sound sculptures. His work hovers at the interface of art, dream and science. In a symbiosis of elements taken from everyday contexts, digital technology and art historical references, the artist has devoted himself to interdisciplinarity.
“I am more interested in the intricate social relationships, the exchange of behaviors that in time serves to alter our perception of the quotidian, the every day,” said Brazilian-based artist Laura Lima. She is primarily concerned with the human body, using it to question our relationship to the objects, people, and society and raising questions about the tensions between the individual and the collective body.
Four pieces by Laura Lima
Accumulation of Disorder by Lionel Smit at Cynthia-Reeves
Smit’s reference to the end of the world can be understood as an end of ‘the-world-as-we-know-it.’ His use of the same face repeated, once again repatriates original identity. Smit’s work indicates this model crisis, this state of the accumulation of disorder, as the end of the individual remodeled in the wake of global consumerism. Smit’s work signifies identity and the human condition surpassing time and history.
Accumulation of Disorder
Enrique Gomez De Molina
There was quite a crowd in this booth. Here’s why.
Enrique Gomez De Molina is a taxidermy artist from Miami, Florida. He gained recognition for his taxidermy for a few reasons. He created very unusual creatures when he mixed parts from several animals. And more notably, De Molina was sentenced for wildlife smuggling and is currently in prison.
De Molina used connections he had in several countries worldwide to illegally acquire and import both living and dead animals. He acquired animals that were on the endangered species list to create his art. In addition to a 20-month jail sentence, De Molina also received a $6,000 fine, one year’s probation, and he must forfeit all smuggled wildlife in his possession.
Jennifer Trask, Double Blossom Queen Anne’s Lace Object, Sewing needles, python and rattlesnake ribs, Lisa Sette Gallery
“My curiosity about the intrinsic nature of things, of materials and my interest in biology is paramount. What is written in the bones? Meaning, what desires, ideals, motivations do we carry silently?”
Double Blossom Queen Anne’s Lace Object
Angela Ellsworth, Seer Bonnet XIX, 24,182 pearl corsage pins, fabric, steel, wood at Lisa Sette Gallery
Angela Ellsworth is an American multidisciplinary artist whose paintings, drawings, installations
and performances explore the female body in its various contexts and constraints. Her work considers subjects such as physical fitness, endurance, social ritual, religious tradition, performance art and American Colonial history. Ellsworth’s ‘seer bonnets: a continuing offense’ (2009-2010) refers to her rejected Mormon heritage presented through a series of antiquated pioneer women’s bonnets, constructed out of thousands of pearl-tipped corsage pins embedded into fabric with their points directed inwards. the small, fetish-like objects not only refer to the tradition of craft work in the home – women’s work – but also stand as disembodied memorials to the lives suffering cruelty, submission and control.
Robert and Shana Parkeharrison, Thief of Paris, Edelmangallery
“We create works in response to the ever bleakening relationship linking humans, technology and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand.
“Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations, this work attempts to provide powerful impact both visually and viscerally.”
Thief of Paris
Hans Breder, Cuilapan, Ethan Cohen New York
A co-founder of the Intermedia Program at the University of Iowa in the late 1960′s, Hans Breder was a teacher. He was also artist Ana Mendieta’s lover (1948-1985). He took many of the photographs documenting her early performances in Mexico and elsewhere, images that are among the strongest in her Whitney retrospective. Indeed, a full understanding of Mendieta’s career must take into account the collaborative aspect of that early work.
That said, there’s clearly a difference between the two artists. Several photographs from Breder’s ”Ventosa” series (1973), for which Mendieta served as a model, are at Algus, and one is at the Whitney. In them, she lies nude in the surf on a beach in Mexico, holding a large polished steel mirror that hides her torso but reflects her lower body, leaving her figure truncated, headless and composed of four splayed legs. Breder has since made other photographs using mirrors; examples at Algus date from this year. Also, he photographed women in a wooded section of Iowa where he documented several of Mendieta’s performances.
Zhao Kailin, Cloud, Eli Klein Gallery
Zhao Kailin’s more recent work has concentrated on depicting beautiful, introspective young women, most of whom are Asian and dressed in traditional Chinese attire. Several feature females with musical instruments. These paintings capture the essential aura of young women suspended between the innocence of childhood and the smoldering sexuality of womanhood, evoking a sense of longing, dreams and desire.
“Every painting I do involves personal stories and memories,” Zhao explained. “I am always striving to communicate not only the beauty and unspoken personal narratives of these women, but also the inherent beauty of Chinese culture and life.”
Pedro Friedeberg, Gold Side Table, Todd Merrill 20th Century Studio Contemporary
“I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
“My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
“I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
“I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.”
Arno Elias, Tembo 5, Modernbook Gallery
Arno Elias was born in Paris, France. He is a multi-talented musician, painter and photographer, known for his compositions of Buddha Bar music. His creative talents did not stop at his musical career, but continued to his artistic career, leading him into the world of painting and photography. Studying the European contemporary artists from the 60s and 70s and the American Pop Art movement inspired Elias.
His focus is to travel the world and continue the journey. He is particularly passionate about endangered species and the lives of indigenous people, who are connected to the environment and depend upon its natural resources for survival.
Mark Jenkins, High Noon, Fabien Castanier Gallery
Mark Jenkins is a sculptor and installation artist whose work focuses on urban themes and often locates itself within this physical context. The artist invented the technique of casting objects using packing tape and plastic wrap. With it he has created a range of characters from clear ducks, dogs and babies to clothed hyper-realistic anthropomorphic beings molded from his own body and that of his partner Sandra Fernandez. He describes his work as “absurdist” and with the idea to “to create situations that turn the world into a stage.” He currently lives in Washington, DC.
And some other sights…
a tight-rope walker
a person being painted
Carol finding a Banksy?
and someone asleep
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