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

10352205 / on request

10352305 / on request

10352405 / on request

10352505 / 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

10361402 / on request

10361502 / on request

10361602 / on request

10361702 / on request

10361802 / on request

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

10351605 / on request

10351705 / on request

10351805 / on request

10351905 / on request

10352005 / on request

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

10360902 / on request

10361002 / on request

10361102 / on request

10361202 / on request

10361302 / on request

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 /

10352605 / on request

10352705 / on request

10352805 / on request

10352905 / on request

10353005 / on request

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

10361902 / on request

10362002 / on request

10362102 / on request

10362202 / on request

10362302 / on request

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

10351205 / on request

10351305 / on request

10351405 / on request

10351505 / on request

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 135° CONNECTION HALFPIPE OUT 90° 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 OUT BOLSTER 2xCDMR111 35W + EL.GEAR HALFPIPE OUT BOLSTER 1xCDMR111 70W + EL.GEAR HALFPIPE OUT BOLSTER 2xCDMR111 70W + EL.GEAR

HALFPIPE RECESSED 93280005

HALF PIPE RECESSED PROFILE ALU/M

93280050 93280055 93280060 93280061 93280062

HALF PIPE RECESSED 180° CONNECTION HALF PIPE RECESSED 135° CONNECTION HALF PIPE RECESSED 90° 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 HALFPIPE IN T5 1X21W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 1X28W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 1X35W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 1X24W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 1X39W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 1X54W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X14W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X21W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X28W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X35W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X24W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X39W POLYC SUPERIOR - WALLWASH HALFPIPE IN T5 2X54W 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 HALFPIPE OUT T5 1x21W INDIRECT HALFPIPE OUT T5 1x28W INDIRECT HALFPIPE OUT T5 1x35W INDIRECT HALFPIPE OUT T5 1x24W INDIRECT HALFPIPE OUT T5 1x39W INDIRECT HALFPIPE OUT T5 1x54W INDIRECT HALFPIPE OUT T5 2x14W INDIRECT HALFPIPE OUT T5 2x21W INDIRECT HALFPIPE OUT T5 2x28W INDIRECT HALFPIPE OUT T5 2x35W INDIRECT HALFPIPE OUT T5 2x24W INDIRECT HALFPIPE OUT T5 2x39W INDIRECT HALFPIPE OUT T5 2x54W INDIRECT

93285213 93285220 93285227 93285234 93285223 93285238 93285253 93285214 93285221 93285228 93285235 93285222 93285237 93285252

RECESSED T5 1X14W POLYC SUPERIOR - WALLWASH RECESSED T5 1X21W POLYC SUPERIOR - WALLWASH RECESSED T5 1X28W POLYC SUPERIOR - WALLWASH RECESSED T5 1X35W POLYC SUPERIOR - WALLWASH RECESSED T5 1X24W POLYC SUPERIOR - WALLWASH RECESSED T5 1X39W POLYC SUPERIOR - WALLWASH RECESSED T5 1X54W POLYC SUPERIOR - WALLWASH RECESSED T5 2X14W POLYC SUPERIOR - WALLWASH RECESSED T5 2X21W POLYC SUPERIOR - WALLWASH RECESSED T5 2X28W POLYC SUPERIOR - WALLWASH RECESSED T5 2X35W POLYC SUPERIOR - WALLWASH RECESSED T5 2X24W POLYC SUPERIOR - WALLWASH RECESSED T5 2X39W POLYC SUPERIOR - WALLWASH RECESSED T5 2X54W POLYC SUPERIOR - WALLWASH

93285713 93285720 93285727 93285734 93285723 93285738 93285853 93285714 93285721 93285728 93285735 93285722 93285737 93285852

HALFPIPE RECESSED FUSE 1x14W HALFPIPE RECESSED FUSE 1x21W HALFPIPE RECESSED FUSE 1x28W HALFPIPE RECESSED FUSE 1x35W HALFPIPE RECESSED FUSE 1x24W HALFPIPE RECESSED FUSE 1x39W HALFPIPE RECESSED FUSE 1x54W HALFPIPE RECESSED FUSE 2x14W HALFPIPE RECESSED FUSE 2x21W HALFPIPE RECESSED FUSE 2x28W HALFPIPE RECESSED FUSE 2x35W HALFPIPE RECESSED FUSE 2x24W HALFPIPE RECESSED FUSE 2x39W HALFPIPE RECESSED FUSE 2x54W

93276514 93276521 93276528 93276535

HALFPIPE OUT SUPPL. 3x i.o. TL5 2x14/24W HALFPIPE OUT SUPPL. 3x i.o. TL5 2x21/39W HALFPIPE OUT SUPPL. 3x i.o. TL5 2x28/54W HALFPIPE OUT SUPPL. 3x i.o. TL5 2x35W

93277214 93277221 93277228 93277235 93277222 93277237 93277252

HALFPIPE OUT T5 2X14W DOWN HALFPIPE OUT T5 2X21W DOWN HALFPIPE OUT T5 2X28W DOWN HALFPIPE OUT T5 2X35W DOWN HALFPIPE OUT T5 2X24W DOWN HALFPIPE OUT T5 2X39W DOWN HALFPIPE OUT T5 2X54W 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 1X21W BAP FULL - WALLWASH HALFPIPE IN T5 1X28W BAP FULL - WALLWASH HALFPIPE IN T5 1X35W BAP FULL - WALLWASH HALFPIPE IN T5 1X24W BAP FULL - WALLWASH HALFPIPE IN T5 1X39W BAP FULL - WALLWASH HALFPIPE IN T5 1X54W BAP FULL - WALLWASH HALFPIPE IN T5 2x14W BAP FULL - WALLWASH HALFPIPE IN T5 2x21W BAP FULL - WALLWASH HALFPIPE IN T5 2x28W BAP FULL - WALLWASH HALFPIPE IN T5 2x35W BAP FULL - WALLWASH HALFPIPE IN T5 2x24W BAP FULL - WALLWASH HALFPIPE IN T5 2x39W BAP FULL - WALLWASH HALFPIPE IN T5 2x54W 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 1X21W BAP FULL - WALLWASH RECESSED T5 1X28W BAP FULL - WALLWASH RECESSED T5 1X35W BAP FULL - WALLWASH RECESSED T5 1X24W BAP FULL - WALLWASH RECESSED T5 1X39W BAP FULL - WALLWASH RECESSED T5 1X54W BAP FULL - WALLWASH RECESSED T5 2x14W BAP FULL - WALLWASH RECESSED T5 2x21W BAP FULL - WALLWASH RECESSED T5 2x28W BAP FULL - WALLWASH RECESSED T5 2x35W BAP FULL - WALLWASH RECESSED T5 2x24W BAP FULL - WALLWASH RECESSED T5 2x39W BAP FULL - WALLWASH RECESSED T5 2x54W 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

fixation: ceiling-wall / adjust: 359° - 90°

11050307 / bolster AR111 TI foot chrome

fixation: ceiling-wall / adjust: 359° - 90°

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

fixation: ceiling-wall / adjust: 359° - 90°

11050507 / bolster CDMR 111 recessed chrome

fixation: ceiling-wall / adjust: 359° - 90°

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

fixation: ceiling-wall / adjust: 359° - 90°

11050707 / bolster CDMR 111 track chrome

fixation: ceiling-wall / adjust: 359° - 90°

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

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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.

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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.

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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

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