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MAN Greetings from the cockpit! MAN

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Italian Championship 2009!

Gaeta , August 29, 2009 - With a considerable points and benefit of one day in advance of the conclusion of the event - almost 20 - the team of Man (Grand Soleil 42 Race ) led by shipowners Fabrizio Pescara Benevento, Riccardo Di Bartolomeo and Alessandro Di Carlo, won the championship in 2009 Absolute Offshore Sailing Regatta Cruising Class 1-2.

The result from ' boat helmed by Chioggia Henry Zennaro within five days of racing's most important event national offshore racing, confirms the high preparation and harmony team that in four of 9 races came before the entire fleet in the standings.

"We can say that this was a project perfectly failed - said Riccardo Di Bartolomeo, spokesman for the trio of owners, before going to sea for the final test - this year for the first time we wanted to test ourselves in a season of sailing at the highest levels. We are satisfied because we have concluded in style with this national title after another, our results season: 1st in the Championship of the Adriatic to Ravenna, 1 to Championship Mediterranean in Pescara, 2nd World Championship ORC in Brindisi). With friends and Benevento Alessandro Fabrizio Di Carlo, all three sailors still locally for many years, we hired a crew already established and close-knit and all our resources and this led us to the result that now celebrate. "
Man was racing with the colors of the Club Nautico Pescara crew besides the three owners - respectively engaged in the role of human mast (Benevento), trimmer of floater (Di Carlo), the halyards (Di Bartolomeo) consisted of coxswain Chioggia Henry Zennaro , the tactician Peter Genovese D ' Ali of mainsail Lecce Sandro Montefusco , navigator Roman Ugo Grande, the tailer Fabrizio Pasini , Salvatore Pavoni Burchi and Philip Bowman and Francesco Di Sanremo Caprio .
The 16th Offshore Sailing Championship Absolute IMS was organized by the Club Nautico Gaeta, Gaeta Yacht Club, the local chapter of the League and the Italian Naval Base Nautica Flavio Gioia (head of event ), and with the support of offshore sailing Italian and the Italian Sailing Federation. In addition to the sports
Man and his team have been able to rely on their image characterized by a personal style inspired mainly to mark clothing aeronautical engineer Kiloyankeepapa , A brand created by Riccardo Di Bartolomeo in the wake of his experience as a driver of competitive gliding and professional of windsurfing in the last 20 years. KYP thanks to this new experience in the sailing world has also created a line of ' clothing dedicated to this sport which will be marketed from next autumn.
The 2009 season of Man is supported by: KYLOYANKEEPAPA , MEDITERRANEAN CONSTRUCTION, IMPIATEC , JAGUAR ABRUZZO, Ceramica Globo, ZURICH , Flyonair , MARINA MARINA DI PESCARA

are available Photos of the 16th Man Championship Absolute Vela d'Altura IMS
Press Club Man: Laura Jelmini , tel 3488720683, laurajelmini@mac.com

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dates free presentations

free introductory lessons Shiatsu

A lesson theory and practice free to learn the basic principles of Shiatsu:

Monday September 28 from 9.00 to 21.00 and from Turin via Mombarcaro 23 c / o Tao
Tuesday from 21 to 29 September in Turin Via Pinelli, 23 c / o Topos
Tuesday 13 October from 20.30 in Turin via Vanchiglia, 30 c / o ArteShiatsu
Thursday October 15 from 21 to turin in Via Villa Glori, 6 c / o Yogasangha
Saturday October 17 9.30 all day at Rivoli in via Pasteur, 20 / C c / o 2000

Reservation Form compulsory : cell. 340-6251296
or e-mail: info @ shiatsu-turin. com

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presentation

free introductory lessons Shiatsu

A lesson theory and practice to learn the basic principles of Shiatsu:



Shiatsu:

Monday, September 28 from 9 , 2000 and from 21.00 to Turin via Mombarcaro 23 c / o Tao
Tuesday, September 29 from 21 in Turin in Via Pinelli 23 c / o Topos
Tuesday, October 13 from 20.30 to Turin via Vanchiglia 30 c / o Archè
Thursday, October 15 from 21 in Turin in Via Villa Glori 6 c / o Yogasangha
all day Saturday, October 17 from 9:30 to Rivoli on a Pasteur 20 / C c / o Form 2000




Makeshi:


Friday, October 30, 2009 from 20.30 at Rivoli in via Pasteur 20 / C c / o Form 2000
course in 4-Week -end total of 60 hours - 26 / 27 September 2009 beginning at 9:30

Reservations required: cell.3406251296 or makeshi@torinoshiatsu.it

The new courses for the Diploma of Shiatsu Practitioner Operator started.

Registration is now open for the month of October 2009.

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free courses Free course of Shiatsu Shiatsu

October 17, 2009
free courses in Shiatsu Base
Professor Claudio Micale
Rivoli at Ass Forma2000 Via Pasteur 20 / c
book at 011/9586251 Viviana ice packs

Dedicated to all those who express an interest in the eastern energy techniques, manual techniques for culture and wellbeing.

The day's program is structured with a theoretical and practical work to follow on the back and neck. We shall examine the first two positions, prone and supine.

During the course of the available spaces will be dedicated to test the sensitivity of the operator, this course is to be considered preliminary and introductory to the study of shiatsu.
· The Shiatsu massage is a type of Japanese
is a technique for handling / contact deep in the body, in order to activate a process of self-regulation of basic body functions, including facilitating a process of awareness / knowledge of the body, health and quality of life.

• Are there different approaches to shiatsu and at the base of each style are solid principles and basic techniques
• In this course we will learn these basic concepts to practice this art
° - The practical principles of fundamental technical
° - theoretical concepts on which shiatsu
° - The way to "act" in the eastern energy techniques.

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Makeshi

Shiatsu in Brief:
can think of Shiatsu as a technique of deep contact on body, with the aim of inducing a process of self-regulation of the key functions of the body, encouraging a process of awareness / knowledge of the body, health and quality of life.

method Makeshi
Makeshi The method is a technique of body work that uses six basic techniques of Shiatsu adapted on the couch, alternating them and balancing them with maneuvers, time and intensity each time different.
The treatment is well adapted to the recipient, taking into account the energy assessment and practical responses that the body sends the recipient.
The techniques are varied so as to be focused At first the body structure, later the energy circulation, and finally to mental symbolism.
During treatment, six techniques are brought together in groups of two to produce an action regressive, activating or reflective.
The strategy of treatment, taking into account the structure of physiology, body type and energy of the symbolism of the recipient.
in this work is the fundamental way of being inside of those who practice the technique. His attention to the rhythm of work and to his inner rhythms, his peace of mind and the use of thought in contemporary art and of intuitive thinking.

Why practice
The Makeshi method through the dynamics of application leads the user to a psychosomatic issue of compensation. The practitioner offers a course to raise awareness of the body in all its structures, listening to the inner rhythm of breath. The method is suitable for those who wants to improve the overall vitality and physiological functions, and who wants to reduce pain or stiffness with a structural increase in the capacity of listening to their indivisibility body / mind / energy. The origins

Makeshi The method was finally codified in 2004 by Claude Micallef (shiatsu teacher) after ten years of study and practice of shiatsu on the couch. The work arose from When making a work that uses the basics of shiatsu and can be active in both the physical and concrete way in the energy and ability to reflect on the receiver active during treatment.

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The ANOLF - National Association across borders - is an association of immigrants from various ethnic groups on a voluntary, democratic whose aim is the growth of friendship and brotherhood among peoples, in the spirit of the Italian Constitution. The
ANOLF, promoted by the CISL, non-profit and not side with any political movement or training. It was formed in December 1989.
Representation dell'ANOLF is delegated to two co-chairs. The Association is based on the eagerness of the immigrants for the protection of their needs and growth of our society.
The Association is widespread throughout the country with the ANOLF Regional (20), the Provincial Departments (101) and Territorial (10).
objectives
The ANOLF came to realize an ambitious, difficult, but profoundly right: to help create a society open to diversity in an increasingly multi-ethnic, multicultural, respect and enhancement of specific ethnic, cultural and religious differences. The
ANOLF aims to combat racism and xenophobia through the interaction between different social groups, in pursuit of mutual understanding, respect and opportunities for everyone in a society based on peaceful coexistence, as a stimulus to a more just and more respectful also the balance of nature.
The strengths are the commitment dell'ANOLF equality in rights and duties, as an expression of a "civic" mature, essential for the whole society in a country like ours that can be drawn from the resource immigrants, a push to overcome positions and behaviors related to a provincial culture and often unsociable.

The ANOLF implementing activities as part of its community life, a wide range of specific actions:
widespread information activities, advice, assistance, aimed at promoting the rights of immigrants;
training processes for the acquisition tools (language, culture, legislation, professional training) required to be active integration in the workplace and in society;
actions to facilitate the socialization active associations and among immigrants, while respecting the ethnic and cultural backgrounds, but no closures;
initiatives for recovery and preservation of cultural heritage of countries of origin;
and social policy initiatives for the acquisition of the actual satisfaction of needs lives of immigrants;
information campaigns and awareness meetings for the Italian population;
research, studies, seminars, parties of bringing people together, promoting projects, in partnership, on immigrants;
relations and cooperation in Italy and in Europe with institutions, organizations, political organizations, trade unions and professional associations to address the phenomenon migration in the context of the imbalance North - South
participation in the Council for the problems of immigrants and their families and to the national policy coordination of social integration of immigrants at the CNEL;
active presence in the body representation the social (Permanent Forum of the Third Sector);
active membership SUMMIT (Italian Council European Movement);
interventions and cooperation agreements with countries of origin of immigrants;
full involvement of all structures CISL regard to the protection of the rights immigrant work-related.

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extempore

Area 30 .... idea of \u200b\u200bcreating a place for all people in the neighborhood, which can communicate through this ... A multicultural percent with the function but also support for those who come from countries with dificult. A center not only of art but also the hospitality and help ....

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Last December, opened the New Museum of Contemporary Art, New York, designed by Kazuyo Sejima and Ryue Nishizawa / SANAA. The new building, wedged in the commercial fabric of the East Village, situated in a block of the Bowery at Prince Street close, in an area still not reached by the wave of urban renewal and construction that is reshaping the whole of downtown Manhattan. The museum is in fact an area peripheral to the center of cultural life of the coated galleries of SoHo or Chelsea, for a specific choice of the programmatic direction of the Museum. This institution was founded in 1977 by the expulsion from the staff of the Whitney Museum of her historic director, Marcia Tucker (1940-2006), who decided to give birth to a new container for the production and communication of contemporary art, the first opening in Soho seat of what was the establishment of reference for contemporary art housed in large movements alternative to American museums. In line with its tradition when they have to start the construction of a new and more suitable venue for their events, the direction of the New Museum has chosen an area of \u200b\u200bNew York even out of the great wave of renewal that hit Manhattan after September 2001 and '11, not wanting to resort to the big names of contemporary architecture in recent years have won the architectural scene in the city, has identified a range of emerging architects already but certainly talented and experienced including organized a consultation on the draft the new headquarters to be inaugurated year of the thirtieth anniversary of the foundation. The comparison between David Adjaye, SANAA, Abalos & Herreros, Reiser + Umemoto, Gigon Guyer, winners are able Kazuyo Sejima and Ryue Nishizawa / SANAA also because they are better able to interpret the spirit of informal grand opening of the museum institute. Sejima and Nishizawa was commissioned in 2002 aware of confronting a very difficult site, which no doubt hid large settlement, and a framework needs a lot of birds fly to and difficult to interpret. The block chosen for the new building is wedged tightly into a ring of small commercial buildings are not particularly qualified long The Bowery Street, one of the busiest lines of the Manhattan, but almost in line with Prince street that allows a perspective central to many blocks away the cell identified for the museum's size planimetric very minimal, about 21 to 35 meters on these small dimensions Sejima and Nishizawa have also decided not to use all the available space requirements, resulting from nearly 55 meters high building, to create a system volume much more articulate than they would have allowed the complete saturation volumetric sito.Questa choice has proved successful because it allowed the exhibition area while maximizing the almost vertical closures completely opaque, opening cuts of light at different points using the articulation of the volume of the building. The spatial configuration of the building is defined by the juxtaposition of seven small volumes stacked in a seemingly haphazard, non-perfect overlap of the volumes is found to allow the expedient of bringing natural light into the interior space almost completely opaque. The only element of continuity between the physical and structural seven boxes is blocking communications verticali.Le small building and the manufacturing system used allowed to obtain all seven floors completely free of vertical elements, optimizing so the flexibility of the exhibition spaces. The implementation looks almost brutal in its simplicity, the clarity of the volumes is accompanied by the clarity of the technical solutions chosen for the development of various elementi.La steel cage structure is deployed along the entire perimeter of the building, the vertical cladding are made with a lightweight sandwich assembled dry also works as a base for the anodized expanded aluminum sheet, due to its morphology, reflecting the natural light, creating different color effects that vary with time of day and sky conditions, ranging from absolute white to gray aluminum natural, passing shades pink sunset or dark gray grazing in the vision from the road. The drilling of the sheet allows grazing through skilful lighting at night to turn almost the entire volume after sunset, lighting up a large part of urban surroundings vivace.Il otherwise very little treatment of the outer surfaces declined in various ways to achieve the elements of finishes vertical and horizontal internal partitions, are realized with the same material, simply by varying the size of the perforation of sheet metal, countertops and walls of some of the vertical partitions and furnishings of the bookshop and the reception desk. The widespread use of this aluminum mesh creates an atmosphere vague and nebulous in the lunar interior, accentuated by the use of fluorescent lighting fixtures cold light placed behind the perforated plates that double as speakers, rafforzandoo even more the lack of polarization of light. Almost all the floors are made with a mixture of industrial concrete finished with a transparent resin; this treatment, adding to the lack of sophisticated polarization and the informal spaces necessary to focus the attention of visitors on the works and installations. Sejima and Nishizawa have said they do not want to hide the artificial nature of the building behind the screens, trying to deal honestly and in harmony with the bareness of the exhibition spaces of the building structure and the presence of all parts of the service; one can see the lighting, the elements of fire, the electrical lines and channels of air conditioning, managed "to maximize the feeling of openness, realizing them as best as possible while remaining within the parameters of hardness. "The program of the building is quite complex, having to hold both the offices of the museum's exhibition space and services to visitors in about 5,500 square meters of the intervention. The program has been interpreted very simplifying the organization of the functions contained, trying to allocate a function at all levels in order to optimize the management of space. The building looks like a succession of boxes of comparable size but all different superimposed on one another and slipped in a non-ordered; slippage between a volume and the other leads to surface, internal heights and different volumes for each plan, offend different opportunities and fruitive espositive.Il access level is kept completely open on the Bowery on the road, bounded by a floor-to ceiling curtain made of glazing UltraCare to ensure perfect visibility among internal and external, so as to give the 'effect of physical continuity between the atrium and the space public sidewalk, and this effect is further exacerbated by the treatment of the floor of the atrium made with a mixture of cement ricercatamente not uniform in texture and color rendition. On the ground floor, in continuity with the atrium, the museum dedicated to the founder, Marcia Tucker died in 2006, the book shop and the café of the museum. From an open staircase to the attic of the ground floor almost like a fault light, leads to the basement where you will find the museum's small auditorium with 180 seats and services for visitors. Just the bathroom of the visitors are the only element of the whole building iperdecorato; coatings are realized with a colorful red aesthetic mosaic and gray, which reproduces the huge flowers ciliegio.I three successive planes are dedicated to the exhibition rooms which all have similar conditions but rfiuscendo construction to ensure a different ambient lighting, the play of staggering volumes of the museum conducts light on the different floors in a different way by multiplying the vocations of the exhibition spaces.
The third level is the only one open to visitors, with a large window to the west of New York, briefly interrupting the visual continuity of exposure, allowing the visitor to find the contact with the external environment, hence leads to a very dramatic exhibition space, the other smaller but about 7 meters high, designed to accommodate large installations with natural lighting conditions vary. The fifth and sixth level are the offices and teaching functions of the museum, while the seventh a spectacular multi-purpose room - the Toby Devan Lewis Sky Room - which opens onto a large terrace, and this space has been designed to accommodate events Extraordinary museo.Nelle galleries and in all areas of communication of the museum's design elements are visible, the bracing of the cage structure, painted white like all the technical elements of the museum, or simply left with their fire-retardant treatment on demand, shall peering between the openings of the skylights and windows, without any shame, as they the designers said "We want the building to show what it is. This openness is a constant as the New Museum of frankness and sincerity reflects the company's daily moves along the Bowery. "The impact of the New Museum on the visitor is certainly impressive, the clarity of light and matter start field in contrast to the dusty commercial architecture of the Bowery is certainly fascinating, but the solemnity of the absolute lack of detail and sought the details of brutal minimalism and the informal treatment of the surfaces, perhaps deserved more care in their implementation. Perhaps the construction of the building has not been able to interpret the full rigor of the SANAA project that would require more timely implementation of informality of the minimum detail. This state of uncertainty in the realization of certain technological solutions could be conditional durability of certain elements intentionally low complessi.È clear, however, as the desire to emphasize the uniqueness of the New Museum programmatic than other New Yorkers and American museums in general, has found in this building to its full realization.

NEW MUSEUM OF CONTEMPORARY ART - NEW YORK CITY
Location 235 Bowery, New York City History

2002 Start of construction

November 2005 October 2007 Completion


Open to the public on 1 December 2007 Commissioned

New Museum of Contemporary Art
Project Managers
Lisa Phillips, Toby Devan Lewis Director, New Museum
Lisa Roumell, Deputy Director and Chief Operating Officer, New Museum
Architectural
Kazuyo Sejima + Ryue, Nishizawa / SANAA, Tokyo

Florian Idenburg
Project Manager Project Team
Jonas Elding, Javier Haddad, Erika Hidaka, Hiroaki Katagiri, Toshihiro Oki, Koji Yoshida
Project Management and Executive Architect
Gensler, New York - Madeline Burke Vigeland project leader, Project Manager William Rice
Construction Management
Swarm, New York Structural design
Simpson Gumpertz & Heger Inc.
- Guy Nordenson and Associates

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Project 3: 30

The area 30 is on the way tova Filarete and Antonio Averulino. And piccoi a green area which is overlooked by houses. On the road to the area has a dislivelo a few meters.