domingo, 24 de fevereiro de 2013

the right to light

Solar access is the ability of one property to continue to receive sunlight across property lines without obstruction from another’s property (buildings, foliage or other impediment). Solar access is calculated using a sun path diagram.

Example of Solar Path @ 40ºN Latitude

Solar access is differentiated from solar rights or solar easement, which is specifically meant for direct sunlight for solar energy systems, whereas solar access is a right to sunlight upon certain building façades regardless of the presence of active or passive solar energy systems.

A historical example of Solar access is Ancient Lights, a doctrine based on English law that refers to a negative easement that prevents the owner or occupier of an adjoining structure from building or placing on his own land anything that has the effect of obstructing the light of the dominant tenement. In common law, a person's window on his property receiving flow of light that passed through it for so long a time as to constitute immemorial usage in law, the flow of light became an “ancient light” that the law protected from disturbance. The Prescription Act of 1832 created a statutory prescription for light. It provided that:

'When the access and use of light to and for (any building) shall have been actually enjoyed therewith for the full period of 20 years without interruption, the right thereto shall be deemed absolute and indefeasible, any local usage or custom to the contrary notwithstanding, unless it shall appear that the same was enjoyed by some consent or agreement, expressly made or given for that purpose by deed or writing...'

quarta-feira, 20 de fevereiro de 2013


hey mate, will you be able to handle the perils that threaten thrill seeking souls? will you be able to skid on the edge of chance? will you be able to capacitate yourself that all you said was concrete and solid? and that you did actually walk upon those words with honour until they broke them into pieces of shattered meaning. but all they demand of you is that you break the deadlock with charm and elegance. hey mate, you're beaten and down by law and still hold your head up high. but they'll take you when you're sleeping in bed at night, masters of the art of displacement. next you're playing chess in a court against yourself, talking about the weather. but you had your intentions, and your faith. you walked and jumped on top of their skyscrapers, and you did it with style and groove and you didn't bother to look down. but the law is ever above and now you are under, checkmate, talking things about the weather.

sexta-feira, 8 de fevereiro de 2013

Blue Boy Telegram

Blue boy telegrammed: living in a hollow cube that's actually a ballroom where grown ups waltz in dim lit circles until the end of forever. Strike a chance, like they do. Imitate their circumstance because they are also about persuasion. Never give up while you can still listen to the music, like flying baby birds. Because in the end, a violin fire branded silence, mistaken for violence, danced a million times and solved a million a lives. Second that, in those old fashioned telegram ways.

quinta-feira, 7 de fevereiro de 2013


There is a particular richness of musical invention in Puccini’s Turandot, but richer still is the variety of ways in which the old tale of the ‘ice princess’ has been used throughout the centuries. In fact, few subjects have inspired so many theatrical interpretations, ranging from the commedia dell’arte of the 18th century to the 20th century’s Theatre of the Absurd. Of the twelve operas that have been written about Turandot (thirteen if one counts a vaudeville of 1729), no fewer than six were composed during Puccini’s lifetime. His is the only version still performed on a regular basis.

In the Near East, the story has been known for close on a thousand years, and even today, folk-tales persist in the Iranian region about an irresistible princess of China and her potentially fatal challenges to unwanted suitors.

Turandot (Turan-doxt, Turandoct, Tourandocte or Turandokht) is a Persian name meaning ‘the daughter of Turan’ - Turan being the Persian name for Central Asia. Persia fell to Genghis Khan's Mongols in the thirteenth century and then, in the following century, to the Tatar ruler Timur, known to Europeans as Tamerlane. This Timur was a military genius (albeit an exceedingly brutal one) who died during a campaign against the Ming dynasty. His son visited China in 1420. The Timurid dynasty survived until 1857 as the Mughal dynasty of India.

One of the principal sources of the story of Turandot is a collection called The Thousand and One Days, or The Persian Tales, a counterpart to The Thousand and One Nights. A translation by the pioneer French orientalist François Pétis de la Croix was published in several volumes between 1710 and 1712, and this was subsequently translated into other European languages. Pétis claimed to have heard these tales while living in Isfahan and entitled one of them: Histoire du prince Calaf et de la princesse de la Chine. For European explorers of the 16th and 17th centuries, Persia was the gateway to the East, and it was through this gateway that they glimpsed the even more distant ‘fairy-tale’ kingdom of China.

More than a century later, Italian composer Giacomo Puccini was still working on his opera Turandot at the time of his death in 1924. Unlike his other operatic heroine, Madame Butterfly, who lived and died for the love of a man, Turandot rejected any man whom she deemed inferior to her. Puccini's opera became the most famous of the artistic variations of her life’s story.

quarta-feira, 6 de fevereiro de 2013

puccini: nessun dorma (turandot) perf. paul potts

Nessun dorma! Nessun dorma! Tu pure, o, Principessa, nella tua fredda stanza, guardi le stelle che tremano d'amore e di speranza. Ma il mio mistero è chiuso in me, il nome mio nessun saprà! No, no, sulla tua bocca lo dirò quando la luce splenderà! Ed il mio bacio scioglierà il silenzio che ti fa mia! (Il nome suo nessun saprà!... e noi dovrem, ahime, morir!) Dilegua, o notte! Tramontate, stelle! Tramontate, stelle! All'alba vincerò! vincerò, vincerò!

*insónias. mas ao (-) esta é (+) bonita.