stauseen

From Der Spiegel’s International Desk comes a report about how run-away melting of glaciers is transforming the alpine landscape of Switzerland with catchments of hundreds of new bodies of that come into being as marauding lakes—not something creeping at a glacial pace. It’s rather difficult to deny the sudden appearance of a quite large pond where there was not one before but the region is negotiating the change, beyond trying to just cope to the threats of flooding (having already bored emergency drains in a land noted for its geological infrastructure), whose lakes are proving very popular with vacationers and can be harnessed as sources of hydro-electric power. I imagine, however, that it is little comfort to see enduring and iconic inundated and feel helpless to do much about it.

dye-pot or diy

There is a forgotten but well- documented art and craft to producing colours naturally, from plants and minerals, practised and perfected from time- immemorial. It may be something taken for granted with all the industrial hacks and short-cuts we’ve achieved in just this last century with synthetic materials and chemical colours. A German entrepreneur, botanist and chemist, by the name of Hermann Fischer, founded a small company, a niche interest but growing, to explore this dismissed method, realising that supported by one chemical backbone—namely petroleum, the way were accustomed to decorating our living spaces will soon become unsustainable as well.

Not only do the factories damage the ecology, it stands to reason that the output is not such a healthful thing to immerse ourselves in, coating the walls and every surface. Material science will need to revert but not in an atavistic way. With natural bases like beeswax or vegetable oils and dyes derived from plants, Fischer’s laboratories are conducting research and experimentation to bring non-petroleum paints and finishes more on par with the industry-standard. They are doing a brisk business as well, with a line of alternative, natural paints, available in larger hardware stores and boutique shops at comparable prices, which count as some of their strongest, closeted patrons employees of the chemical concerns who know what goes into their products.

hunter-gatherer

Supermarkets are from a design perspective, which belies a lot of marketing and psychological cues and pandering that goes unseen, are a veritable vision quest of encouragement and reinforcement. Having some the tricks of the trade revealed and realizing that there is little departure from the established layout—although I am one to generally be overwhelmed and bewildered by an over-abundant selection—makes me think of those theories that ethnologists sometimes apply to mysterious ruins, suggesting that worn trails and monolithic configurations were ritual paths to entitlement and re-birth. That’s quite possible but we can’t access the intentions of the ancients, and it’s strange that we know grocers big and small have planned their sites not as a larder or granary but as sort of cake-walk, an anti-obstacle-course.

The tactics are not limited to the obvious ploy of putting top-shelf items at eye level, with the less profitable products require stooping, and impulse buys at the checkout, but even the industry-standard, modern shopping buggy has evolved over the years, precise and finely balanced so shoppers don’t feel added resistance as they fill their cart and the wagons are dipped slightly (not so the carts can be stacked) but rather so groceries will roll to the front and spark the acquisitive instinct, into over-drive. Entryways are regaled with fresh produce, not for ease of daily deliveries since most loading bays are in the back, but in order to rather lull shoppers into the mood for scavenging—lasting even into the depths of the freezer-section. Butcheries and fromageries framing their prepackaged and processed counterparts are not there to generate money but rather add ease for the array of less-labour intensive articles the demonstration booths surround. Finally, when next at the supermarket, take note of the times you bear left—that’s an intentional comfort too, intended to placate our self-defense mechanisms in an environment of albeit subdued and civilised safaris: most people better able to snatch and grab or attack from their rights, having to glance to the left might become a shopping distraction. These methods are not necessarily dirty tricks nor are they irresistibly effective, but immunity to the gimmicks is something only slowly acquired.

secessionist or moderne

Often when walking into to town, I pass by the stately shadows thrown by the Lutherkirche of Wiesbaden, but I had not seen the inside until the other day. Other times that I thought about visiting, there seemed to be a gaggle of people there or choir practice and I didn’t want to disturb.

Last time I walked by, a friendly and informative church lady caught me snooping around and poking my head in. She insisted that I have a proper look around. I was not expecting the gorgeous Jugendstil pastiche of the enormous nave that can accommodate twelve-hundred guests. The church-lady treated me to a tour, and in the sunny afternoon, she showed me different perspectives of structure from the upper balcony, tower and equally art nouveau font and chapel. Construction and design began in 1908 as part of the so-called Wiesbadener Programme, an initiative to build protestant churches in the area—which produced several gems.
I suppose that these were the mega-churches of the day, with nothing derogatory intended, but also provided parishioners with a unique entertainment experience. In addition to the tradition of the Bach choir I overheard practicing, there are two celebrated and dueling organs, one at the front and one at the back, to produce a wall of sound. I’ll have to snoop around the other three architectural ensembles of the programme’s commissions.