Please enable JavaScript to view this page correctly 2014 4:00 AM EDTIf you search Google images for “landscape,” the results will yield verdant fields with neon and horizons that mystically dissolve into auspicious wisps Brooklyn-based photographer Mark Dorf calls these idealized images “a sort of pornographic landscape—one that is amplified and manipulated into something that I think you could rename dreamscape.” no one expects to walk into the woods and see something with such highly saturated colors as what you find in this image search,” Dorf continues “but I certainly think that affects the ways in which we remember the landscape—we tend to amplify and romanticize [it].” Dorf trekked to the Redwoods of California and New York’s Catskills to photograph a series of landscapes that most closely align with our immense expectations of nature He describes the landscapes as our oldest symbolic language Now we use selective attention—the ability to focus on one aspect of our environment while eliminating others—to recognize a red or green light as cars move around us in traffic or to hear a companion’s recommendations among a restaurant’s din and natural formations around us to decide what to eat and when to flee and 3D scans to create the images of his series //_PATH arcs of colored light hover among trunks and leaves and mimic lens flare the photographic phenomenon where scattered light creates visual artifacts hyper-colored apparitions—a computer they represent the range of ways we might read “the ways in which we have become dependent upon [the internet and digital] technology to help aid us in our navigation of our every day and how it affects our perception of the world around us all socially Put more simply: as we traverse the world physically or virtually and look to the landscape—for the resources to build shelter or for an ideal to retreat to—we search Mark Dorf is a photographer and artist based in Brooklyn Sara Distin is a writer and editor based in Boulder, CO, and Brooklyn, NY. Follow her on Twitter @sldistin the intrusion of technology on daily routine and culture has transformed both society and surroundings into a matrix of digitized matter. an undeniable dependency on the internet for navigation and information has motivated american artist mark dorf to examine the paradigm shift thorough a creative medium he has created a series of images that reveal natural landscapes of forests and mountains intermingled with collage by appropriating geometric and synthetic forms onto the photos of the woodland environment,  ‘//_path’  creates a mysterious dichotomy between reality and digital imagery the collection of photo manipulations acknowledges a compelling aspect of our ever-increasing reliance on technology ‘it is no longer about logging on or off but rather living within the realms and constructs of the internet for our newest generation of inhabitants.’ designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here AXOR presents three bathroom concepts that are not merely places of function but destinations in themselves — sanctuaries of style When I talk about finding my creative practice I tend to harken back to my family history My grandmother was a painter and ran a photo restoration business on the Lower East Side and my aunt and uncle are both marine biologists and technology has always been all around me—and now I make work about science and technology through the lens of photography It seemed natural once I realized what I was doing Did you know at a young age that you were destined to become an artist I think I was looking at the works of Anthony Goicolea when I was in high school you can do this as a profession.” And I thought to myself here we go.” Back then I was doing some weird like buying all these cabinet televisions—those televisions that are like pieces of furniture—and stacking them on top of one another and photoshopping in sections of my body like a person standing inside these stacked TVs it was validation from a high school teacher that made me think I could actually do this Today you’re represented by Postmasters Gallery in NYC I actually have a truly millennial story as to how my relationship with Postmasters began and I would come into the city for openings and Postmasters was always a spot that I was interested in going to I used to post these weird little 3D animation sketches on Instagram as I was just kind of teaching myself at that time how to use virtual space and 3D rendering I started having a conversation with Postmasters’ account through Instagram Of course from here relationships were built in a physical manner as we got to know one another and began to connect the dots of those that we had in common I was certainly not alone in this endeavor as well—many people both directly and indirectly helped me to get to that point Building my relationship with Postmasters required not only making the work but also understanding an identity and helping those who helped me along the way Truly to work with a group effort and to support the peers that are your community is the best way to exist in the world at large which is something that I am still learning every day and the return of that support back to your community is what will take anyone the farthest in whatever endeavor you are embarking on That’s definitely a social media success story Do you have other social media strategies you use even weird works-in-progress that don’t turn into anything I make these things because I’m drawn to making them For me it’s really important that creative work sparks intellectual conversation I’m throwing variables out into the world just to see what happens I don’t think about it as branding or marketing as much as it’s an avenue to create a portrait of myself in a public virtual space It’s not about Mark Dorf the brand or Mark Dorf the artist How do you sell your work besides having a gallery Has that been hard given that so much of your work is digital A lot of the things I post online are labeled “sketch” or something like that I’m always fiddling around and exploring materials and mediums in the digital realm but they’re not really meant to be part of a larger body of work but it’s more an expression or exploration of material but I don’t think about sales so much because I feel like that would derail the intentions of the work Are you able to make a living being an artist or do you find that you need to support yourself in other ways I’ve been able to support myself as an artist through different commissions But that could very well change in the future When I first came to New York I was working in the commercial photo industry as a studio manager for a fashion photographer doing retouching and all those kinds of things But as of about two years ago and for the moment success is every time I find a specific trajectory to explore or the moment that I feel like I’ve begun to understand the vocabulary of the ideas I’m trying to navigate Right now I’m doing a lot of research regarding anthropocentric world views I’m very much in the research and writing phase trying to hash out this baseline vocabulary Success will be the moment I feel fluent enough in the subject that I can just make stuff—when I’m so entrenched in that intellectual space that it will just reflect the research I’ve done What’s the biggest risk you’ve ever taken as an artist This question feels similar to when people ask “What have you sacrificed in your life?” Of course I’ve taken risks in exploring new mediums or even taken a risk in trying to create a lifestyle that’s conducive to having a creative practice in the first place But I also feel like I haven’t really taken risks—everything feels like a natural progression Do you think you’re averse to taking risks which maybe disallows for major jump-off-a-cliff risk situations There are a lot of times where you’ll find new things worked out through experimentation “risk,” might mean different things for everybody—not just artists I moved up to the Hudson Valley because I didn’t have enough money to jump into Brooklyn or New York City So I moved up there and worked in a fabrication shop and we were gonna do this big collaborative project It was crazy—it actually put a pretty big stint in my creative practice for a while trying this collaboration and then having it fall apart I feel like that was a pretty major failure failure has such an absolutely negative connotation so you keep banging your head against the wall A lot of times I’ll find myself going into a more comfortable space where it’s like Let’s just do this other thing.” For me to bounce back from a failure—whether it’s a project that just never resolved itself or a medium that I can’t control very well—I just kind of go back to reading and research and talking to people a lot of my time is not actually spent making stuff When you’re in those modes where you’re not creating a lot of output I think it goes back to what I was talking about earlier how a lot of my digital work only exists on the web That’s how I keep myself from getting severely bummed out And honestly I do get really anxious when I don’t have a big thing on my plate and then of course you get to the space where you’re overproducing a lot of bad things and then you have to throttle that back and reset again Do you feel like you have a tendency to take on too many projects but because I don’t work a “nine to five day job,” I’m able to balance things a lot easier all the projects I’m doing kind of keep me sane because when I first left my job I freaked out for a long time This is a poor choice.” Then I kicked my ass into gear I think it was only in the last year or so that I’m beginning to understand what that ebb and flow of real balance is like It does have to do with taking on different kinds of projects whether they’re solely me or if they’re a collaboration or if you’re helping someone else out or if someone’s helping you out It’s about creating that balance and that structure for yourself What resource has been the most valuable for you and your work how do I make it work in this context.” I started making digital works because I had an old laptop That naturally led me to a lot of internet communities I was also looking for this more conceptual or theoretical kind of conversation which was harder to come by in the Hudson Valley But this internet culture allowed for a special kind of conversation and exchange I realized that a lot of those people from the internet were here the internet has been a hugely important tool and resource How do you hold yourself accountable to finishing projects It goes back to that idea of sincerity that I was talking about earlier then what kind of personal investment do you have in it What I’m about to say may sound totally irresponsible you shouldn’t really need to hold yourself accountable If you really feel like you should make something Here's a space to search our entire website Try typing something like "creative blocks" "green" or "blue" and our snail will find what you're looking for Connecting decision makers to a dynamic network of information Bloomberg quickly and accurately delivers business and financial information Weber filed for insolvency amid deteriorating earnings and a row between its founding family and majority shareholder Ardian SAS over the “form and scope” of a financial restructuring Brooklyn-based photographer Mark Dorf combines the natural world with the digital in his recent series //_PATH A visual exploration of the way things are now Dorf looks at our tech dependent and plugged in society not with a disapproving eye but with one that acknowledges the reality of it saying “it is no longer about logging on or off but rather living within and creating harmony with the realms and constructs of the Internet for our newest generation of inhabitants.” Dorf juxtaposes geometric and synthetic forms against a backdrop of natural landscapes to create “a comparison of language”—nature being our original and most ancient language Dorf’s digitally fashioned spaces represent old and new perceptions of the world around us and we can’t help but land in the middle of the two Orion Magazine The March/April 2013 issue of Orion contains a series of strange and beautiful images of the natural world, each of which is manipulated in subtle ways by straight and rigid geometrical forms. The images, which illustrate an essay on form and beauty (“Symmetrical Universe”), are by Brooklyn-based photographer Mark Dorf Mark answers a few questions about the conception and creation of his subtly abstract works.*** Can you tell us about the creative process behind these images The process behind these images varied greatly from scene to scene There are some that are totally real and not photographically manipulated—ones that I actually created from scratch such as Plate #18—and there are others that are digitally fabricated (to make the digital manipulations I used a variety of programs such as Photoshop But there are also many that lay in a gray area between to perform my own scientific and mathematical experiments in the landscape—and I wanted to document them Is the mix of photograph and geometrical form random or is there some kind of mathematical logic at work here but I wouldn’t go as far as to say that they are perfectly mathematical or scientific (I’m no mathematician or scientist) reasoning behind the use of this highly geometric and digital language I was interested in the ways our culture defines and quantifies its surroundings We are constantly transforming elements of our world into abstract theory and calculation—and I find it interesting when the representation is compared to its real counterpart You often find that there are certain discrepancies: the definition is never truly found but in many cases we decide that we will see those definitions as being absolute until proven wrong I am interested in the ways math and science fail to represent reality Plate #8 There’s something jarring and also beautiful about laying geometrically rigid forms—grids intersecting straight lines—next to images of the natural world the juxtaposition interests me because these forms are inherently human we find geometric forms in the natural world I am also creating an interruption of the landscape—one that could mirror the ways that our built landscapes grow via highly calculated decision-making I am also interested in the ways that we define primary experience How do we today examine and experience the natural world when our day-to-day lives are so saturated with digital stimulation At any moment we can search the web for a photograph of the Grand Canyon and find sweeping digitally enhanced photographs that create some sort of representation of the place But how do those digital experiences affect the ways we see and observe our surroundings How did you arrive at the mixture of math and photography as the basis for art Do you have a background in math or geometry My grandfather was a photographer here in New York City But then my father and his sister both studied math and science through university I was pushed to study hard in my science and math classes and for a long time my surroundings were of the academic variety I surely would have gotten a degree in physics or math Plate #18 The five images printed in this issue of Orion are part of a larger series Axiom & Simulation examines the ways in which humans quantify our natural surroundings through the use of scientific and digital means We are constantly transforming elements of our environment into abstracted in order to gain a greater understanding of our complex surroundings These transformations often take form through mathematical or scientific interpretations When observing a three-dimensional rendering of a mountainside it holds the familiar form to what we experience in nature but it has no physical connection to reality whatsoever—it is merely a file on a computer that has no mass and only holds likeness to a memory When translating the file into the most basic of computer programming codes we see only 1s and 0s—a series of numbers creating representation from a language composed of only two elements which has no grounding in the natural world a new reality—one without its original referent Mark Dorf’s photographs in the March/April 2013 issue of Orion are available in print and digital editions. Go ahead, subscribe! while production added to two other Minnesota facilities Just two months after finalizing its acquisition of Arctic Cat Textron Specialized Vehicles (TSV) announced three big moves the company is making to improve efficiency.  the company revealed it would be closing the former Minneapolis headquarters for Arctic Cat moving engine production from Germany to St and moving Stampede side-by-side vehicle production from Augusta “A big piece of the puzzle remaining was how to really optimize our operational footprint so that we can operate more efficiently and better serve our customers The changes that we announced [May 9] were really to achieve those goals,” Brandon Haddock director of Communications for TSV told Powersports Business “We took a long time deliberating the decisions but we really needed to make some changes to make sure we were using the facilities at our disposal as efficiently as we could in order to design and build product faster and get it to our customers more quickly.” The closure of the Minneapolis office was somewhat expected Arctic Cat had moved into the 55,000-square-foot facility in Minneapolis’ North Loop warehouse district in August Arctic Cat leased the building because the staff size had grown too large for the former 11,000-square-foot space in nearby Plymouth expected the new location to attract fresh talent The space had room for the Arctic Cat headquarters to grow to 150-200 employees but only about 60 are currently working there.  “We looked at a lot of scenarios regarding our facility in Minneapolis whether it made sense to downsize the physical footprint of that facility or find another facility but ultimately we just determined that the best case is to really consolidate our operations in St but it also allows us to really co-locate a lot of employees across our engineering teams our product management and development teams so that those folks work closely together and in close proximity to one another and can collaborate much more efficiently.” Haddock reported that very few jobs in Minneapolis were affected as a majority of those employees have chosen to take their positions to St “The vast majority of employees in Minneapolis will have the opportunity to continue their careers with the company in St There’s a lot of talented people that come to work in that facility every day and we want to keep them on board,” he said.  In addition to gaining the former Minneapolis employees Cloud facility will also be adding more engine production TSV announced that it is closing its engine manufacturing plant in Bernau bei Berlin “That was really a decision driven by sort of the economic realities and operational efficiencies of not really needing two individual engine production plants There’s plenty of operational capacity for St and it just really doesn’t make a lot of sense to maintain two separate engine production facilities when we have one very very close to where the vehicles will be produced so we’re getting those engines that much closer to the units that they’re going to be installed in from an efficiency standpoint,” Haddock said.  Cloud facility manufactures and assembles two- and four-stroke snowmobile engines Arctic Cat in 2015 invested $400,000 to expand the assembly capability in St The move by TSV will add 50-100 jobs in St though an undisclosed number of jobs were lost in Bernau bei Berlin TSV acquired the Germany facility when it acquired Weber Motor in 2014 and renamed the division Textron Motors While the Bernau bei Berlin factory will close engine design and engineering will remain in Markdorf Cloud coincides with a decision to move production of all Stampede models to Thief River Falls “There’s plenty of capacity in Thief River Falls to take on that volume and it allows us to drive some more production demand through that plant on a year-round basis so we can operate more efficiently and effectively,” Haddock said.  TSV can also take advantage of the new paint line and other facility improvements that came as part of a $26 million investment into the Thief River Falls facility that Arctic Cat made in 2015 While adding Stampede production in Thief River Falls won’t open any additional job opportunities it will allow for year-round production.  “One of the cool things from the employee standpoint in Thief River and St Cloud is they are very excited for that production move to those areas because it extends their work season,” said Kale Wainer TSV marketing communications manager and 13-year Arctic Cat veteran Snowmobile production usually ends by roughly Thanksgiving side-by-side lines start up and down at various times of the year they’ll be able to work a steady schedule throughout the year which those employees are really excited about Production of all side-by-sides and ATVs under the Textron Off Road brand will also remain in Thief River Falls.  “We will invest pretty substantially in Thief River Falls to expand its production capabilities and continue to grow our business there,” Haddock said “Thief River Falls is a big part of who we are and it’s going to continue to be a big part of who we are.”  fewer than 10 people were laid off as a result of moving Stampede production from that facility to Minnesota.  “Many of the production workers who built the Stampede every day will be transferred to other production lines to help us produce Jacobsen turf care equipment and some of the other vehicle and equipment models that are built here in Augusta so we were able to minimize the impact and job losses from that move,” Haddock explained.  When TSV launched the Stampede in May 2016 the company also announced it had acquired a 240-acre 600,000-plus-square-foot facility near its Augusta headquarters While the Stampede has been produced out of that new building TSV already has plans for products that will move to the current Stampede production line.  “Although the Stampede production is moving away from that facility expansion we are already producing a number of other models in that facility The Jacobsen professional turf care equipment production of those models has moved from Charlotte (North Carolina) to Augusta and continues to be relocated from Charlotte to Augusta over the course of the year We have moved some of our legacy production lines from our legacy campus to that facility so that we can free up room here in Augusta to really expand our fabrication capabilities to serve all of our different product lines And we have a substantial aftermarket and service parts warehouse operation there in that facility There’s plenty of work going into that new facility even though we’re moving the Stampede to Thief River Falls,” Haddock said.  All three of the newly announced changes are expected to be completed by the end of 2017 Haddock said dealers should see no change in the delivery of their units.  and website in this browser for the next time I comment Δdocument.getElementById( 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your preferences More information about our Cookie Policy on our Privacy Policy By 2020-07-21T11:37:00+01:00 German seat manufacturer Zim Flugsitz has filed for debtor-in-possession insolvency proceedings citing a “persistent and considerable decline in sales since the start of the coronavirus pandemic” Munich-based restructuring specialist Pluta which has been appointed to lead the process says the intent is to “reposition” Zim in order to keep it in business Zim will remain “fully operational” while its management teams stays “in charge” and “carries out the restructuring itself under the supervision of the court and an insolvency monitor” provisional insolvency proceedings – set to last two to three months – Pluta and Zim will draw up a strategy in co-operation with creditors with a view to turning around the business during the main insolvency proceedings Pluta restructuring expert Jochen Gluck – appointed as Zim’s chief restructuring officer – describes the situation as “not easy” But he says the company is “known for its high-quality products” and that there is “an opportunity to put the business on a viable footing” He adds: “We will review each process together with all stakeholders and adjust them in line with the changed situation.” Headquartered in Markdorf – near Lake Constance close to the border with Switzerland – Zim employs more than 200 employees between that site and a second more recent production facility in Schwerin in the north of what was formerly East Germany Staff salaries are “guaranteed” under the applicable German insolvency law Pluta notes that “both plants work independently of each other and have their own design premium-economy and business seats for line- and retrofit and enjoyed “strong sales growth in recent years” particularly for premium seats Munich-based investment firm Aurelius Equity Opportunities disclosed that it had acquired a majority shareholding in Zim from its founding family The couple would “continue to be invested in the company and serve its management” Angelika and Peter Zimmerman started the seat business in 2008 which had been founded by the couple in 1995 concentrated on aircraft structural engineering services The plant in Schwerin – about an hour’s drive from Airbus’s Hamburg assembly line – opened in 2017 Noting that the “entire aviation industry is experiencing an unprecedented slump due to the coronavirus pandemic” Zim managing director Heiko Fricke states: “The months ahead will be very challenging for our company I’m convinced that we will overcome this crisis under the protection afforded by debtor-in-possession proceedings.” ZIM Aircraft Seating is showing a new coach class seat family incorporating a completely new frame and design Etihad Airways is introducing first-class suites as part of an enhanced interior on its long-range Airbus A321LR twinjets The initial aircraft – one of 10 to arrive this year – will enter service on 1 August Saudi Arabian start-up carrier Riyadh Air has unveiled the interior cabin design for its Boeing 787s along with 24 seats in the business-class cabin Both will be configured with a 1-2-1 arrangement .. FlightPath3D will have two more airlines flying this summer with its accessibility map after debuting the product on Delta Air Lines “Our accessibility map is a good example,” said Duncan Jackson He was speaking after the company won an Onboard Hospitality Award for accessibility German leisure carrier Discover Airlines will be the first Lufthansa Group unit and one of the first airlines in the world to install Panasonic Avionics’ multi-orbit connectivity product on its long-haul aircraft In-flight connectivity specialist Viasat has unveiled its next-generation solution for commercial aviation under a product roadmap which includes plans for a new electronically steered antenna (ESA) terminal to dynamically tap multi-orbit satellite services FlightGlobal is the global aviation community’s primary source of news analytics and advisory services to connect the aviation community globally and help organisations shape their business strategies identify new opportunities and make better decisions faster Site powered by Webvision Cloud member-first insights and commentary on the global aviation industry Kendrion made a splendid presentation on themes like hybrid e-mobility and predictive driving at IAA 2018 The company’s attractive booth showcased a Thermal Management Solution on a glass board precisely depicting control of coolant volume flow and valve functions said: “Although a lot of vehicles are moving to electric in the next 10-15 years there will still be vehicles with combustion engine.” “They will co-exist and will need improvements to get cleaner air to get better fuel efficiency The product we have showcased is for engines battery cooling and also for hybrids and electric vehicles We can use the principle of our core competencies for future mobility our product is really controllable and would be part of smart trucks as it is controlled by the sensors inside the thermal systems.” also referred to as Thermal Control Systems (TCS) resulting in extended engine service life and lower fuel consumption thus reducing CO2 emissions significantly when compared to custom wax thermostats Even when the world adopts any of the technologies like hybrid and electric one always will need to ‘on and off something’ This is where Kendrion will bring in its expertise as it is not only good at valves but also at switching clutches and switches into future mobility like hybrids electric-where we have a smaller and a larger engine (the dual engine with the clutch in the middle as one can switch on and off) will prove efficient for vehicle manufacturers,” added Mr he replied: “India will be an interesting market in the near future with electrification coming in; we might find some interesting partner in the region We are designing both mild- and full-electric solutions that will be suitable for last mile connected vehicles Europe and North America will remain the core markets for us.” saying: “The IAA Commercial Vehicles is a meeting place for decision-makers of the automotive industry It offers a comprehensive overview of the latest trends and developments and hence it is amazing to be here and network with industry folks.” APPOINTMENTS AUTO EXPO 2020 COVID-19 DEALER CORNER DRIVER WELFARE GARAGE EQUIPMENT LUBES & FUELS NEXT-GEN BRIGADE SAFETY FEATURE SMART FLEETZ TYRES WOMEN OF METTLE Privacy Policy Journal • Art & Culture Young Brooklyn-based artist Mark Dorf toys with our minds through his photography and sculpture that explores our changing relationships with nature and non-physical digital spaces examines connections between digital mapping 3D rendering and reality itself – his fusion of technologies and natural landscapes pointing out our curious contemporary affinity for science over nature we caught up with Mark for a discussion about his work his surroundings and where he feels most inspired… I was born in a small town in New Hampshire called Laconia but I spent most of my childhood years in Louisville I absolutely think location effects creativity Each environment I have lived in in my recent years has made me question my creative process and made me reinvent the ways and speeds in which I work When I was in school at the Savannah College of Art and Design creativity was flowed like a roaring river and I made work at an incredibly high rate due to the fact that I had very little else to focus on in my life NY I was presented with a totally new environment and a completely new set of situations and opportunities I was working in a furniture shop there so I had a whole new set of tools at my disposal thus I began to build a lot of sculpture and props for the images that I was making I felt an incredibly harmonious relationship with the landscape thus I began to work much more directly with the land and drawing – I explored ways of representing that landscape and different ways one might recreate that harmony in a secondary source: in the end I found it impossible and the images began in fact to explore those impossibilities I am yet again presented with a new puzzle – how do I make work about the landscape and our interactions in the largest city in the United States Your works centre around the juxtaposition between nature and modern man-made entities – be they modernist sculptures or digital representations of reality… can you explain a little about your fascination with this subject matter You’re correct in assuming that I am totally fascinated by this subject I am constantly amazed by how we have grown as a human species since the “dawn of man” We have reached a point where the everyman is no longer comfortable in the natural landscape – we have grown beyond our original womb and gone on to create our own urban environments that are in fact still totally dependent upon that original landscape for materials we are simultaneously creating new environments through the destruction of the previous I love exploring this dichotomy of humanity and the landscape – how do we understand and see our landscape in our contemporary age I find most of my inspiration alone in the landscape now that I live in Brooklyn I am finding new inspiration in the busy crowded streets and infinite crowds of people Really beautiful systems of motion live here in New York City If you could send one iconic design to another planet to show off our exploits in creativity but also takes fine hand skill and craft to create and play it is so incredibly easy to enjoy the sounds that it creates I would take you to the Brooklyn Botanical Gardens – a great place where humanity and landscape can colide “A visit to a museum is a search for beauty Go to museums as often as you can.” — Maira Kalman Draw a Journey Map All Good Things Will Follow (about Museum Experience) — New Practices and Perspectives.. has teamed up with urban and contemporary art platform Moniker to present Art of ITALICUS 2021: Creative Talent — Cities Reimagined In what they call a 'GLOCAL' initiative (GLObal virtual.. our appetite grows for finding the offline online; searching for a semblance of normality Public access to arts and culture has always been paramount in the collective and individual.. There are no longer any copies available** We’ve all been weighed down by promotional materials at some point Located within London's Westfield Stratford City decidedly decadent diner Super Club Roma serves up Roman-style pizzas (complete with their crispy and charred crusts) and fritti including lasagne spaghetti and nduja bombs; the simple menu allowing.. Lifestyle brand Miiro continues its expansion with the opening of Borneta a breathtaking new hotel for Barcelona's charismatic El Born neighbourhood Located among the iconic Porxos de Fontseré arches the design tells a story of local tradition.. With a striking 1970s Brutalism-meets-botany aesthetic and a rooftop bar and taqueria with extensive views over this vast city The Hoxton Brussels offers a stylish and eclectic stay in the Belgian.. Holloway Li has completed the remodelling of Club Quarters Hotel St Paul’s the 265-room property embracing the architectural integrity of the original mid-century structure nodding to post-war modernism along the way © 2025 About Us Advertising Privacy Policy Write for We Heart Get in Touch We Heart is an online magazine founded in 2007 the platform evolved over time to feature inspiring places and spaces Over the years we have been committed to producing content that inspires and informs our readers; having broadened our content policy to mature into a more general lifestyle magazine that has kept itself rooted in our beginnings whilst covering a multitude of subjects that reflect our growth.