TagsCommercial Real Estatelife-sciencesSeattle 1201 Eastlake Avenue E in Seattle, one of the three buildings in the sale. (Martin Development Services) UPDATE, Dec. 15 2020, 11:45 a.m.: The largest sale recorded in Washington state in 2020 has closed — and it’s for three life sciences buildings.The properties, located at 1201 Eastlake Avenue E, 1208 Eastlake Avenue E, and 199 East Blaine Street, together encompass 322,858 square feet of first-class office and laboratory space and are fully leased.Alexandria, represented by Newmark, sold the properties for a record-setting $450 million to Clarion Partners, which acquired a 70 percent interest.“This transaction marks the first core life science offering in the Seattle market in several years,” said Kevin Shannon, Newmark’s co-head of U.S. capital markets. “Life science fundamentals are faring better than the overall office fundamentals with rents that are now ranging from $65 to $70 NNN annually, which allowed us to achieve record setting pricing for the Puget Sound marketplace.”Seattle’s life sciences market is largely concentrated in the Lake Union submarket, and has roughly six million square feet of inventory. Overall vacancy among those properties was less than four percent in the third quarter, according to Newmark Research.Overall, life science properties have been booming during the pandemic, which has put pressure on research, manufacturing and distribution. However, the lack of available space has been an issue, as demand overwhelms supply in the market.UPDATE: An earlier version of this story said the sale was the largest ever recorded in Washington state. It is the largest recorded in 2020 year-to-date.Contact Sasha Jones Share via Shortlink Full Name* Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink Message* Email Address* Read moreStaying ahead on the life science leasing curve$700M Seattle office tower buy would be among largest Covid-era property dealsFacebook buys office campus near Seattle for $368M
A new property management company has launched to provide residents with a better service. Dan Robinson, Carla Bussey and Freddy Hoare established LevelUP Property Management after seeing more leaseholders were constantly being let down by block management companies.According to leaseadvice.org, 68 per cent of leaseholders in the UK do not believe their managing agent effectively resolves issues; only six per cent strongly agreed that they felt confident in the managing agent’s ability to do so.LevelUP, named on Sky Property TV as one of 19 companies to watch in 2019, says that it believes in the power of communication, relationships and providing a consistent point of contact for all residents – through an online portal, social media or their 24/7 online chat. Co-founder Dan Robinson said, “The industry has been unregulated for too long, leading to a rise in unhappy leaseholders. We’re committed to providing our customers with the highest levels of customer service.”LevelUP new property management company Carla Bussey Dan Robinson Freddy Hoare April 11, 2019The NegotiatorWhat’s your opinion? Cancel replyYou must be logged in to post a comment.Please note: This is a site for professional discussion. Comments will carry your full name and company.This site uses Akismet to reduce spam. Learn how your comment data is processed.Related articles Letting agent fined £11,500 over unlicenced rent-to-rent HMO3rd May 2021 BREAKING: Evictions paperwork must now include ‘breathing space’ scheme details30th April 2021 City dwellers most satisfied with where they live30th April 2021 Home » News » Agencies & People » New management company launches previous nextAgencies & PeopleNew management company launchesThe Negotiator11th April 20190624 Views
The infamous Suzy Lamplugh murder case has taken another twist after a former detective told a national newspaper yesterday that prime suspect John Cannan, who is currently serving three life sentences in prison, was seen throwing a suitcase into an Essex canal three days after the estate agent vanished on 28th July 1986.Former detective superintendent Jim Dickie, who led a re-investigation in to the case in 2002, now says a lorry driver told him that he spotted Cannan hurling the suitcase into the Grand Union canal in Brentford at 5am in the morning on 31st July.“I believe the canal sighting is the best piece of information to have emerged about Suzy’s potential whereabouts since she went missing more than 34 years ago,” Dickie told The Sun.Jailed for lifeCannan was jailed for life with a minimum of 35 years in April 1989 for the rape and murder of Shirley Banks, 29, in Bristol.He was subsequently named as the chief suspect in the Suzy Lamplugh case, although the Crown Prosecution Service says there is insufficient evidence to prosecute.Suzy disappeared after leaving her estate agency branch in London to meet a ‘Mr Kipper’ at an address in Fulham for a viewing and has never been seen again.Despite several fresh investigations and leads over the years, her murder has still not been solved.Dickie told The Sun that there are similarities between the Lamplugh and Banks cases, including how the rural spot where Banks’ body was found is in a similarly bucolic spot where Cannan was spotted next to the canal.A charity was set up in the name of Suzy Lamplugh to ensure better protection for victims of stalking and lone workers.Jim Dickie estate agent murder John Cannan Suzy Lamplugh Suzy Lamplugh Trust November 4, 2020Nigel LewisWhat’s your opinion? Cancel replyYou must be logged in to post a comment.Please note: This is a site for professional discussion. Comments will carry your full name and company.This site uses Akismet to reduce spam. Learn how your comment data is processed.Related articles BREAKING: Evictions paperwork must now include ‘breathing space’ scheme details30th April 2021 City dwellers most satisfied with where they live30th April 2021 Hong Kong remains most expensive city to rent with London in 4th place30th April 2021 Home » News » Agencies & People » ‘Strongest evidence yet’ emerges to explain fate of Suzy Lamplugh previous nextAgencies & People‘Strongest evidence yet’ emerges to explain fate of Suzy LamplughThe body of the young estate agent, who disappeared in 1986 following a viewing, may have been thrown in a canal in Essex, a former policeman has claimed.Nigel Lewis4th November 2020017,201 Views
View post tag: Naval View post tag: Defense Displacement46,755 t HMAS SIRIUS PATROLS NORTH WEST SHELF OF AUSTRALIAThe Australian Navy’s replenishment oiler HMAS Sirius has kept a watchful eye over the recent period on the North West Shelf Oil and Gas Fields, providing overt security presence in the strategically important area for Australia. HMAS Sirius Keeps an Eye on Oil and Gas Platforms View post tag: News by topic View post tag: eye Beam32 m Back to overview,Home naval-today HMAS Sirius Keeps an Eye on Oil and Gas Platforms Draught11 m [mappress]Naval Today Staff, February 13, 2014; Image: Australian Navy Length191.3 m View post tag: oil Complement60 Capacity34,806 cubic metres of fuel View post tag: keeps View post tag: Sirius February 13, 2014 View post tag: Gas Speed16 kn HMAS SIRIUS SPECIFICATIONS View post tag: HMAS View post tag: platforms View post tag: Navy View post tag: Defence Share this article The patrol was conducted under the umbrella of the RED RAPTOR exercise enabling the Royal Australian Navy’s ships to test communications, procedures and protocols between offshore oil and gas platforms and installations and defence assets. It paved the way for engineering evolutions and training, necessary to maintain a high level of operational capability.OIL AND GAS PLATFORMS IN NORTH WEST SHELF OF AUSTRALIAThe crew of HMAS Sirius performed many security checks on the platforms and engaged with their operators to better understand the ongoing security challenges in the region.Since the end of last year, the home to oil and gas platforms has been safeguarded by twelve of the Navy’s ships, including Armidale Class Patrol Boat HMAS Albany. StatusActive
Two Washington Middle School teachers – Matthew Happe and Joe Newman – are the recipients of the Evansville Vanderburgh School Corporation’s October Cause for Applause award. The award seeks to recognize individuals who go above and beyond their normal job responsibilities.Happe and Newman were nominated by the staff of Washington Middle School and by Principal Michelle Branson for their efforts in turning an old health room at the school into an exercise and weight room for students and staff.“A year and a half ago our teachers dreamed of having a place to teach students the value of fitness and to encourage our staff and students to get healthy,” wrote Michelle Branson, Washington principal. “Through Donors Choose, Facebook requests, community outreach, faculty donations and grant orders, Matt Happe and Joe Newman have fulfilled that dream.”According to Branson, on any given day teachers will be working out before and after school and Happe will write fitness and wellness plans for staff and leave workout routines posted in the room. The teachers also have incorporated the room in their PE curriculum to ensure students understand the proper weight lifting techniques and different types of workouts that are available.“Their mission of healthy bodies and minds has definitely impacted both our students and faculty at Washington Middle School,” Branson wrote.Anyone can nominate an employee of the EVSC for the award. Deadline for nominations is the third Friday of each month. To nominate an EVSC employee, go to www.evscschools.com and click on About Us and see Cause for Applause under Community. Paper forms are available at the schools for those without access to the Internet.FacebookTwitterCopy LinkEmail
A Reading bakery has potentially had up to £25,500 wiped from its yearly profits as a result of a collaboration with a discount voucher website.Need a Cake, run by Rachel Brown, has made a loss on 102,000 cupcakes made as part of a Groupon voucher deal, which saw 8,500 users signing up to the offer of 12 custom-made cupcakes for £6.50. The 75% discount on its normal retailing price of £26 meant that for every batch of cupcakes made, the bakery ended up losing between £2.50 and £3.Brown had to fork out an extra £12,500 to hire 25 agency staff to help her eight current employees cope with the high demand, whilst funding additional distribution.Steve Consalvez, business partner and spokesperson for Need a Cake, said: “The business has been going for 25 years and following the Groupon discount offer, the company has realised it isn’t the way to go forward as it has wiped out profits for this year. However, it will be continuing to build on its successes in 2012.”The Berkshire-based business supplies to major international food outlets and produces birthday, wedding and Christening cakes, in addition to cupcakes and cake hampers. Heather Dickinson, a Groupon spokeswoman, said there was no limit to the number of vouchers that could be sold, adding: “We approach each business with a tailored, individual approach based on the prior history of similar deals.”US-based Groupon is a ‘deal-a-day’ website offering coupons to subscribers, giving discount deals on anything from restaurant meals to spa treatments and only available if a minimum number of people sign up.
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For three days (Oct. 8-10), Harvard had a brush with Anger — as in Kenneth Anger, the iconic underground filmmaker who made his first visit to the University in a decade.The occasion was a screening festival honoring the 83-year-old director, who is known for his painterly collage of cinematic images, for his rock scores, and for his challenges to social and cinematic boundaries. He spoke before and after screenings on the final two nights of the festival, which was hosted by the Harvard Film Archive (HFA).Anger told the Saturday night audience at the Carpenter Center’s basement theater that he made his first film at age 8, shooting with the “silent, cinematic” 16mm camera that his family saved for vacations. His parents let him use up film that was about to go out of date.Anger owed his parents another career debt. When he was still at Beverly Hills High School, they were away for a weekend, giving him time to pick up a group of sailors who became the unwitting stars of “Fireworks” (1947), a dreamlike work about desire and violence. The film, which was the first on the program, remains “the most explicitly homoerotic of all his films,” said HFA programmer David Pendleton. It is not the oldest of the films, he added, “but the earliest seen today.”At the time, Anger was a teenage filmmaker still wowed by silent movies, but he already had the signature principles of his cinematic repertoire in place. Among them are his still-continual experimentation with film collage and his fascination with non-actors.Using unpaid casts on screen was part of making films on the cheap, and so was the fact that Anger made (and still makes) only short films. One of those shown at Harvard, “Death,” ran less than 60 seconds. The festival’s longest, at 38 minutes, was “Inauguration of the Pleasure Dome,” a 1954 evocation of a gala costume party, now best known for its complex, superimposed images.“The films tonight were made under duress — very little money,” Anger told a sold-out audience Saturday night. That resulted, he said, in “austere” early films that required intense pre-planning. “One take, if possible. I try to get everything down in my mind before filming.”The opening program on Friday screened the first five films of Anger’s self-described “Magick Lantern Cycle,” nine films made from 1947 to 1970.“Puce Moment” (1949), a 6-minute homage to silent films, hints at saving money too. It opens with a strangely affecting “dance” sequence that features empty gowns being shaken in front of the camera. Anger had inherited them from his grandmother, who made dresses for the movie stars of the silent-film era.“Rabbit’s Moon” (1950), filmed on a Paris stage set with a paper moon and trees of painted leaves, is about a clown in love, and how the clown’s impossible love for the moon is dashed. The operatic costumes and melodramatic miming recall silent films, but the rock ‘n’ roll score brings it crashing into the future.“Inauguration of the Pleasure Dome” is another look back at the silent era and the costume galas once hosted by impresario Samson De Brier, who appears in the film. That’s one thing about Anger, who also knew the legendary director Fritz Lang in Hollywood: Anger straddled the past and the future of American filmmaking.Saturday’s leadoff film was Anger’s most famous, “Scorpio Rising” (1964), a glimpse into the ritualistic masculinity of a Brooklyn motorcycle club and a loving paean to the gleaming custom machines they rode. “Scorpio” also showed off other motifs that are part of a decades-long Anger signature: loving, slow close-ups (here, of men and machines) and jukebox musical scores.“Scorpio Rising,” 28 minutes long, is set to 13 rock ‘n’ roll songs, played in full. It was the kind of music blaring from transistor radios in 1962, when Anger shot the film. That was the same year he returned from a decade in France, so the pulsing “Scorpio” renewed his love affair with American culture, with its darkness, sex, and daring. “I love pop music,” Anger told his Harvard audience, “up to rap.”But the music for “Scorpio” came at what was then a big price, he explained: $8,000 for the rights, which immediately doubled the cost of the film. Still, none of the actors was paid. In fact, the bikers thought Anger was just a “camera nut” out to film their custom-shop Harleys and their elaborate riding gear. Instead, he said, “I got into their bedrooms.”One of the bedrooms belonged to Scorpio, a former Marine whom the audience meets while he is reading the Sunday comics in bed. It takes quite a while for Scorpio to rise, and — cigarette dangling — slip sockless into his motorcycle boots, and carefully button, belt, and snap into his leathers. The stocky biker lived with two Siamese cats, Anger said of his real-life protagonist, and he was a negligent housekeeper.But Scorpio represented what Anger wanted in his film — “real-life people” — and what he wanted for his camera, “to film their world.”The Brooklyn bikers were not a gang, he said. “They worked all night at the Fulton Fish Market, then put all of their own money into their bikes.”The resulting film, with its unwitting stars, is among the best illustrations of another trope in the canon of his films: an unblinking celebration of the grace and beauty of young male bodies. Early on, we get a familiar image that appeared first in “Fireworks:” a man, torso bared, lying at ease on a bed.Then there is that other Anger signature, which plays out in nearly every film, and eventually rises to the status of a joke he shares with audiences: those lingering shots of male buttocks, a visual motif Anger pokes fun at later. In one of his video efforts, the 10-minute “Mouse Heaven” (2004), viewers get a close-up of a gyrating Mickey toy from the 1930s, with his bubble-round posterior buttoned into short red pants.“Mouse Heaven,” a short animated by a vast collection of Mickey geegaws, was one example of how the flexibility of video becomes an older filmmaker like Anger. “I’m still making films, even though it’s digital,” he said at Harvard. “I appreciate the convenience of it.”There were other iconic close-ups too, starting with Anger himself zipping up his fly in “Fireworks.” There are the lingering early shots in “Scorpio Rising” that pan across chrome, wheels, and gears. And there is Scorpio himself, slowly getting up to ritually gird himself, in a dressing scene whose loving detail seems to take minutes and minutes.Rituals are an Anger motif, inspired in part by his boyhood fascination (still active) with British occultist Aleister Crowley (1875-1947). “I’ve taken ritual ideas from Crowley and run with them,” said Anger, a self-described “follower” of the man once called the wickedest in the world, until Adolf Hitler. “He probably wouldn’t approve, but I don’t care.”Anger has written his own satanic rituals, in such films as “Invocation of My Demon Brother” (1969), “Lucifer Rising” (1970), and elsewhere. But he doesn’t embrace movements or meetings (“I’m a loner”), and he takes issue with how much language Crowley’s satanic rituals require. “I don’t use words,” said Anger of his cinematic style. “I made tests for sound and said: That’s not for me. I prefer to work with images.”When there are words, they are most often from songs laid in under the moving images. Anger admitted at Harvard that he is still making silent films, which were the norm when he was born.“Scorpio Rising” has no dialogue, though there is plenty of silent haranguing by a gesticulating Scorpio. But it remains the ur-film for fitting a rock soundtrack to images and has complexities “we’re only beginning to understand,” said HFA director Haden Guest.He introduced Anger Saturday as “one of the true, real visionaries the American cinema has produced,” a self-taught filmmaker who learned his craft before there were film schools.The results were stunning from the beginning, said Pendleton. He described Anger as a director who regarded film as “a new form of magic,” and who had wide influence on later filmmakers, including Martin Scorsese, David Lynch, Derek Jarman, and Todd Haynes.One of the unexpected additions to the show on Sunday was “My Surfing Lucifer,” mesmerizing minutes of footage set to “Good Vibrations” by the Beach Boys.Riding the surf is Anger’s friend, sugar fortune heir Bunker Spreckels, a blond sun god who was soon to commit suicide. “Which is very unfortunate,” the director deadpanned, “and he should have left me some money.”Anger later described himself in sunny terms, denying that his dark films were a reflection on his personality. “I’m not a morbid person,” he said. “I’m a happy person.”But death seemed to hang over his films, in and out of the frames, even beyond the blood required in satanic rituals. There was Spreckels. There was the Elliott Smith of the video “Elliott’s Suicide,” also not on the original Sunday program. There was Manson family member (and former Anger lover) Bobby Beausoleil, who was convicted for a 1969 murder after appearing in “Invocation of My Demon Brother,” and who later wrote the score for “Lucifer Rising.” He is still in prison.As for the murder, Anger deadpanned: “I was very disappointed he fell from grace that way.”Then there was mass murder. Twice over two nights, Anger choked up, near tears, at the mention of the Hitler Youth who appeared in his “Ich Will!” (2008), a 35-minute video set to music by Anton Bruckner, Hitler’s favorite classical composer. The footage, from World War II archives, took Anger 10 years to research and edit, showing lines of robust young men on the march through a vanished, picture-book Germany.“They were beautiful boys,” he said.
Home is not only where the heart is. Home is where we feel safe, a sanctuary where we can express ourselves and act on our deepest dreams. That, according to Professor Joseph Leo Koerner, is what makes interior design both fascinating and revealing.For Koerner, Harvard’s Victor S. Thomas Professor of the History of Art and Architecture, home and homemaking provide a unique window on Vienna at the turn of the 20th century, a time of unprecedented change that helped shape modern Europe. His artistic and scholarly studies form the basis of the Vienna Project, which has included lectures and courses and will culminate in a screening of a current cut of his documentary “The Burning Child” on Wednesday at 6 p.m. at the Harvard Art Museums.The 20th century, explains Koerner, began in Vienna as a period of unrivaled creativity. The ancient imperial city was in the throes of modernizing through both groundbreaking aesthetics, starting with the Vienna Secession artistic movement of 1897, and psychoanalytic theory, pioneered by Sigmund Freud’s book “The Interpretation of Dreams” in 1899. The work of Secession artists such as Gustav Klimt and Egon Schiele and architects like Adolf Loos saw these ideas dovetail, as the interior of the mind — the subconscious — became fertile ground for art and interior design and reflected emerging concepts of creativity and mental health.However, within a few decades, these creative ideas ran up against rising fascism and anti-Semitism, and the Jewish identity of many scholars, theorists, and artists became a cudgel to be used against them. When Hitler entered Vienna in 1938, says Koerner, he was greeted with enthusiasm by many Viennese. The Jewish and Gentile populations’ ideas of home — of origin and identity — were cast in deadly opposition.This tension forms the basis of Koerner’s film, which is still a work in progress. Based in part on the story of his own father, who fled Vienna in 1938, it begins with a beleaguered people who seek safety. “On the most fundamental level,” said Koerner, “if you live in a conflicted and unstable political place, the place which you cultivate is your home. You learn to play piano, and you imagine you’ll be safe within those four walls. All the people I document, including my grandparents, thought the same thing.”Calling his film “the story of Jewish Vienna,” Koerner said he was motivated by a painting his father made from memory, depicting the home he had left behind. At the center of his film is a “personal journey through the city, talking to archivists to find out what happened to that one room that the painting shows, what happened to that apartment that my father had to leave — this one painting that he created that sits in my own home.”The film incorporates other stories as well, including that of the Jewish family’s Christian neighbors and that of a shoemaker, who finds what he believes to be a ritual well. For all of these characters, concepts of safety and sanctuary — of home and identity — come into conflict. “Interiors,” said Koerner, are the focus, “not as they relate to the outside landscape, or even the urban hustle-bustle, but also as a capsule against conflicts — conflicts that are literally 3 inches away” on the other side of an apartment wall.The title refers to a dream documented and analyzed by Freud. In it, a mourning father, who falls asleep while sitting in a vigil by his child, envisions his child coming to him with the horrifying message, “Father, I am burning.” The father then wakes to find his child’s corpse is indeed on fire. “The dream is terrible,” said Koerner, describing it as a dream about generations, “about fathers burying their sons. “The dream is also about a waking world that’s more nightmarish than the dream.“In one way, the film is the story of Viennese interior design, and I broaden that to include the Viennese understanding of the interior,” said the filmmaker. “I’m interested in that as the story of homemaking, a dream about how to be at home in the world.”The Vienna Project is funded by a grant from the Andrew W. Mellon Foundation.
FacebookTwitterLinkedInEmailPrint分享Joshua Robertson and Michael Slezak for The Guardian:Jobs lost in the death of Queensland’s mining boom have been dwarfed by new jobs in service industries, pointing to a bankable future a so-called “rocks and crops” economy, according to a new report.The report by think tank The Australia Institute highlights figures showing record job losses in mining have been outstripped by a wave of job creation in every key service sector from tourism to education.While mining shed 22,000 jobs between 2013 and 2015, health and community services created new jobs for almost double that number of workers.Jobs growth in education (34,000), tourism-related services (27,000) and professional services (26,000) also more than made up for the decline in resources jobs.While workers appear to be surviving the declining mining industry, Australia’s big banks are having more trouble, with separate research suggesting mining companies will soon start defaulting on loans.Recent research has shown Australia’s big four banks have continued lending to fossil fuel companies, amounting to about $5.5bn in 2015.Tim Buckley, an analyst at the Institute for Energy Economics & Financial Analysis said Australian banks “to date have clearly underestimated the magnitude and breadth of stranded asset risk”.He said the risk is bigger than indicated by the Bernstein report since it just examined exploration and production companies. Associated infrastructure companies have also been having trouble servicing their debts. Wiggins Island Coal Export Terminal in Gladstone in central Queensland, for example, has reportedly been at risk of defaulting on its future debt payments.Full article: Queensland mining job losses dwarfed by new services jobs, says report Growth of Service-Sector Jobs Outpaces Coal in Australia