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    Triple-tower Crows Nest development gains concept approval

    The NSW government has approved plans to build three towers of 21, 17 and nine storeys above Crows Nest metro station as part of the latest major “over-station development” for Sydney.
    The design of the metro station and integrated development is being overseen by Woods Bagot and the Crows Nest Design Consortium, which is led by SMEC also includes Robert Bird, NDY and landscape architect Oculus.
    In September 2020, Sydney Metro submitted an amended concept application reducing the biggest tower from its original 27 storeys to 21 storeys. The tower will also be changed from residential to commercial, and will now house 40,300 square metres of office space.

    The 17-storey tower will include 13,000 for residential uses with the hotel proposed in earlier plans dropped.
    The changes were made after a period of public exhibition attracted some 655 submissions from the public, the vast majority of which objected to the proposal, with the size and bulk of the proposal a major concern. North Sydney Council objected to the original proposal, citing excessive overshadowing of Ernest Place and Willoughby Road and the visual impact of the development which “has a high propensity to be quite overbearing and potentially inconsistent with the highly valued character of Crows Nest.” The council also suggested that affordable housing should be included in the residential component. The amended proposal includes an allocation of 5 percent affordable housing, to be managed by a community housing provider.

    The amended concept proposal attracted 29 submissions, with the bulk of the public submissions again objecting to the proposal.
    Speaking to media, planning mister Rob Stokes defended his decision to approve the concept proposal. “While I understand that some current Crows Nest residents won’t be happy about growth, this proposal has improved considerably,” he said
    “Residents were concerned about overdevelopment, and for more focus on providing more jobs than more homes. In response, the building envelope has been reduced, jobs capacity doubled and the number of new homes halved.”
    The government will now seek interest from the private sector to develop the precinct and progress to detailed design. More

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    Iredale Pedersen Hook, With Architecture to design WA school upgrades

    The WA government has appointed architects for two multi-million-dollar school upgrades in the state.
    Iredale Pedersen Hook has been selected to design the $22 million upgrade to Karratha Senior High School in the Pilbara region.
    The upgrade will comprise a new specialist technologies building which will include nine teaching spaces for engineering, mechatronics, STEM, media, digital design and information technologies, as well as new student services facilities and the refurbishment of the existing food technologies studio.

    Meanwhile, With Architecture has been appointed to design the $18.3 million upgrade to Lynwood Senior High School.
    The project will include a new classroom building, student services, performing arts centre, sports hall and various refurbishments.
    Both projects are part of the government’s recovery plan to upgrade and refurbish public schools in the state.

    Construction on both school upgrades is due to start in December 2021.

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    Denton Corker Marshall designs ‘landmark’ medical hub

    Denton Corker Marshall has unveiled designs for a “landmark” new building for Melbourne’s St Vincent’s Hospital, overlooking Carlton Gardens.
    Under the plans before Yarra City Council, the hospital’s existing 11-storey brick Aikenhead Wing on the corner of Victoria Parade and Nicholson Street would be demolished to make way for a new 11-storey building housing the Aikenhead Centre for Medical Discovery (ACMD).
    Denton Corker Marshall’s design for the building aims to respond to the transitional urban context between the CBD, Carlton Gardens and the wider hospital precinct “by presenting a respectful building mass, and providing high levels of visual connectivity between surrounding context and the functions housed within.”

    In a design statement, the practice described how the southern facade references the crystalline structures associated with ACMD biomedical research, while the western façade features abstract vignettes of the Royal Exhibition Building and Carlton Gardens.

    View gallery

    The Aikenhead Centre for Medical Discovery by Denton Corker Marshall.

    “The building mass is interrupted along the western elevation with the insertion of a cantilevered block, that signposts the western entry, whilst also providing protection from the elements,” the design statement reads. “A picture window within this block enhances the sense of connection lecture theatre occupants have to the Carlton Gardens. Recessed vision glass cutouts step up the building, further articulating the west and south elevations, enhancing visual connections and facilitating the integration of landscape balconies.”

    Part of the Melbourne Biomedical Precinct, ACMD will be a translational medical technology research and training hub featuring laboratories, workshop and biofabrication facilities, start-up and industry spaces and education and conference facilities. It will unite eight partner research and academic institutions: St Vincent’s Hospital Melbourne, The University of Melbourne (UoM), St Vincent’s Institute of Medical Research, Bionics Institute, Australian Catholic University, University of Wollongong, Swinburne University of Technology and RMIT University. The centre will have a focus on finding solutions for complex chronic diseases.

    The site sits within a World Heritage Environs Area, set up to stop over-development near the Royal Exhibition Building, which was inscribed on the UNESCO World Heritage List in 2004. The development has raised concerns it will negatively impact the World Heritage value of the Royal Exhibition Building.
    Friends of the Royal Exhibition Building spokesperson Margaret O’Brien told The Age the building “seems intent on dominating and distracting.”
    “At 12-storeys of glass, and massing over an entire block, it is as an alien,” she said.

    Chair of the Royal Historical Society of Victoria Charles Sowerwine told the paper that the existing building should never have been built in the 1950s and that the new design was “attention-seeking” and at odds with the area. “[It] represents a betrayal of what the Australian government promised UNESCO,” he said.

    A heritage assessment report by Lovell Chen submitted in support of the application notes that the new building will have a similar footprint and number of levels to the existing Aikenhead Wing and would have a minor heritage impact only. “The proposal provides an appropriate contextual response to the South Fitzroy Precinct and Royal Eehibition Building [and] Carlton Gardens and supports the ongoing health and community use of the place as an important contributory place within the precinct,” it states.
    A heritage building on the site erected in 1889, Brenan Hall, will have its rendered masonry façade with prominent arched gable parapet retained.
    Costing $206 million, the building project is funded by the Victorian and federal governments as well as St Vincent’s Hospital and the other research partners. More

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    Durbach Block Jaggers designs Sydney pencil tower

    Durbach Block Jaggers has unveiled designs for a super-skinny hotel in Sydney’s Haymarket that will be just over six metres wide but soar to 110 metres above its Pitt Street address.
    Reminiscent of the new breed of luxury “pencil” skyscrapers popping up in New York, the 410 Pitt Street tower will house 178 hotel rooms along with a three-storey lobby, meeting rooms a roof terrace and a “hammam” with plunge pool, spa and sauna, sundecks and flying balcony on the rooftop.
    Its facade will be clad in marble and metallic materials that will provide a soft diffused light.

    Durbach Block Jaggers won a design excellence competition to deliver the tower, winning out over Scott Carver, Sissons Architects and SJB.

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    410 Pitt Street by Durbach Block Jaggers.

    The firm’s proposal comprises three detailed sections aimed at demonstrating the “transitional relationship between horizontals and verticals on the façade.”
    The competition jury described the design as “powerful, well thought out, creative and enchanting.” They praised the active façade and the opportunity for public interaction and engagement at ground level along with the planning and spatial qualities of the public areas in the scheme.

    “[The proposal] exhibited an engaging story and an innovative and unique approach for the constrained site and design brief.”
    The tower will replace a boarding house.
    Tricon Management Group has submitted a development application for the $35.7 million project, which is on public exhibition until 2 February.

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    The next 20 years for Melbourne's botanic gardens

    An underground herbarium and an “indoor pleasure garden” have been proposed for Royal Botanic Gardens Victoria in a 20-year masterplan for the Melbourne gardens.
    The masterplan, launched in December 2020, create a series of new garden experiences and help “guide the post-COVID recovery of Melbourne” by providing opportunities for residents and visitors to engage with nature.
    A key project, the new Sensory Garden by Central Lake designed by Andrew Laidlaw has been completed and was opened to coincide with the launch of the masterplan.

    The sensory garden features a series of immersive plant experiences designed to simulate the senses through views, colour, sound, scent, textures and forms of plants.
    The premier project outlined in the masterplan is the Nature and Science Precinct, which, along with the Arts and Culture and Sports and Entertainment precincts, is intended to be one of Melbourne’s three major destination by the Birrarung (Yarra river). The precinct will be located at the site of the existing herbarium.

    John Wardle Architects along with Laidlaw and Laidlaw Design Landscape Architects were appointed to design the new precinct in May 2019. The masterplan provides details of the design, including the underground herbarium and vault, which will house the 1.5 million plant species in the State Botanical Collection.

    View gallery

    A new underground herbarium and vault in the Nature and Science Precinct of the Royal Botanic Gardens masterplan.

    The 1988 extension to the herbarium will be demolished and the original 1934 herbarium building will be refurbished. The precinct will also include a new welcoming public space on Dallas Brooks Drive, which will become the destination meeting point, and connections to Ian Potter Children’s garden.
    Other projects include a new entry gate by the Birrarung, between the existing A and H gates. The new gate will become a new major entrance to the gardens and will celebrate Indigenous landscapes, plants, animals, landforms and people.

    View gallery

    A new Birrarung gate in the Royal Botanic Gardens masterplan.

    At the corner of Alexandra Avenue and Anderson Street, the A Gate will be redeveloped into a terraced garden with a focus on health and wellbeing.
    Huntingfield Lawn, an under-used piece of land between the northern border of Government House and Alexandra Avenue will to be recontoured to create new amphitheatre venue for small theatrical performances.
    Hopetoun Lawn will be redeveloped into Wild Wood, a natural bush children’s area and unstructured play space.
    The masterplan will be delivered in stages, culminating in the construction of the New Lakeside Conservatory on the existing site of the Terrace Tea Rooms. The masterplan describes the proposed conservatory as an “indoor pleasure garden.”
    “Sitting sensitively in the landscape as a grand folly, this structure would become a major new landmark and destination in Melbourne,” the masterplan reads. More

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    À Paris, on pêche, on poste, et on relâche

    AdvertisementContinue reading the main storySupported byContinue reading the main storyÀ Paris, on pêche, on poste, et on relâcheUne nouvelle génération de pêcheurs s’empare des berges de la Seine et une tradition centenaire se mue en véritable culture underground.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps sur les bords du fleuve. Mais aujourd’hui, une génération plus jeune et diverse vient bouleverser ce tableau.Credit…Andrea Mantovani pour The New York TimesJan. 11, 2021, 12:01 a.m. ETRead in EnglishPARIS – Une brise hivernale souffle sur la Seine. Eliot Malherbe, un jeune Parisien de 19 ans, tire une canne à pêche de son fourreau, plante un poisson en plastique pailleté sur son hameçon et jette la ligne à l’eau.Son ami Kacim Machline, un étudiant en art, 22 ans, ne tarde pas à le rejoindre. Mais avant, il ajoute la dernière touche au poisson vert zébré qu’il a peint à la bombe sur un mur en béton à quelques pas du spot de pêche, dans un ancien quartier industriel désormais rénové près du Jardin des Plantes sur la Rive Gauche.La Seine a longtemps été le terrain de jeu de pêcheurs âgés issus des classes populaires, de retraités tuant le temps au bord du fleuve. Mais aujourd’hui, une génération plus jeune et diverse est venue bouleverser ce tableau.Nombre de ces jeunes pêcheurs ont été attirés sur les quais de la ville par la promesse qu’ils leur réservaient de nouvelles aventures. Les skateurs profitent déjà de cet espace dégagé, qui offre également aux graffeurs des coins avec peu de passage pour peindre leurs fresques, la nuit, à l’abri des regards.Pour un œil profane, la pêche ne semble pas pouvoir offrir une exaltation semblable. Pourtant, Manuel Obadia-Wills — un ancien graffeur et skateur désormais converti à la pêche pendant son temps libre — affirme le contraire.Kacim Machline peint un graffiti avant de se mettre à pêcher.Credit…Andrea Mantovani pour The New York Times“Il y a un ‘thrill’, un côté addictif, un côté répétitif pour arriver au moment de grâce”, explique l’homme de 40 ans. “En skateboard, c’est la figure parfaite. En graffiti, c’est la montée d’adrénaline dans un endroit où tu n’avais pas le droit d’aller. En pêche, c’est le plus beau poisson.”Comme le skateboard et le graffiti, la pêche en Seine outrepasse parfois la frontière de la légalité. Beaucoup de passionnés sortent pêcher après le travail ou les cours — même si la pêche de nuit est interdite en France depuis 1669, y compris pendant l’hiver.Pendant la période officielle d’ouverture de la pêche, de mai à janvier, les jeunes adeptes se retrouvent sur les spots incontournables — près des péniches amarrées sur des kilomètres le long du fleuve qui servent de refuge aux poissons, ou au bord du Canal Saint-Martin ou du Canal de l’Ourcq, là où l’eau est plus calme et plus chaude que celle de la Seine.À la recherche de coins inexplorés, certains s’aventurent dans des lieux interdits au public – comme le “tunnel”. C’est ainsi que les pêcheurs appellent le canal souterrain qui court sur plus d’un kilomètre sous une voûte de pierre depuis la place de la Bastille. La mairie en a récemment fermé l’entrée pour interdire tout passage aux piétons.Le “tunnel” est un canal souterrain de plus d’un kilomètre de long depuis la place de la Bastille.Credit…Andrea Mantovani pour The New York TimesCela fait des siècles qu’on trouve des Parisiens amateurs de pêche au pied de Notre-Dame ou de la Tour Eiffel. Ces jeunes-ci sont les héritiers de cette tradition, mais ils l’ont mise au goût du jour avec leurs propres règles et leurs codes.Désormais, une belle prise n’est plus synonyme de repas en famille ou entre amis. Au lieu de cela, les pêcheurs postent sur les réseaux sociaux des gros plans des perches, sandres, silures et autres espèces attrapées dans le fleuve — avant de les relâcher.“La pêche est un sport et les poissons sont nos partenaires de jeu, c’est pour ça qu’on les relâche”, explique Grégoire Auffret, accroupi sur un parapet du Quai Anatole France sur la berge opposée au Jardin des Tuileries. “On ne va jamais demander à un joueur de tennis de manger sa balle”, ajoute le jeune homme de 21 ans.Pour tromper le poisson, la jeune génération remplace les appâts naturels comme les vers — que les retraités coiffés de bérets privilégient encore — par des appâts artificiels en plastique. Le poisson n’avale pas le leurre, et les pêcheurs peuvent le ferrer par le cartilage de sa bouche, en le blessant le moins possible.Ces nouvelles pratiques visent à protéger la biodiversité de plus en plus importante de la Seine. Dans les années 1970, il ne restait que trois espèces de poissons dans le fleuve. Après des décennies de politiques d’assainissement de l’eau, on en compte désormais plus de trente – même si les sacs plastiques, les déchets industriels et, dernièrement, les trottinettes électriques avec des batteries au lithium polluent encore le fleuve.“Le milieu s’améliore constamment et le coronavirus a accentué le phénomène” en offrant un environnement plus calme aux poissons, explique Bill François, un océanographe. Il ajoute que les bateaux pour touristes n’ont quasiment pas navigué sur la Seine cette année. Pendant l’été, “on a constaté une très bonne reproduction.”Kacine Machline exhibe la perche qu’il vient de pêcher dans le Bassin de l’Arsenal, l’embouchure du Canal Saint-Martin sur la Seine.Credit…Andrea Mantovani pour The New York TimesSelon Thierry Paquot, philosophe de la ville et enseignant à l’Institut d’urbanisme de Paris, les pêcheurs urbains s’inscrivent dans un élan général qui pousse les citadins partout en France à se rapprocher de la nature.“Il y a un faisceau de nouvelles pratiques qui vont dans le même sens, comme l’agriculture urbaine”, dit-il.Il ajoute qu’une génération de jeunes adultes, confrontés à la précarité économique grandissante, trouve un sens de la communauté dans la tradition de la pêche, désormais transformée par leur conscience écologique et le recours aux nouvelles technologies pour partager leur passion.La Fédération de Pêche de Paris et de sa région compte 8500 membres détenteurs d’une carte de pêche annuelle coûtant 100 euros. Si on y ajoute ceux qui achètent occasionnellement une carte journalière à 12 euros et ceux qui pêchent illégalement, il y aurait plus de 30 000 pêcheurs dans la capitale, d’après les propriétaires de magasins de pêche.“Le nombre de pêcheurs reste assez stable, mais maintenant on voit clairement qu’il y a plus de jeunes que de gens d’un certain âge”, explique Marcelo D’Amore, qui a commencé à vendre des articles de pêche à Paris il y a trente ans dans une chaîne de magasins de sports. Il est désormais propriétaire du magasin “Giga-pêche” — ouvert en 2016 dans le 12ème arrondissement.L’engouement du jeune public pour la pêche à Paris n’est pas passé inaperçu auprès des entrepreneurs. Fred Miessner a découvert cette tendance au début des années 2000 et l’a surnommée le “street-fishing”. Avec son associé, ce pêcheur passionné a lancé French Touch Fishing, une entreprise de distribution d’articles de pêche, et Big Fish 1983, une collection de vêtements pour pêcheurs urbains avec des bonnets, des T-shirt à imprimés et des lunettes de soleil polarisées.Fred Miessner, à droite, avec son associé William Fichard, devant les bureaux de French Touch Fishing et Big Fish 1983, leurs entreprises d’articles et de vêtements pour pêcheur urbains.Credit…Andrea Mantovani pour The New York Times“On ne se reconnaissait pas dans les anciens codes”, explique M. Miessner. “On n’était pas en bottes en plastique, en treillis militaire ou en maillot Tour de France. On pêchait, et puis on pouvait aller en soirée avec des potes sans changer d’habits.”French Touch Fishing et d’autres marques sponsorisent des jeunes pêcheurs, qui deviennent des influenceurs sur les réseaux sociaux pour leur communauté. M. Machline, l’étudiant en art, reçoit l’équivalent de plusieurs centaines d’euros par an de la part de son sponsor en échange de publications faisant mention de la marque à ses 4000 abonnés sur Instagram.Mais certaines traditions restent inchangées, même à l’ère des réseaux sociaux. S’il est devenu essentiel de publier une photo de son plus beau poisson de la journée, les pêcheurs cachent toujours la localisation exacte de leurs prises pour éloigner les “crabbers” — surnom donné à ceux qui repèrent les bons spots de pêche grâce aux photos.Et bien sûr, se vanter de la taille de sa prise reste aussi de rigueur.Après une journée à parcourir les berges dans le froid de décembre, M. Machline finit par attraper une perche potelée de quarante centimètres dans le Bassin de l’Arsenal, le port de plaisance à l’embouchure du Canal Saint-Martin sur la Seine, près de la Place de la Bastille. M. Malherbe, son ami, immortalise l’instant avec son téléphone portable, avant que le poisson ne soit rejeté à l’eau.“Je tends toujours les bras devant moi”, sourit fièrement M. Machline. “Comme ça, le poisson a l’air plus gros sur la photo.”Une leçon de pêche organisée pour les enfants par l’école Naturlish sur le Canal Saint-Denis.Credit…Andrea Mantovani pour The New York TimesAdvertisementContinue reading the main story More

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    Catch a Fish in Paris. Post on Social Media. Release.

    AdvertisementContinue reading the main storySupported byContinue reading the main storyParis DispatchCatch a Fish in Paris. Post on Social Media. Release.A new, younger generation of fishers is taking over the banks of the Seine, transforming a centuries-old tradition into an underground culture.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Credit…Andrea Mantovani for The New York TimesJan. 11, 2021, 12:01 a.m. ETLire en françaisPARIS — On a recent wintry afternoon along the Seine, a Parisian teenager took a fishing rod out of a narrow holster, stuck a glittery rubber fish on a hook and cast his line into the water.The fisherman, Eliot Malherbe, 19, was soon joined at the river’s edge by his friend Kacim Machline, 22, an art student. But first, Mr. Machline spray painted a greenish striped fish on the concrete walls by their spot on the river, in an renovated former industrial area near the Jardin des Plantes on the Left Bank.The Seine used to be the fishing playground of older, working-class men who whiled away their retirement days at the river. These days, a younger and more diverse generation is disrupting the scene.Many of the younger anglers were first drawn to the Seine by the promise of other adventures. The city’s quays offer some of the city’s prime skateboarding territory, and for graffiti artists, it provides areas with little traffic so they can discreetly spray their tags during the night.While fishing’s more sedate pleasures might seem to lack the same thrill, that’s not the case, said Manuel Obadia-Wills, 40, a former graffiti artist and skateboarder — and now a fisherman during his free time.Kacim Machline creating some art before fishing.Credit…Andrea Mantovani for The New York Times“There is a buzz, an addictive side, a repetition until you reach the moment of grace,” Mr. Obadia-Wills said. “In skateboarding, it’s the perfect trick. As for graffiti, it’s all about the adrenaline rush when you are in a forbidden place. When you fish, it’s about the most beautiful catch.”Like skateboarding and drawing graffiti, fishing in the Seine, too, sometimes flirts with legality. Many fishers go out after work or school — although France has officially forbidden fishing after sunset since 1669 even during wintertime.During the official fishing season from May to January, young fishers meet at certain spots — near barges stretching for miles along the river and under which fish shelter, or by the Canal Saint-Martin or Canal de l’Ourcq, where the water is calmer and warmer than in the Seine.Eager to find unexplored grounds, though, some venture to restricted areas like under the Bastille square at “the tunnel,” as it’s known, a mile-long underground canal covered by a stone vault. The city recently sealed off its entrance to try to prevent people from getting in.The “tunnel” is a mile-long underground canal under the Bastille square.Credit…Andrea Mantovani for The New York TimesAlthough they are carrying on a centuries-old tradition of fishing in the shadows of Notre-Dame or below the Eiffel Tower, younger fishers have brought with them updated rules and codes.Foremost among them: The ultimate aim of the day’s catch is no longer about sharing a meal with friends and family. Instead, the goal is to share on social media close-up images of the pikes, perches, zanders, wels catfish and other species — and then releasing them back in the river.“Fishing is a sport and fish are our game partners, that’s why we release them,” said Grégoire Auffert, 21, squatting on a parapet of the Quai Anatole France facing the Tuileries Garden across the river. “You would never ask a tennis player to eat the ball.”Also, the new generation uses plastic artificial baits to lure the fish, not the natural baits like the worms still favored by beret-wearing retirees. The fish don’t swallow the lures, and fishers can hook them by their mouth cartilage, causing the least possible harm.The new customs are aimed at protecting the increasing biodiversity in the Seine. In the 1970s, there were only three fish species left in the river, but after decades of water purification policies, there are now more than 30 — although plastic bags, industrial waste and, lately, electric scooters with lithium batteries keep contaminating the river.“The milieu has been constantly improving and the coronavirus pandemic intensified it” by offering a quieter environment to fish, said Bill François, a marine scientist. He pointed out that this past year there have been fewer tourist boats running on the Seine. During the summer, he said, “we observed a very good reproduction.”Mr. Machline displaying  a perch he caught in the area of the Seine that connects to the Canal Saint-Martin.Credit…Andrea Mantovani for The New York TimesThierry Paquot, who studies urban life and teaches at the Paris Urban Planning Institute, sees the urban anglers as part of a push by city dwellers across France to be more in tune with nature.“There is a whole new range of practices heading in the same direction, like urban agriculture,” he said.He said a generation of young adults, suffering from growing economic precariousness, find a sense of community in the tradition of fishing, which they have transformed by an ecological awareness and by sharing their passion through technology.The fishing federation of the Parisian region has 8,500 members, all of whom buy an annual license for about $120. Add in those who occasionally purchase a daily license for $15, and those who fish illegally, and the total number of people who fish in the capital could be over 30,000, according to fishing store owners.“The number of fishermen remains quite stable, but now young people clearly outnumber people of a certain age,” said Marcelo D’Amore, who has been selling fishing gear in Paris for the past 30 years, first at a sporting goods chain and now at “Giga-pêche” — which means something like “mega-fishing” — a store he opened in 2016 in eastern Paris.The growing appeal of Parisian fishing to the younger crowd has drawn the attention of entrepreneurs like Fred Miessner, who says he noticed the trend in the early 2000s and nicknamed it “street-fishing.” With a business partner, Mr. Miessner — who also fishes in the Seine — launched French Touch Fishing, a fishing items wholesale company, and Big Fish 1983, a streetwear collection for urban fishers including hats, printed T-shirts and polarized sunglasses.Fred Miessner, right, with his business partner, William Fichard, in front of the office of French Touch Fishing and Big Fish 1983.Credit…Andrea Mantovani for The New York Times“We didn’t recognize ourselves in the old codes,” Mr. Miessner said. “We didn’t wear plastic boots, military fatigues or closefitting jerseys. We fished, and after, we went to parties with our friends without changing clothes.”His brand and others like it sponsor young fishermen who have become social media influencers in the community. Mr. Machline, the art student, receives hundreds of dollars’ worth of goods from a company in exchange for posts mentioning the brand to his 4,000 followers on Instagram.Some fishing customs remain unchanged in the social media age. While sharing photos of the day’s trophy catch is essential, fishers tend to avoid making their exact locations obvious to protect them from “crabbers” — as they call those who identify good spots from pictures.And bragging about the size of one’s catch continues unabated.On a recent late afternoon, after a day roaming the banks, Mr. Machline caught a plump 15-inch perch in the Bassin de l’Arsenal, a barge port near the Place de la Bastille where the Canal Saint-Martin meets the Seine. Mr. Malherbe, his friend, captured the moment on his cellphone, then the fish was re-immersed in the water.“I always stretch out my arms in front of me,” Mr. Machline said with a proud smile. “That way, the fish looks bigger in the picture.”A lesson for children organized by the fishing school Naturlish on the Canal de Saint-Denis.Credit…Andrea Mantovani for The New York TimesAdvertisementContinue reading the main story More

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    Three Sydney schools to be upgraded

    Three Sydney schools will receive upgrades together worth $290 million, after the New South Wales government gave the projects the green light.
    The Architectus-designed $250 million overhaul of Chatswood Public School and Chatswood High School will deliver more than 150 new and refurbished teaching spaces along with dedicated performing arts spaces, new sport and recreational facilities and new libraries.
    Education minister Sarah Mitchell said the school upgrades would transform the teaching and learning experiences for students and staff.

    “Upgrades to Chatswood Public School will include up to 53 classrooms with special programs and support classrooms while Chatswood High School will include up to 123 classrooms with special support classrooms,” she said.
    The character for each of the Chatswood schools is distinct. Architectus describes how Chatswood Public School on Pacific Highway will have a fine-grain urban character with brick and sandstone, while Chatswood High School on Centennial Avenue will embrace its natural bush setting.

    Meanwhile, the $40 million upgrade to Darlington Public School, designed by FJMT, will deliver 19 teaching spaces, a special programs room, canteen and a library.
    FJMT’s design reponds to the existing character of the school, which “sits at the nexus between the fine grain of the Darlington terrace houses and the large scale of the University of Sydney.”
    “The urban response to the site is to continue the dominant street alignment of the terrace houses which characterise the surrounding context,” the design report states.
    “The rhythm of the existing buildings that characterises the suburb of Darlington has been maintained, where the new development draws reference from the surrounding context and key buildings.”

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