|Treetop Walkway Through Kew Gardens|
Wikipedia article "Royal Botanic Gardens, Kew".
|Treetop Walkway Through Kew Gardens|
DEBATE before dinner: Berlin is the most cultured city in Europe. You could make the argument, certainly, after walking silent and alone through the majesty of the Gemäldegalerie, pausing for a while before Tiepolo’s “Martyrdom of St. Agatha” to consider the agonies of faith.
|The Martyrdom of St Agatha||c. 1756||Staatliche Museen, Berlin|
You could make it alongside the tourists marveling at the Grecian splendor of the Pergamon Altar in the museum that bears its name, or beneath the roar of applause at the end of “Tannhäuser” at the Staatsoper, or while reading Brecht in the Tiergarten, the city’s verdant central park.
Facts: You could go to art galleries in Berlin for a solid week and find yourself not halfway through a master list. You could spend two weeks wandering Museum Island and still miss a few Romantics; you could spend a career within the Bode Museum.
Less ambitiously, you could take a canal boat along the winding Spree and marvel at the street art from some of the celebrated graffitimen — Banksy, CBS, Kripoe — who have come to leave their marks. It’s a beautiful trip. You could argue the merits of the city’s Holocaust Memorial, designed by Peter Eisenman, a grid of nearly five acres of tall concrete slabs that appears to roll east out of the Tiergarten in the manner of a cemetery, a Greek hill town, or a failure.
But then you should make your way into the glamorous heart of a city that has borne witness to horror and majesty alike, to eat.
Because, really, where there is culture there ought to be food. It needn’t be caparisoned with foam or gold leaf, nor lauded by Michelin. It should be simply good, and it should be served well, and it should allow for the free and wide-ranging discussion of art for as long as you like.
It was that desire that occasioned a trip to Berlin this spring: a desire to wander through the city’s arty demimonde and to eat beside its residents, to talk smack about video installations and works of string, critics, government grants, gallery dreams, gallery crimes — and then to eat heartily.
It was that desire that led directly to the Johann König gallery, a few blocks off the Potsdamer Platz, where two art critics were discussing shadow and perspective. This was a lucky business.
The critics, one American, the other German, had arrived unannounced, and were now talking with the Norwegian artist Matias Faldbakken. Mr. Faldbakken was putting long pieces of black tape onto a Belgian linen canvas on one of the gallery’s walls, layering them one atop another to create abstract shapes that might have been letters. The work was part of a group show at the gallery that was to open the following day. The conversation was, apparently, one that had been going on for some time.
“What does it say?” asked one of the critics, Michael Kimmelman of The New York Times, gesturing at the canvas. The question was the sort that raises art critics above the status of the average human being, who might simply have looked at the shapes and smiled tightly.
The other critic, Andreas Schlaegel, has a sideline as an Elvis impersonator in addition to his written work; he also plays drums in a band called Art Critics Orchestra. He chuckled. Americans have far fewer long words than Germans. But straightforwardness is one of them.
Mr. Faldbakken, tall and blond and skateboarderish, cocked his head to the side and offered a small smile.
“I’m not going to tell you this time,” he said, placid as Oslo. “It remains an enigma.”
They all laughed. Mr. Faldbakken put on his backpack and headed out the door into the afternoon sun.
It was almost time to eat.
THE Berlin Biennale, the city’s vast contemporary art fair, would open the following day, and the city was filling with the art-world mob: curators from New York, buyers from Kyoto, Italians in Prada and duty-free cologne. Some would repair to bistros in the city’s prosperous west, others to grittier precincts in Kreuzberg, or leafier ones in Prenzlauer Berg.
Mr. Kimmelman was bound for the Grill Royal, in Mitte, the city’s most central — literally, middle — neighborhood, formerly in East Berlin. And by early evening he was settling in there, a steak house right off Friedrichstrasse, tucking into oysters and gin.
The room provides a view of the kind of restaurant scene only a city that has both money and space can provide: a large, airy dining room set under low ceilings, with wide tables and gentle lighting, packed close with artists, curators, dealers, gallery guys, smart-eyeglassed business tyros in three-piece suits, fat burghers eating Irish steak, French entrecôte, Argentine beef.
There isn’t much in the way of celebrity culture in Berlin, but Grill Royal serves those who make the grade on its wide boulevards and cobbled side streets: American film stars; Scandinavian novelists; Germany’s political elite. Waiters swing past them on the double-quick, polyglot and efficient, bearing plates of enormous salads, briny oysters, steaks and steaks and yet more steaks, the occasional grilled dorade.
Glass-backed, fluorescent-lighted refrigerators flank the open kitchen, offering diners a view of real-life Damien Hirst: large fish piled high beside giant crab legs; fillets of beef hanging in the cold, still air, beside the tools used to break them down. A wax-encrusted Vespa scooter sits in one corner acting as a kind of massive, hipster-European candelabrum; a stuffed peacock makes its strutting point in the room’s center; neon-tubed sculptures on the wall by the bathroom may wink broadly toward the flowers of Georgia O’Keeffe. “Those are vaginas,” Mr. Kimmelman said.
The food is excellent. Start with Fine de Claire oysters from the murky, green pools of Marennes-Oléron in western France, along the Bay of Biscay — medium-size, sweet, a little nutty, cold. Try a bibb salad the size of an upside-down hat, bathed in soft and creamy vinaigrette. Behold those plates of grassy, tender meat, crust-grilled and served beside a piquant steak sauce, with toothsome roasted baby potatoes with rosemary on the side, a dish of plain steamed spinach, another of sweetly turned coins of carrot.
To drink? A waiter brought a 2000 Château du Beau Vallon from St.-Émilion — a fat Bordeaux happy to be in Germany entertaining Americans. It did more than nicely.
There are plenty of other places to eat in Berlin while on the art-scene prowl. For breakfast, you might head west to Charlottenburg, to have coffee and pastry at the Café Wintergarten in the Literaturhaus on Fasanenstrasse (say that three times fast!), before ducking into the Springer & Winckler Galerie to see what’s up (some ghostly Sigmar Polkes).
You could head east to Unter den Linden, perhaps the city’s most splendid boulevard, to have a rich farmer’s omelet with sweet baby potatoes and thick bacon hunks at the warm and crowded Café Einstein there, then venture out on an institutional stroll. Unter den Linden hosts, among others, the pink, fascinating, vaguely scary and old Deutsches Historisches Museum, where construction finished in 1706, with its airy addition by I. M. Pei (who wrapped up work in 2003). There is also the Staatsoper and Berlin’s outpost of the Guggenheim, on the ground floor of the headquarters of Deutsche Bank, where there were some fine Olafur Eliasson glacier photographs on display.
After an Einstein omelet, though, a walk through the Brandenburg Gate and up to the Reichstag would not be an error, if only to get the blood moving past your stomach. In addition, of course, there is the sheer magnificence of the building’s facade, still pockmarked with war-era bullet holes, rising off its wide base toward the new Norman Foster-designed glass dome on its top. Standing beneath that on a clear Berlin morning, well apart from the long lines waiting to get in, it is easy to imagine the strange beauty of the building wrapped in foil, a project the artist Christo completed in 1995.
But this is so mainstream and obvious, no? Next you’ll be asking for lunch at the Kempinski Hotel, eaten outside on the Kurfürstendamm with a soft fleece blanket wrapped around your knees, followed by some shopping (Chanel! Jil Sander!).
Better to put on some black and head east, fortified with coffee bought in an S-bahn station (a subway by New York lights, taken from “Stadtschnellbahn,” or fast city train), toward Checkpoint Charlie, the Kreuzberg gallery scene, and lunch.
The aristocrats of art walk through the former East Berlin as royalty might through a distant part of their dominion, stepping carefully over puddles in suede loafers and wicked heels, past empty lots filled with cold-war emptiness, ancient graffiti, the gloom of communism, toward the light-filled spaces of men on the make. Many are bound for Sale e Tabacchi, a perfect Italian restaurant in the Rudi-Dutschke-Haus, so named for the leader of Berlin’s left-wing student movement in the 1960s, who died in 1979, after being shot by an assassin more than a decade earlier.
You are bound there as well. But first, take in some art. First stop: Max Hetzler, a gallery hard by one of those lots on Zimmerstrasse; it’s a bit as if Larry Gagosian had an outpost in Newark, or on the southern end of the south side of Chicago. A stone’s throw from where the wall once divided the city, Mr. Hetzler had mounted “Always There,” a show of work devoted to the color gray — by Richard Phillips, Albert Oehlen and André Butzer — set in rooms as high-ceilinged and beautiful as a palace, or a church.
Mr. Hetzler, rumpled and friendly, with the handshake of a polar bear, chuckled at the idea of Sale e Tabacchi. He would be there soon, he said. Everyone would.
Galleries are thick on the ground in this neighborhood, which approximates Chelsea in both art density and market strength. In addition to Mr. Hetzler’s space — a Berlin home to Kara Walker, Thomas Struth and Bridget Riley, to name a few — there are the Swedish dealer Claes Nordenhake’s gallery, on Lindenstrasse, where a drawing and collage show by the Swedish artist Ann Bottcher was rising, and the Jablonka Galerie on nearby Kochstrasse, where Alex Katz’s “Marine” paintings were hanging wide and beautiful. Also on Kochstrasse, Julius Werner has a ground-floor space, where A. R. Penck’s graffiti-ish paintings and odd, figurative sculptures were showing, an evocation of both New York and the 1980s in one fell swoop. It was the sort of show that makes one want to smoke.
Instead, though: basta. Pasta! Sale e Tabacchi sits behind huge glass windows and an elegant bar, stretching out beneath immense ceilings toward a courtyard garden in back; it’s the Kreuzberg version of the famous Borchardt restaurant on the Gendarmenmarkt, where the city’s elite gather at lunch, and schnitzel is the very large coin of the realm. Here, though, waiters in long, flowing aprons speak comic-opera Italian and serve a bustling crowd of underemployed artistes who’ve locked their sleek Dutch bicycles out front; business fellows with BlackBerrys and iPhones; Mr. Hetzler and his wife, Samia Saouma, reading newspapers in the back.
You might decry this scene in favor of more street-friendly food, what Berliners call imbiss food, for the small shops that serve it: Turkish doner kebabs in the gyro tradition; pretzels; the odious hotdogs in ketchup, dusted liberally with spice that are known in Berlin as currywurst. There is even a marvelous Neapolitan pizza place on Oranienstrasse, also in Kreuzberg, called Pizza a Pezzi-Napulé, which for anyone interested in global pizza-slice ethnography is worth a detour.
But have a perfect veal tonnato at Sale e Tabacchi, a plate of ravioli in sage butter, some soft bread, a small taste of espresso to finish. Those Pencks were kind of droll, no? Do they sell at all now? Save for a reporter or two, there’s not a rube in sight.
BERLIN is a lively city, and a walk along the Kurfürstendamm or a visit to the food court at KaDeWe — Europe’s largest department store, on Taventzienstrasse, near the ruins of the Kaiser Wilhelm Church — shows it to be an occasionally crowded one as well. But the population has never recovered from the war and the division that plagued it for a half century, and with 3.5 million people in a metropolitan region that supported a million more in 1939, it rarely achieves anything approaching critical mass.
That statement is challenged nightly at Paris Bar, however. Set down the street from the Theater des Westens, and around the corner from the Savoy Hotel (where, if you’ve had enough of artists, there is a lovely little cigar bar to while away some time with a copy of the Financial Times and a Cuban panatela), Paris Bar was near the center of West Berlin’s gallery scene in late cold-war days; it was dealt a grievous blow by the fall of the Wall, when the art world fled east to Mitte and once bustling Charlottenburg became sleepy, a place for the old.
That cycle is turning now, back toward the west, with Paris Bar an important beneficiary. The restaurant is a gathering place for artists and dealers alike, perhaps the city’s most important art-world canteen, serving both the chic and the beautiful, the jet-lagged and the underwashed who follow them — the people, Mr. Kimmelman said, “with interesting facial hair.” In Manhattan terms, it’s as if Elaine’s, the celebrity bar, bred with Raoul’s, the SoHo bistro, and hired Anne Isaak, a charismatic and unflappable owner of Elio’s, the east side trattoria, to run the place. A sign set into the floor of the entranceway reads, “Passant Sois Moderne,” a kind of plea: “Passersby, be modern.”
This refers to the art on the walls, really: crowded tight with portraits of Karl Lagerfeld, Tracy Emin, salon-hung thises and thats; if you can paint convincingly well, you could probably trade work for food here and want to. The menu is old and perfect.
And so there is French onion soup, deep with flavor, and more of those briny, perfect Fine de Claires, and a salad of baby spinach and bacon, with a soft poached egg in buttermilky dressing. There are glasses and glasses of rosé, and entrecôte with béarnaise and crunchy fries, duck à l’orange with turned carrots, a perfect soft omelet of tomatoes and bacon. Familiar? Yes, it’s bistro and bohemian and correct down to the sautéed rabbit livers set atop a bright salad cut sour with endive and bright with vinaigrette. One will probably suffice for the table: rabbits in Germany, it would appear, have enormous livers.
Germans, too. The wine flows freely into the night, as an Icelandic film director high-fives everyone in sight, as French waiters serve American museum staff members and tattooed fellows who might be Polish, Belgian, or both. Smoke curls north to the ceiling like mist. (Berlin banned smoking in restaurants in January; that message has yet to make it to Kantstrasse 152.) Conversations rattle along in German, French, English, Italian, in some multinational Esperanto of shared cultural literacy: some love the artist Pushwagner’s “Soft City” graphic novel art at the Kunst-Werke, part of the Biennale; many decry all the silly video installations; definitely everyone will have something more to drink.
And so to bed. Walking out of the place on a cool Berlin night, shrugging into jackets after the heat and bustle within, two young men passed by the restaurant. One paused; something had caught his eye. He pointed to a poster hung in the window, advertising the show at Jablonka, across town.
“Ja, ja, Alex Katz,” he said, excitedly. Art city!
A CITY WITH ART IN THE AIR AND A LOT ON ITS PLATES
WHERE TO STAY
Savoy Hotel (Fasanenstrasse 9-10; 49-30-311-03-0; www.hotel-savoy.com) is an elegant dowager with 125 rooms, a block from the Kurfürstendamm in Charlottenburg, near the Berlin Zoo. It’s comfortable and quiet, with a lobby that smells faintly of the cigar bar next door and a sumptuous dining room that does not. Double rooms from 75 euros, about $120 at $1.61 to the euro.
Hotel de Rome (Behrenstrasse 37; 49-30-460-60-90; www.hotelderome.com) offers fancier accommodations in its 146 spacious rooms in the former Central Bank of East Berlin. The building’s edifice dates to 1889, when it was the head office of the Dresdner Bank, and has been lavishly remodeled — the underground vault, for example, is now a swimming pool. Double rooms from 395 euros.
Eastern Comfort (Mühlenstrasse 73-77; 49-30-667-63-806; www.eastern-comfort.com) is a houseboat in the Spree River, popular in the backpacker and hippie-cat sets, on the border between Kreuzberg and Friedrichshain, near the longest surviving stretch of the Berlin Wall. Double rooms from 54 euros.
WHERE TO EAT
Café Einstein (Unter den Linden 42; 49-30-2043-632;) is a clubby and welcoming coffee house near the Brandenburg Gate, with excellent eggs and bacon to match the strong coffee. Old-timers will tell you the original location on Kurfürstenstrasse is better. So be it: Breakfast runs around 36 euros for two.
Grill Royal (Friedrichstrasse 105B; 49-30-2887-9288; www.grillroyal.com) is a chic steak house in Mitte, set on the bank of the Spree, perfect for introducing oneself to the pleasures of Fine de Claire oysters. Follow with a grilled steak and excellent potatoes, a few glasses of wine, and you’re out the door for at least 65 euros.
Sale e Tabacchi (Kochstrasse 18; 49-30-2521-155, www.sale-e-tabacchi.de) serves as a kind of elegant cafeteria for Kreuzberg gallery owners and the art-world crowd that provides them their business. Excellent pastas and salads, accompanied by gallons of sparkling water, will cost around 20 euros a person at lunch.
Pizza a Pezzi-Napulè (Oranienstrasse 176; no phone) is a modest pizza parlor in Kreuzberg with pizza made in the Neapolitan style. You’ll be in and out for around 3 euros a person, particularly if you think of the meal as a snack, best taken before or after a meal at Sale e Tabacchi.
Paris Bar (Kantstrasse 152; 49-30-313-80-52; www.parisbar.net) is a bustling art canteen in Charlottenburg that serves bistro grub of the first order: excellent steak frites, glistening salads. The reservation policy is quirky. If you call from a hotel, the host may declare the restaurant fully booked. Show up at the door unannounced, however, and chances are you’ll be whisked to a table immediately. Dinner for two, with copious wine, will cost around 125 euros.
WHAT TO SEE
In addition to Museum Island, Unter den Linden and the Kulturforum museums, Berlin’s vibrant gallery scene provides days of possibility. Highlights include:
At the Max Hetzler Galerie (Zimmerstrasse 90-91; 49-30-229-24-37; www.maxhetzler.com), an elegant gallery near Checkpoint Charlie, there is an exhibition by the installation artist Mona Hatoum.
The Johann König, Berlin (Dessauer Strasse 6-7; 49-30-26-10-30-80; www.johannkoenig.de), a large, spare and light-soaked gallery near the Potsdamer Platz, is the summer home of a solo exhibition by Andreas Zybach.
The Springer & Winckler Galerie (Fasanenstrasse 13; 49-30-315-7220; www.springer-winckler.de) is an airy space nestled into a quiet block off the Kurfürstendamm; a show of Andy Goldsworthy’s drawings and objects is up through the end of June.
SAM SIFTON is the culture editor of The Times.
Developers and investors would pay millions to build on Berlin's centrally located Humboldt Harbor, just next to the city's new Central Station. But now the city is making the four-part, 16,000 square-meter (170,000 square-foot) plot available for free.
There's just one catch: The taker has to include a 10,000 square-meter modern art museum in the shopping and office complex that's foreseen for the site.
According to the call for bids, which are to be advertised throughout Europe at the end of the month, the new museum should resemble the Guggenheim Museum in Bilbao, Spain. Completed in 1997, the masterpiece by Canadian-American architect Frank Gehry is one of five modern art museums funded by the Guggenheim Foundation.
A stylish building and massive modern art collection did just the trick to rejuvenate the small town of Bilbao. The one million tourists who visit the Spanish Guggenheim each year are a financial windfall for Bilbao.
Bildunterschrift: Berlin looked to the prosperous Guggenheim Museum in Bilbao as an example
Multi-billionaire developer Nicolas Berggruen is considered a favorite for the Berlin project. Both art and money run in the family. His father Heinz Berggruen, who died last year at the age of 93, offered his 750-million-euro art collection to the state-run Prussian Cultural Heritage Foundation in 2000 in a gesture of reconciliation.
Berggruen, the elder, fled Germany during the Holocaust and immigrated to the US. He didn't return to Germany until 1996. The Berggruen Museum across from the Charlottenburg Palace was built to house the family's Classical Modern collection, which boasts works by Picasso, Klee, Giacometti and Matisse.
According to a report in the Berliner Zeitung, 46-year-old Nicolas Berggruen is also considering several other locations in Berlin for his own substantial modern art collection.
Land-for-museum deal questioned
The terms of the unusual agreement have stirred up some political controversy in a country where privately sponsored cultural institutions are a rarity and where complaints about under-funded museums are commonplace.
Greens fiscal spokesperson Jochen Esser, for example, warned against "giving away plots of land for free that are worth millions."
Dubbed "poor but sexy" by its own Mayor Klaus Wowereit, the German capital could do with a tourism-driven financial boost a la Bilbao -- regardless of who owns the museum.
However, a little competition wouldn't hurt the Hamburg Bahnhof, Berlin's only other modern art museum, opined the German daily Die Welt on Thursday, June 19. Critics have complained about the lack of innovative new exhibitions in the museum. The state-sponsored museum was built in 1996 to house several private collections, including that of Erich Marx. Notably, in 2004, it also obtained a seven-year loan of the Friedrich Christian Flick Collection.
Also coming soon: exhibition hall
According to reports, the museum at Berlin's Humboldt Harbor is not intended to replace plans for a new national exhibition hall in the city, which have had Wowereit's support. The hall would provide exhibition space for international artists who live or work in Berlin, but a location has not yet been determined.
In the meantime, ground was recently broken for a temporary exhibition space on the Schlossplatz, which is scheduled to open in October and remain there for two years.
B022台北民生店因租約到期將營業至 97/6/30 (一)
找水準書店?這裡折扣免運費 - www.Cite.com.tw - 城邦書虫VIP買書全館75折&全年免運費 贈品A好康機會僅有一次,你還再等什麼?
江蕙美指出，當初創辦時，憑著為台灣民主盡點心力，希望發揮一些功用，有人提醒她可能做不滿三個月就會倒，但苦撐至今，也十三年多了。 談到經營報紙 歷程，江蕙美回憶說，「從未賺過，而且不是小賠，是大賠」。一直貼錢下去，從房地產抵押、向銀行週轉、標會等都有，體力、心力、財力都已無法負荷。
大紐約地區目前主要華文報紙包括世界日報、星島日報、美東自由時報、僑報、明報、大紀元報等，另外還有紐約社區報、三洲新聞報等。 其中，世界日報與 自由時報以台灣讀者為主，星島日報與明報則以香港及廣東移民為主，僑報以來自中國大陸新移民為主，至於大紀元報則具有法輪功色彩。
Living in Bahia
Angelika Taschen (ED)
Hardcover, 26 x 30.2 cm,
200 pages, £ 16.99
Click here & order now
| Tudo bem in Bahia |
Seen from the sea, Bahia's coast still resembles what the Portuguese found 500 years ago when they first arrived. The tree-lined, white sand desert beaches and warm, clear waters continue to attract more tourists every year. Bahia's regional architecture makes use of native materials, conveying a natural harmony with the local climate and nature, and is distinguished by the clear influence of the three cultures in the region (indigenous, Portuguese, and African). Bahia is one of the most interesting states in Brazil, notable for its cultural history, music, art, cuisine, and most famously, its laid-back lifestyle and architecture that have turned Bahia into a favorite destination for travellers from around the world.
We have searched high and low for Bahia's loveliest homes and spots, from typical fisherman's huts to sophisticated modern homes. Highlights include the house of Brazilian's most brilliant and prodigious singer and composer Caetano Veloso in Salvador, a treehouse by sculptor and environmentalist Frans Krajcberg an experimental house with a bamboo roof, and a house perched on a cliff built by artist João Calazans.
太仓市市长谢鸣在斯图加特-太仓日活动上雄心勃勃地介绍说："我们要将太仓德 企工业园建设成为华东地区的德国企业中心。" 该市的目标是在今后3年再吸引100家德企公司前往当地投资。他们希望把太仓变成德国中小企业的集聚中心。在谈到之所以聚焦中小企业的原因时，谢鸣表示： "因为德国的大企业比较少，它主要是中小型企业，而我们也比较适合中小型企业。从实际上来讲，来太仓投资的德国企业大多是家族企业，具有很高的科技含量。 我们觉得这样的企业比较适合在我们这里投资。当然，大企业我们也喜欢，也要引进。"
与上海相比，太仓的低成本投入更容易吸引来自德国的中小企业。目前已有100多家德国 公司在太仓投资，其中来自巴登符腾堡州的德国企业占了将近一半。曾任巴符州议员的汉斯-约罕·施泰姆是第一个落户太仓的德国企业家。这位克恩-里伯斯有限 公司的总裁90年代中期首先在太仓建起了一座只有8名中国工人的小厂。在谈到选择太仓的原因时施泰姆说："太仓接近上海，江苏又是巴登符滕堡州的伙伴地 区。另外我们也认识一些太仓发展办公室的人，这也起到了决定性的作用。一开始，他们就和我们一样具有坦率、开诚布公的办事特点。"
克恩-里伯斯公司的效益直线上升，在太仓的厂房和员工数量也不断扩大。该公司的成功给 太仓作了免费广告，吸引了更多的德国企业前往当地。宝适汽车部件有限公司亚太地区总裁艾伯勒对该公司在太仓的发展也非常满意。不过他同时也表示，企业前往 中国投资需要慎重，不能盲目行事。他说："我认为非常重要的是，企业在去中国投资前必须非常仔细地对其面临的机会和风险进行评估，不能盲从，不能盲目地梦 想着前往中国就能盈利。"
艾伯勒表示，在太仓，德国企业之间会非常开放地相互交流经验和信息，相互提供帮助。不 过企业多了也存在劳动力市场资源有限的问题。为此，除了到周边地区招人，培养当地的技术工人也非常重要。2007年，太仓与德国商会上海代表处合作，成立 了一所职业技术工人培训中心，该中心采取德国的培训模式，学生毕业后还可以获得德国承认的资格证明。
另外，为了满足企业对人才的需求，太仓也努力吸引留学生前往当地工作。"太仓海外人才 招聘说明会"就是此次斯图加特-太仓日活动的一个组成部分。太仓市长谢鸣表示，由于德资企业集中，具有良好的企业氛围，他相信会有越来越多的德国留学生愿 意去太仓发展。另外，谢鸣还将太仓与上海对人才的需求进行了比较，他说 ："上海是人才的高地。但我们对人才结构的需求不同。上海里是金融中心，经济中心，服务业发展迅速。而我们在制造业方面具有优势。我们与上海存在一定竞 争，但主要是互补关系。"
不过包腊梅也强调，留学生必须清楚自己的定位，需要脚踏实地的勤奋工作，而不能只盲目 追求高工资以及迅速提升的机会。对于此次招聘活动，包腊梅感到满意，她说："这次参加招聘会的人可能没有以往那么多，大概只来了几百人。但他们似乎比以往 的人更加了解国内的情况，期望、定位更清楚了。"
本 周，法国由政府部门代表和建筑设计师组成的一个评选委员会决定选用法国建筑设计大师让.努韦尔(Jean Nouvel)的四方形设计方案，在拉德芳斯区兴建预计造价6亿欧元的“信号塔”。参加此项招标的还有其他国际大牌建筑设计师，其中包括英国的诺曼.福斯 特(Norman Foster，设计了北京首都国际机场3号航站楼)、美国的丹尼尔.利贝斯金德(Daniel Libeskind)。
62 岁的努韦尔已为巴黎创造了几座建筑杰作，其中包括阿拉伯世界学院、展示欧洲以外地区文化的凯布朗利博物馆等。评选委员会主席德韦迪安(Patrick Devedjian)说：“‘信号塔’是继埃菲尔铁塔以来最重要的建筑大事。”他表示，无论在技术上还是在环境友好程度上，努韦尔的设计方案都登峰造极， 该建筑将会成为大巴黎地区的象征性建筑。
这 一项目同时也是巴黎城建部门恢复拉德芳斯商业区生活气息的尝试之一。拉德芳斯区每天吸引40万人，但却只有2万人居住在这里。每到夜晚，一片死气沉沉。因 此，除写字间、商场、一家酒店外，“信号塔”内还将有许多公寓。拉德芳斯区是巴黎市政府上世纪60年代开始开发的建筑风格标新立异的高楼区，为了给更新的 高楼大厦腾出地方，今后10年，不少较老的建筑将被拆除。到2012年，另外两座300米的摩天大厦也将在此落成。
Business complex just W of Paris, France. Ultramodern, sleek buildings and sculptures characterize the area.勒地方士是巴黎的大眾商業區，邻近塞納河畔納伊，巴黎的城西。
LOS ANGELES — “Sex and the City” and its legion of female fans over the weekend gave Hollywood exactly what it needs to survive an uncertain summer movie season: an unconventional hit.
The romantic comedy, based on HBO’s long-running television series of the same name, unexpectedly overtook the latest “Indiana Jones” movie at the domestic box office, bringing in an estimated $55.7 million since opening with midnight shows on Thursday, according to Warner Brothers., which released the film.
The performance fell short of the $70 million-plus opening some foresaw after sellout crowds — 85 percent of the ticket buyers women, many viewing in groups — brought the film about $26 million in sales on Friday. Still, the weekend opening far exceeded industry expectations, which only a week ago were looking something closer to the $27.5 million taken in by “The Devil Wears Prada,” a similarly female-driven hit released by 20th Century Fox in June of 2006.
“It is kind of mind-boggling,” Sarah Jessica Parker, the “Sex and the City” star, said in a telephone interview from her Manhattan home on Saturday. “We are thrilled and humbled that the audience came out.”
“Sex and the City,” of course, benefited from the enormous audience awareness that came with the television series’s six seasons, strong DVD sales and continuing appearances in syndication on TBS. There was also no shortage of media attention showered on the return after four years of Carrie, Miranda, Samantha and Charlotte, whether features about their clothes, their men or the show’s enduring influence (for good or ill) on the culture.
And yet surprise at the weekend performance was palpable, even among those who made the $65 million film. Ms. Parker, for instance, said she did not intend to sit home this weekend monitoring the box office results. But by late Friday, fans were sending messages and even photographs to her cellphone of women in line outside movie theaters across the country. (As the weekend went on, more men showed up, according to Warner Brothers.) A clutch of negative reviews did nothing to dampen the thirst for making a night or day of it at the theater.
“It’s a cultural phenomenon; it’s an absolutely incredible opening,” said Dan Fellman, Warner’s president for theatrical distribution, speaking by phone on Sunday. First-weekend ticket sales, he noted, were far beyond those of other R-rated comedies, including “American Pie 2” from Universal Pictures in 2001 and “The Wedding Crashers” from New Line Cinema in 2005.
The weekend opening also ranked as the strongest ever for a movie carried by a female lead (at least if ticket-price inflation is not taken into account). Paramount’s “Lara Croft: Tomb Raider” was the previous record-holder, with $47.7 million in ticket sales for Paramount during its opener in 2001.
“I am so excited about the possibilities for movies about women,” Ms. Parker said.
Ms. Parker credited Michael Patrick King, the movie’s writer and director, with creating an update of the hit HBO television show that brought the characters forward. “It’s a movie about being a grown-up,” she said.
Grown-up women have never exactly been absent from the big screen. Women’s roles have been as complex and varied as Helen Mirren’s turn as Queen Elizabeth II, which won her an Oscar in 2007, and Meryl Streep’s performance as the semi-monstrous fashion magazine editor in “Prada,” which turned into a box office smash.
But the female audience has seldom showed its potential in the way it did this weekend.
As “Sex and the City” placed No. 1 for the weekend, Paramount’s “Indiana Jones and the Kingdom of the Crystal Skull” dropped to second. The film, directed by Steven Spielberg, had a strong $46 million in ticket sales, bringing its total to $216 million since opening on May 22.
But the weekend’s second major surprise came from Universal, which had some good news, even as its backlot suffered a major fire over the weekend. “The Strangers,” a horror film made for about $9 million, took in $20.7 million for the company’s Rogue Pictures specialty unit.
Like “Sex and the City,” the horror film was rated R — usually a limiting factor at the spring-summer box office, which has traded in recent years on sequels and fantasy films with softer ratings. Yet the movie became Universal’s biggest of the year, beating its “Forgetting Sarah Marshall.” And it raised hopes that audiences will respond in large numbers to a number of studio films like “Pineapple Express” from Sony Pictures Entertainment and “Tropic Thunder” from DreamWorks and Paramount, which, in the coming weeks, will test viewer willingness to turn out in large numbers for something other than repeat performances.
Hollywood could use the help. Even with the strong performances of the Top 3 movies this weekend, year-to-date results still lag last year’s total. According to Media by Numbers, a box-office tracking firm, tickets sales are off about 2.8 percent and attendance is down 5.5 percent compared with the corresponding time last year.
Whether the rest of the summer’s entrants will excite moviegoers as much as last year remains to be seen, but one thing is certain: The striking success of “Sex and the City” will spark immediate talk of another movie with Ms. Parker and her sidekicks — Cynthia Nixon, Kim Cattrall and Kristin Davis.
“They might be talking about a sequel,” she said. “But it still feels like we’re opening this movie.”
She added: “Michael and I still have never discussed it. It would have been greedy.”