3 home tech ideas for your tiny space

So, you got that tiny house. Or that compact one-bedroom apartment for which you endured a frightening co-op board interview. Or you and your partner moved into a studio that is really not meant to accommodate two people. Congrats! You are now Living Small.

There are innumerable ways you could make the most of this: Modular, multi-use furniture is one big way (especially when it doubles as storage); another is to trick out your new tiny abode with home tech.

“‘Home tech? how’s that going to help?’” you say. Well, we’ll tell you. While there’s no shortage of smart home gadgetry out there to help with problems you don’t have (we’re looking at you, smart fridges), there are also a few ways to use smart home products to get the most out of your space. Here are a few products we think will help ease you into the tiny living lifestyle.

Smart plugs are your friend

For even the most home tech averse among us, the allure of the smart plug is hard to deny. Sticking any of these Wi-Fi-enabled plugs into your existing outlets turns the outlet into a smart one that can be controlled with your mobile device via an app associated with the smart plug.

Our historic home-loving columnist is a recent convert—and who wouldn’t be, when on a hot day you can turn your air conditioner on from your phone on the way home from work? You can also, of course, use smart plugs for just about anything—from lamps to fans to just about anything else you plug into an outlet. For those of us who live in compact places, this means you can work with what you’ve got: no need to buy new, smarter things for your tiny space.

There are lots of options on the market and, unlike other things in the home tech world, they come at a reasonable price. Belkin and TP-Link each sell popular options you can find on Amazon.

Sony’s Life Space UX short throw projector and LED bulb speaker

Sony’s ultra-short-throw projector can turn a surface a mere 22 inches away into a screen for watching your favorite shows and movies.

Entertaining can be a challenge in a home of any size, but Sony has recently released a couple of products that could make that easier for the space starved.

The company’s Life Space UX series includes an ultra-short-throw projector (at a spendy $789), which turns any flat surface into a screen. Life Space UX also includes a lightbulb (at just shy of $240) that is both a color-changing illumination source and a Bluetooth speaker. The latter sounds gimmicky, but this editor has seen it in action (at both its unveiling at MoMA Design Store in New York and in a friend’s apartment). It’s actually quite nice, with solid sound quality. If you’re truly starved for space, combining an essential function with a non-essential—but delightful and quality-of-life improving—one is pretty smart.

Consider buying a smart home hub

Google Home.
 Courtesy of Google

The Amazon Echo has done a lot to popularize the idea of the home tech hub, a gadget that acts as command central for your Smart Things devices and responds to voice prompts.

Not long after the Echo debuted, gobbling up marketshare, Google entered the fray with the Google Home—and it was soon followed by the Apple HomePod, which purports to have better audio quality when compared to its competitors.

A smart home hub of any kind is going to help you. With voice commands you can toggle smart lights on and off, and listen to music and the latest news. It will serve up weather information, and more, in a rather compact unit that won’t take up a ton of counter space. For a guide to the what’s what of home tech hubs, you can read more here.

BOG OFFER How you can get two FREE Vue cinema tickets for cleaning your toilet

THE INCREASING cost of a cinema ticket has been putting off movie goers from seeing films on the big screen in recent years.

According to data released by the British Film Institute (BFI), the average price of cinema admission in the UK has risen from £4.87 in 2006 to £7.17 in 2015 – an increase of 48.25 per cent over a ten-year period.

Customers who want to bag the deal just need to spend £3 on any Finish, Vanish, Dettol or Airwick cleaning products

GETTY IMAGES
2
Customers who want to bag the deal just need to spend £3 on any Finish, Vanish, Dettol or Airwick cleaning products

And prices vary hugely between locations. For example, in London, to watch the summer movie Driver, a standard adult tickets at a Vue cinema in Westfield will cost you £13.99, while cinema goers watching the same movie in North Finchley will pay up to £12.79.

In Manchester, the same tickets will cost £9.99 per person.

As a consolation to hard done by cinema movie fans, MoneySavingExpert has now found a trick to get two free cinema tickets by simply “cleaning your loo”.

Customers who want to bag the deal just need to spend £3 on any Finish, Vanish, Dettol or Airwick cleaning products in one transaction at Tesco.

To benefit from the offer, customers will have to spend the money either in store before Wednesday August 2 or online on Tesco.com before Wednesday August 23.

According to MSE, the cheapest product currently includes a Dettol Neutraair Fresh Morn Dew.

The air freshener usually costs £1.50 but it is now  on offer at £1 until Tue August [Source”GSmerena”]

Opinion: What can smart home tech do for retirees?

The most complicated thing on earth isn’t high-technology, it’s family dynamics. A weekend with the in-laws, or a Thanksgiving dinner will provide all the evidence needed. And now that we’re living longer than ever before, the interests and opinions of more generations will compete for the same amount of airtime. The extended life expectancy also increases the need to coordinate long-term financial plans as families navigate mortgages, student loans and long-term care for four living generations. The good news is, there’s hope.

The high-tech craze known as the Internet of Things (IoT) promised the Jetsons lifestyle was only moments away. The reality was decidedly underwhelming. The IoT refers to any device connected to the internet. While some companies added internet connectivity to useful home appliances such as thermostats and door locks, others addressed the less useful combination of internet, such as egg trays and the Wi-Fi juicer.

Focus on needs, not on devices

There are some very useful IoT devices available that help families address the needs of multiple generations. The recommended approach to finding the right device is to identify the root causes of family stressors first, then look for a technology solution.

  • Wellness concerns: It’s difficult to balance a full-time job, an immediate family and manage care for a parent or grandparent. If there is a dark stairwell in the home, installing a motion activated light reduces the risk of a fall. A voice intercom such as the Nucleus, can be a good way to check-in with a family member without visiting their residence. Smart locks are an effective way to grant home access to caregivers or emergency responders.
  • Limited mobility: Simple tasks can become difficult burdens under mobility limitations. Consider a smart home automation hub such as Samsung’s SmartThings and/or a voice-controlled appliance such as Amazon’sAMZN, +0.13% Echo that can be set up to switch lights on or off, lock doors, set reminders and even water a garden.
  • Medications: Managing medications is a top concern of family caregivers. A connected pillbox can be a great way to gain insight into medication adherence without bothering the family member daily. These pillboxes can be simple, such as Tricella’s Pillbox, or fancy such as the HERO.
  • Monthly bills: Home energy consumption can be volatile and difficult to manage. Smart appliances such as Google’s GOOG, +1.26% Nest can pay for itself in energy savings by managing HVAC routines based on user activity.
Herohealth.com
A smart pill box manages medications and keeps toddlers out.

Some of these devices may be familiar, and great solutions to specific issues. But what if the need is broader than one or two specific concerns? What if, for example, mom’s goal is to live at home as long as possible, but her children worry that the home won’t provide the support she needs? The solution is to connect the individual devices to a platform that offers insights valuable to each member in the family.

When it comes to retirement, 60s are the new 50s
The whole is greater than the sum of its parts

While simple smart home devices can meet some goals for independent living, unless they work together they cannot address the situations that would otherwise undermine a family’s support of an older member’s decision to age-in-place. Take the motion activated light from above; its one function is to turn on the stairway light. When additional motion sensors are added in the home, the information from each sensor can be stitched together to make more meaningful insights, such as where the resident has been and how much time was spent in each room.

That’s a meaningful step toward unlocking the value promised from the IoT hype, but it’s not quite there. An analysis and alert service such as HoneyCo’s Internet of Caring Things (IoCT), completes the process. HoneyCo’s IoCT proactively alerts family members or professional caregivers of concerning activity, such as too much time at the bottom of that dark stairwell.

Game-changer

Residential care facilities were considered an unavoidable part of the transition from adulthood to elderhood. The broad sentiment was that nobody wanted to go, but we’d all end up there at some point, even if our kids forced us into it. Smart home technology is transforming this concept. The retirement communities of the future will be the homes we live in today. Care will be coordinated through the IoCT, driverless cars will shuttle members to social events, and we’ll reflect on how technology spared us from the anxieties of elderhood and allowed multiple generations to build meaningful relationships.

Zachary Watson is the Founder & CEO of HoneyCo Homes.

 

 

[Source”cnbc”]

The Tate Modern and the Battle for London’s Soul

I recently found myself staring into a stranger’s living room, waiting for something beautiful to happen.

I was standing on the 10th-floor viewing terrace of the Tate Modern’s new wing, a twisting ziggurat of perforated brick and mortar that rises above the museum’s home in the old Bankside Power Station. The terrace allows for 360-degree views of the building frenzy that has consumed much of London’s skyline. Cranes dip and dive in every direction; to the east, the Shard, an overwhelming ice pick of a skyscraper, dwarfs the Victorian roofs of the surrounding neighborhood; to the west, the pregnant monolith of One Blackfriars, a 50-story mixed-used building, looms over the Thames like an alien mother ship. As is the case all over the city, many of its 4-million-pound apartments will be scooped up as investments, only to stand empty. Idle butlers will be forced to play solitaire ad infinitum. The future is a lonely place.

Directly across the street, at eye level, was NEO Bankside, three luxury condo towers, their facades crisscrossed in a metric of steel braces. In the nearest tower, no more than 200 feet from where we were standing, rose a series of angular glass living rooms, each meticulously furnished, each empty. In one, three white chairs stood in silent conference. In another, a telescope pointed reproachfully back at us. The only sign of life was a pair of slippers next to an uncomfortable-looking lime-green chaise longue.

I and my fellow observers were faced with a dilemma. A notice on the viewing terrace asked us to “Please respect our neighbours’ privacy,” yet for the rest of our museum experience we had been encouraged to look, to question, to interact. The takeaway from the Tate Modern’s new wing, which includes stunning subterranean spaces devoted to performance art, can be summed up as this: Art is not an object but an experience. A museum in the 21st century is no longer just a repository of work, but an active house of co-creation. The entire fifth floor of the new building is devoted to Tate Exchange, a flexible space for artists and the public “to collaborate, test ideas and discover new perspectives on life.”

Was the view of abandoned luxury also part of the museum? Did my strange mixture of emotions — the simultaneous curiosity and self-reproach of the voyeur — have a number on the audio tour? Guiltily, I leaned out over the terrace, staring at those slippers. I waited for some kind of performance to begin. I wanted to witness a murder, an affair, a revelation.

Continue reading the main story

This visual standoff offered a perfect distillation of the current battle for London’s soul. As more of these luxury towers spring up across the city, transforming neighborhoods into affluent ghost towns, Londoners are facing difficult questions: What kind of city do we want to live in? What do we want our streets to look like? What kind of public spaces are valuable to us? Part of the answer to these questions may lie in the entangled story of the Tate Modern and the Bankside neighborhood it helped spawn.

Continue reading the main story

Photo

Visitors enter the Tate Modern through the great void of Turbine Hall, the former engine house of the power station the museum used to be. The museum is in the Southwark section of London.CreditAndy Haslam for The New York Times

The museum may be the among the best-known examples of the now fashionable transformation of derelict factories into dynamic cultural space. Since its inception, the Tate Modern has never rested on its laurels, continuing to redefine itself as an institution of outreach, self-reflection and learning. The museum’s evolution over time provides a potential blueprint for how London, and indeed any city, can provide spaces that encourage its inhabitants to be collectively present. You cannot experience the Tate Modern through Facebook or a tweet; you must show up, with an open mind, surrounded by your fellow visitors.

London is perhaps the most international city in the world, but at its heart it has always been a local city, a series of low-slung villages. The expanded Tate Modern embraces this human scale even if its aspirations are more global than ever.

Given the real estate mania that has engulfed Bankside and the surrounding Borough of Southwark, it’s easy to forget what a bold decision it was to shift the center of London’s contemporary art world 17 years ago to a hulking abandoned power station south of the river. Ask any Londoner about wandering amid the postindustrial squalor of Southwark in the late 1980s and you will be regaled by stories of taking life into your own hands.

Everything changed in 2000, when the Tate Modern, the London Eye and the endearingly wobbly Millennium Footbridge all opened to wild, instantaneous acclaim. The Tate Modern received 5.25 million visitors in its introductory year alone. For the first time in years, people crossed the Thames and lingered. And lingered. Urban redevelopment is never a simple formula, but this triumvirate — a wheel, a bridge, a museum — proved an irresistible alchemy that led directly to the area’s renaissance over the next decade and a half.

CITY OF

LONDON

St. Paul’s Cathedral

London

CANNON ST.

Millennium

Bridge

BLACKFRIARS

BRIDGE

Shakespeare’s

Globe

Thames

One Blackfriars

Borough

Market

Tate

Modern

NEO Bankside

Hilton London Bankside

SOUTH-

WARK

Bunker

Theater

WATERLOO RD.

Old Union

Yard Arches

The Shard

Coca-Cola

London Eye

Marshalsea

Prison

If the contemporary city dweller — faced with skyrocketing property values and the scrubbed corporatization of High Street — spends much time feeling nostalgic for that grittier, more authentic time of low rents and urban blight, then Southwark offers a particularly long and glorious history to savor. Because of its location outside the city gates, Southwark functioned as a refuge for weary travelers of all persuasions. Theaters and playhouses flourished, most famously Shakespeare’s Globe Theater, as did brothels, bearbaiting pits and breweries. Charles Dickens’s father was jailed for unpaid debts in Marshalsea Prison, one of many notorious lockups in the area. Dickens himself lived for a time on Lant Street, and the sordidness of Southwark provided a rich backdrop for his novels “Little Dorrit” and “David Copperfield.

During the Industrial Revolution, Southwark became a nucleus of manufacturing because of its ample water, cheap land and cheap labor. Textile plants, breweries, a gasworks and coal and timber yards all led to astonishing levels of pollution. The Bankside Power Station, a giant brick sarcophagus bisected by an ominous chimney-spire, was designed by Sir Giles Gilbert Scott and began operations in 1952. The power station, across the Thames from St. Paul’s Cathedral like a shadow basilica of industrial consumption, chugged away, converting the oil in its great underground tanks into London’s electricity until 1981.

Perhaps even more unusual than the Tate Modern’s choice of an abandoned power station for a home was its approach to the building itself. In an architectural competition filled with overwrought interventions, Herzog & de Meuron’s winning design was most notable for its restraint: The plan left Scott’s brick shell largely untouched and drew out its industrial features rather than mask them. The architects have said that the smartest move of their careers was to make the great void of Turbine Hall, the former engine house, even bigger by dropping its floor to the basement level and allowing the visitor to enter down a long ramp.

My first encounter with Turbine Hall came in 2002, when I was living in London for the year, suffering from that very specific condition that often afflicts Americans if they spend any extended length of time in Britain, whereby everything feels both too familiar and too foreign. I remember the feeling of opening the door to the museum and drifting down that slope, confronted with the yawning mouth of a 10-story-high, red-rubber-Venus-fly-trap-cum-Victrola-horn. This maroon colossus, by the sculptor Anish Kapoor, dwarfed visitors and yet also managed to bring us together in mutual and gleeful bewilderment.

[Source”timesofindia”]

The Tate Modern and the Battle for London’s Soul

I recently found myself staring into a stranger’s living room, waiting for something beautiful to happen.

I was standing on the 10th-floor viewing terrace of the Tate Modern’s new wing, a twisting ziggurat of perforated brick and mortar that rises above the museum’s home in the old Bankside Power Station. The terrace allows for 360-degree views of the building frenzy that has consumed much of London’s skyline. Cranes dip and dive in every direction; to the east, the Shard, an overwhelming ice pick of a skyscraper, dwarfs the Victorian roofs of the surrounding neighborhood; to the west, the pregnant monolith of One Blackfriars, a 50-story mixed-used building, looms over the Thames like an alien mother ship. As is the case all over the city, many of its 4-million-pound apartments will be scooped up as investments, only to stand empty. Idle butlers will be forced to play solitaire ad infinitum. The future is a lonely place.

Directly across the street, at eye level, was NEO Bankside, three luxury condo towers, their facades crisscrossed in a metric of steel braces. In the nearest tower, no more than 200 feet from where we were standing, rose a series of angular glass living rooms, each meticulously furnished, each empty. In one, three white chairs stood in silent conference. In another, a telescope pointed reproachfully back at us. The only sign of life was a pair of slippers next to an uncomfortable-looking lime-green chaise longue.

I and my fellow observers were faced with a dilemma. A notice on the viewing terrace asked us to “Please respect our neighbours’ privacy,” yet for the rest of our museum experience we had been encouraged to look, to question, to interact. The takeaway from the Tate Modern’s new wing, which includes stunning subterranean spaces devoted to performance art, can be summed up as this: Art is not an object but an experience. A museum in the 21st century is no longer just a repository of work, but an active house of co-creation. The entire fifth floor of the new building is devoted to Tate Exchange, a flexible space for artists and the public “to collaborate, test ideas and discover new perspectives on life.”

Was the view of abandoned luxury also part of the museum? Did my strange mixture of emotions — the simultaneous curiosity and self-reproach of the voyeur — have a number on the audio tour? Guiltily, I leaned out over the terrace, staring at those slippers. I waited for some kind of performance to begin. I wanted to witness a murder, an affair, a revelation.

Continue reading the main story

This visual standoff offered a perfect distillation of the current battle for London’s soul. As more of these luxury towers spring up across the city, transforming neighborhoods into affluent ghost towns, Londoners are facing difficult questions: What kind of city do we want to live in? What do we want our streets to look like? What kind of public spaces are valuable to us? Part of the answer to these questions may lie in the entangled story of the Tate Modern and the Bankside neighborhood it helped spawn.

The museum may be the among the best-known examples of the now fashionable transformation of derelict factories into dynamic cultural space. Since its inception, the Tate Modern has never rested on its laurels, continuing to redefine itself as an institution of outreach, self-reflection and learning. The museum’s evolution over time provides a potential blueprint for how London, and indeed any city, can provide spaces that encourage its inhabitants to be collectively present. You cannot experience the Tate Modern through Facebook or a tweet; you must show up, with an open mind, surrounded by your fellow visitors.

London is perhaps the most international city in the world, but at its heart it has always been a local city, a series of low-slung villages. The expanded Tate Modern embraces this human scale even if its aspirations are more global than ever.

Given the real estate mania that has engulfed Bankside and the surrounding Borough of Southwark, it’s easy to forget what a bold decision it was to shift the center of London’s contemporary art world 17 years ago to a hulking abandoned power station south of the river. Ask any Londoner about wandering amid the postindustrial squalor of Southwark in the late 1980s and you will be regaled by stories of taking life into your own hands.

Everything changed in 2000, when the Tate Modern, the London Eye and the endearingly wobbly Millennium Footbridge all opened to wild, instantaneous acclaim. The Tate Modern received 5.25 million visitors in its introductory year alone. For the first time in years, people crossed the Thames and lingered. And lingered. Urban redevelopment is never a simple formula, but this triumvirate — a wheel, a bridge, a museum — proved an irresistible alchemy that led directly to the area’s renaissance over the next decade and a half.

CITY OF

LONDON

St. Paul’s Cathedral

London

CANNON ST.

Millennium

Bridge

BLACKFRIARS

BRIDGE

Shakespeare’s

Globe

Thames

One Blackfriars

Borough

Market

Tate

Modern

NEO Bankside

Hilton London Bankside

SOUTH-

WARK

Bunker

Theater

WATERLOO RD.

Old Union

Yard Arches

The Shard

Coca-Cola

London Eye

Marshalsea

Prison

If the contemporary city dweller — faced with skyrocketing property values and the scrubbed corporatization of High Street — spends much time feeling nostalgic for that grittier, more authentic time of low rents and urban blight, then Southwark offers a particularly long and glorious history to savor. Because of its location outside the city gates, Southwark functioned as a refuge for weary travelers of all persuasions. Theaters and playhouses flourished, most famously Shakespeare’s Globe Theater, as did brothels, bearbaiting pits and breweries. Charles Dickens’s father was jailed for unpaid debts in Marshalsea Prison, one of many notorious lockups in the area. Dickens himself lived for a time on Lant Street, and the sordidness of Southwark provided a rich backdrop for his novels “Little Dorrit” and “David Copperfield.

During the Industrial Revolution, Southwark became a nucleus of manufacturing because of its ample water, cheap land and cheap labor. Textile plants, breweries, a gasworks and coal and timber yards all led to astonishing levels of pollution. The Bankside Power Station, a giant brick sarcophagus bisected by an ominous chimney-spire, was designed by Sir Giles Gilbert Scott and began operations in 1952. The power station, across the Thames from St. Paul’s Cathedral like a shadow basilica of industrial consumption, chugged away, converting the oil in its great underground tanks into London’s electricity until 1981.

Perhaps even more unusual than the Tate Modern’s choice of an abandoned power station for a home was its approach to the building itself. In an architectural competition filled with overwrought interventions, Herzog & de Meuron’s winning design was most notable for its restraint: The plan left Scott’s brick shell largely untouched and drew out its industrial features rather than mask them. The architects have said that the smartest move of their careers was to make the great void of Turbine Hall, the former engine house, even bigger by dropping its floor to the basement level and allowing the visitor to enter down a long ramp.

My first encounter with Turbine Hall came in 2002, when I was living in London for the year, suffering from that very specific condition that often afflicts Americans if they spend any extended length of time in Britain, whereby everything feels both too familiar and too foreign. I remember the feeling of opening the door to the museum and drifting down that slope, confronted with the yawning mouth of a 10-story-high, red-rubber-Venus-fly-trap-cum-Victrola-horn. This maroon colossus, by the sculptor Anish Kapoor, dwarfed visitors and yet also managed to bring us together in mutual and gleeful bewilderment.

Continue reading the main story

Photo

The Tate Modern’s new wing, the Blavatnik Building, was designed by Herzog & de Meuron, who also designed the original building. CreditAndy Haslam for The New York Times

Confronted with the unusual size and shape of Turbine Hall — it is taller than it is wide — I suddenly became aware of the possibilities of space. Space in all directions. People, unsure of how to react to such aesthetic sublimity, simply lay on the floor. I was witnessing firsthand how the monumental scale of Turbine Hall disrupted the quiet triangulation between the viewer’s body, the artwork and the gallery. It soon became clear that the normal rules of decorum for how one should act in a museum should not, could not, apply here.

Achim Borchardt-Hume, the director of exhibitions at the Tate Modern, describes Turbine Hall as a cross between “a covered street and a public park.” The “public” part of this equation is vital, for the museum is largely financed by the government and — crucially — does not charge admission. “It’s everyone’s collection,” Mr. Borchardt-Hume said.

Such openness also invites the whole range of behavior one might expect to see in a public park. This became particularly true during Olafur Eliasson’s 2003 Turbine Hall installation, “The Weather Project, in which a giant artificial sun glowed ethereally through a billowing mist.

I had a strange emotional reaction to the exhibition: I began to weep. I remember being embarrassed about it, but looking over and seeing the person beside me weeping as well. Maybe it was just allergies. To describe the work is wholly inadequate as the materials themselves were unimpressive, some lights, some mirrors, some mist.

Yet to experience the transformation of that space alongside another human, to witness our shared wonder, was profound. Here was our entire experience rendered inside a box. A moment frozen in time and yet a moment that was deeply ephemeral. Visitors knew they could not take the experience with them and so they stayed, they picnicked beneath a fake sun, they fell asleep, they dreamed, they wrote, cried, laughed, sang, danced. In short, they were present. Together.

In retrospect, perhaps the reason we all felt so alive in there was because the iPhone had not yet been invented. The Turbine Hall experience has developed and morphed over the years alongside our increasingly reiterative culture where, for many young people, an experience can no longer be processed — it must be captured, commented on and retweeted by a virtual chorus to gain any sort of existential traction. Solitude no longer exists.

At first glance, the agora of Turbine Hall cuts against the grain of such digital collectivism. It is inherently local, temporary and not easily reduced to an Instagram post or 140 characters. The Turbine Hall commission is not an object — it is a feeling, an experience, an encounter. You have to be there. And yet such ephemeral, circumscribed cultural events represent, in some ways, the epitome of our FOMO (fear of missing out) times: “Did you see the new Turbine Hall? #lifechanging” A show across an ocean that resists all descriptors becomes the ultimate get.

Philippe Parreno’s “Anywhen” exhibition, which closed in April, was such a show. #youhadtobethere. Yet here I go: “Anywhen” was composed of eight mobile screens, a large-scale projector, an amalgamation of video footage of ventriloquism, cuttlefish and cityscapes, a manic marquee sign, a graceful beacon lamp that slid the length of the space, a motley assortment of inflatable fish and a plethora of tiny speakers, all in constant flux, all working in concert to conjure a series of moods and theatrical experiences that changed throughout the day. No two moments were the same. And here was the kicker: This universe was controlled by a jar of yeast, the diegetic sounds of the building and an algorithm. Sound complicated? Good. It was.

Continue reading the main story

Continue reading the main storyVideo

‘Anywhen’

“Anywhen,” by Philippe Parreno.

Photo by Tate Photography.

When I visited London in February, “Anywhen happened to be down for some “light technical repairs.” Upon hearing this, I suffered from a classic case of FOMO: I would not have the full, unadulterated “Anywhen” experience. I would not be awed and moved and delighted beside my fellow visitor. Instead, I spent my morning inside the exhibition’s control room in the back of the hall with one of its French operators, a miasma of computer screens, a school of half-deflated fish and the yeast in question. I asked the yeast a couple questions about the authenticity of performance art but received only vague answers.

Back out in the hall I noticed that even though the exhibition was down, people were still using the space, lounging on the carpets, pondering the ceiling, tweeting, sleeping. Nearby, a French school group collapsed into a scrum on the floor and began ululating nursery rhymes. Experience cannot be canceled.

“It’s funny to say, but one of the most important parts of ‘Anywhen’ is the carpet,” said Andrea Lissoni, a senior curator who worked on the show. “This thin little material offers a certain kind of permission.”

I found myself wondering what would happen if the carpet and its permissions were extended out the door of the museum to the sidewalks of Bankside. Whenever I wander through a neighborhood, I often think about Jane Jacobs, who envisioned pedestrian-oriented cities and foiled the plan of the mighty Robert Moses to extend a freeway through her Greenwich Village neighborhood in New York. For Jacobs, the life (and death) of a city was bound up in the thousands of small interactions — “sidewalk contact” she called it — between locals and strangers alike, each of whom contributed to the sense of public trust by playing various voluntary roles, keeping “eyes on the street,” and providing a collective network of accountability.

I think Jacobs would be worried but perhaps also mildly optimistic about the current state of Bankside. Like much of London, the neighborhood seems poised on a knife edge, balanced precariously between hyper-development and thoughtful urban planning. Indeed, the Tate Modern was forced to accelerate its expansion plans when the neighborhood it helped jump-start threatened to overwhelm its footprint. The area surrounding the museum is occupied by a ring of new commercial buildings; their ground floors feature the potpourri of corporate-cool restaurants common throughout London. There are the homemade ramen chain, the cold-pressed juice chain, the authentic Californian burrito chain. This kind of cloned proliferation represents a new form of urban blight of which Jacobs would not approve.

Continue reading the main story

Photo

Not far from the Tate, the Borough Market is a labyrinthine blending of the local and the global.CreditAndy Haslam for The New York Times

Farther afield, there are glimmers of hope. Borough Market is now one of the city’s premier food markets; in contrast to the corporate chains, it feels rooted in the place, a labyrinthine blending of the local and the global. To wander through its stalls is to encounter an ever-changing feast for the senses, featuring, among other entries, an Iberian charcuterie, vegan bakeries and seventh-generation fishmongers.

Here, tourists and locals rub shoulders as they settle down to a smorgasbord of pop-up street food including Ethiopian Flavours’s vegetable misir and injera crepes, or Kappacasein’s local Ogleshield cheese raclette. The market, in existence for over 1,000 years, has only recently become an everyday phenomenon, and its popularity has had a profound effect on this part of the city. I listened as a butcher described the history of meatpacking in the area to two Italian tourists. A resident walking his dog chimed in. The world expanded.

An organization called Better Bankside is trying to foster more space for contact like this in the neighborhood. Its goal is to combat the chokehold of vacant 4-million-pound oligarch flats through initiatives like the “Bankside Urban Forest,” which develops fallow space into pocket parks, pathways, plazas. Perhaps the most ambitious of these projects is the Low Line, a direct response to Manhattan’s High Line. Whereas the High Line is an urban footpath above the city on an abandoned railroad line, the Low Line seeks to clear old rights of way alongside the working railway viaducts that crisscross the area.

The plan is to create vibrant pedestrian zones that use the arched spaces beneath the rail lines, said Donald Hyslop, the chairman of Better Bankside and the director of Regeneration and Community Partnerships at the Tate Modern, as he walked with me along the proposed Low Line route. “Disused, dirty and derelict spaces,” he said, “will be transformed into an urban park where independent business can thrive and local communities can explore.”

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Photo

The upstairs area of Bala Baya, an Israeli-Bauhaus restaurant that serves small plates.CreditAndy Haslam for The New York Times

One such area is Old Union Yard Arches, made up of a collection of establishments, including the Africa Center, a Spanish theater company, an aerial fitness gym, a Genovese restaurant and Bala Baya, an Israeli-Bauhaus place that serves delicious small plates such as stuffed peppers with smoked freekeh and citrus yogurt, or chickpea and oxtail accompanied by the best tahini I have ever tasted. Whether this tahini will rescue the soul of Bankside remains to be seen, but I wouldn’t count it out.

Nearby, the new Hilton London Bankside on Great Suffolk Street has made an effort to inculcate itself into the neighborhood by bridging past and present. While its lobby and facade are standard contemporary faux-chic, its Victorian steampunk bar, the Distillery, is named after the old Stevenson & Howell fragrance factory that occupied the site in the 1800s. I ordered one of its fragrance-inspired cocktails, “Thus With a Kiss I Die,” a delicious amalgamation of mezcal, amaro, sweet vermouth and chocolate bitters combined by the bartender in front of me with a great flourish. The problem was drinking the thing. I sipped my potation in one section of the bar, only to be told that it was reserved for a corporate party. When I moved to another part of the bar I was informed that it was also reserved for a corporate party.

“Where can I sit?” I asked. The waiter sheepishly pointed to a lone chair in the corner. “There, I think, is O.K.,” he said. Next to me, I could feel the ghost of Jane Jacobs cringing.

That evening I attended a show in the Bunker Theater on Southwark Street called “Dear Home Office,” put on by eight young refugees and their caseworker, in which they enacted the intimate and harrowing story of applying for political asylum in Britain. The theater was packed, a wonderful buzz permeated the air. The actors were not professionals and their nervousness was palpable, but their performance felt authentic; the art was the assimilation. Afterward, as I wandered through the construction zones and semi-abandoned streets of Bankside’s commercial district, I recalled what my waiter at Bala Baya had said to me: that he often feels a refugee in his own city, a city he no longer recognizes, a city in which he can no longer afford to live.

I returned to London a month later, in March, the day after a terrorist attack in which a man had run down pedestrians with a car before fatally stabbing a police officer outside of Parliament. The mood of the city was defiant; business had not stopped. Regular life became both a form of resistance and mourning. When another attack occurred in June, this time in Southwark itself, at Borough Market, citizens were again unyielding in their adherence to life: Even fleeing from the scene, at least one Londoner insisted on carrying his overpriced pint with him.

For me, such cultural defiance did not come so easily. I had come to town to witness the Tate Modern’s first performance festival, the awkwardly titled “BMW Tate Live Exhibition: Ten Days Six Nights,” but found myself in a strange mood, mulling over the inherent sense of public trust upon which all cities depend. At a time like this, I couldn’t decide if my visit to a museum was an indulgent luxury or a reaffirmation of the city’s vital artistic humanism.

Most of the performances took place in the stunning underground Tanks beneath the Tate Modern’s new wing, formerly the Switch House and now christened the Blavatnik Building, after Sir Leonard Blavatnik, the recently knighted Anglo-Ukrainian billionaire. The museum smartly rehired Herzog & de Meuron to also design the expansion. Though constructing a tower was much different from the original renovation, the architects again used a light hand when it came to the Tanks, leaving the concrete caverns largely untouched from their original form, when they were filled with the oil that once powered the city.

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‘Occasion’

“Occasion,” by Isabel Lewis.

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For “Ten Days Six Nights,” the artist Isabel Lewis took over the subterranean foyer and one of the tanks with an immersive performance salon she called “Occasion.” The piece involved all five senses; my first impression of “Occasion” was of an earthy, loamy smell, as if I were entering a factory reclaimed by nature. Ms. Lewis had filled the foyer with couches and a veritable explosion of houseplants. Dirt had been strewn across the concrete floors as if to make it clear the containers could no longer contain what lay inside.

“These plants are a little too oversized,” Ms. Lewis later told me. “Maybe aggressive. They have their own agency. But it’s still this gesture of welcome.” Occasionally people chanted, sang, gathered, dispersed. At times, it was unclear who was part of the work and who was a visitor. I’m not sure the distinction mattered. This was sidewalk contact as performance art, an avant-garde rendition of “Jane Jacobs: The Musical!”

Perhaps the most moving and evocative work of the festival was FujikoNakaya’s luminous “London Fog,” which took place outside, in the new plaza directly above the Tanks. The soft architecture of Ms. Nakaya’s fog sculpture, gusting and shifting in the London wind, provided the perfect interface between museum and city, between human and environment. As in the organic yeast feedback loops of “Anywhen,” the pulsing light and soundscapes of “London Fog” reacted to the dance of the water vapor. The installation felt at once minimal and complex. There was wisdom in its simplicity, though this simplicity was deceiving, for the execution of such meteorological magic is a practice that Ms. Nakaya has been honing for five decades.

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‘London Fog’

“London Fog,” by Fujiko Nakaya.

Photo by Tate Photography.

“Many from this new generation of artists are inspired by Fujiko’s deep history of blending the technical and the organic,” said Catherine Wood, a curator of “Ten Days Six Nights.” “She’s this grande dame of the atmospheric installation scene.”

For being a grande dame, Ms. Nakaya is a quiet, modest woman with twinkling eyes. She has seen the winds come and go. When I talked with her on the terrace, surrounded by her creation, we got into a long conversation about the mechanics of her custom fog nozzles, about the weight of water, about purity, form, grandchildren. We grew damp from the condensation as delighted children ran through the billowing clouds, unaware they were experiencing art.

“This is third-generation London fog,” she said. “First was the fog of the Romantic poets and Turner’s landscapes, and then the smog of the industrial age, and now this.”

Around us, the fog was changing with the breeze. It rose up and twisted, obscuring the world beyond. For a moment we were trapped in a cocoon, completely transported, and then the mist broke and she and I were standing next to a museum inside a great and beautiful city.

‘Modern Day Presidential’ really isn’t working for Trump

Story image for Modern from CNN

(CNN)Just after 10 a.m. ET Monday, Donald Trump typed out his first tweet of the day: “Most politicians would have gone to a meeting like the one Don jr attended in order to get info on an opponent. That’s politics!”

A few things:
1. It’s not politics. And by “it” I mean the eldest son of the Republican presidential nominee meeting with a Russian lawyer with the promise of incriminating information about a political opponent.
2. This is today’s example of how Trump sees himself as fundamentally altering the way in which the presidency can and should work. President Barack Obama tweeted very occasionally and almost always about policy matters. President Trump tweets constantly about all sorts of things; his Twitter feed is a direct line into his way of thinking at any given moment.
And Trump believes that’s a very good thing. He has repeatedly insisted the media wants him to stop tweeting because they don’t like how it allows him to communicate directly with his supporters. (To be clear: The last thing the media wants is for Trump to stop tweeting.)
To those who argue Trump should tweet less — a group that includes virtually every elected Republican official — Trump offered this response, via Twitter of course, last month: “My use of social media is not Presidential – it’s MODERN DAY PRESIDENTIAL. Make America Great Again!”
What’s clear in new polling data from the Washington Post and ABC News: People don’t like “modern day presidential.” Not at all.
Seven in 10 people in the poll say that Trump’s “behavior as president” is “unpresidential” as compared to 24% who describe it as “fitting and proper.” Those numbers are eye-opening — particularly given that almost 4 in 10 Republicans (38%) say that Trump has acted unpresidential since entering the office. And, as ABC’s polling analyst Gary Langer notes, 48 percent of evangelical white Protestants and 55 percent of non-college-educated white men — two groups that strongly supported Trump in 2016 — also say his behavior is something short of presidential.
Trump’s Twitter addiction plays a central role in the views of him as less than presidential. More than two-thirds in the Post-ABC poll say that Trump’s tweets are “inappropriate” (68%) or “insulting (65%). A majority (52%) say the tweets are “dangerous.” Just 1 in 5 (21%) call the tweets “refreshing; that includes just 41% of self-identified Republicans who describe the tweets as “refreshing.”
All of those numbers make a very simple point: For all of Trump’s scapegoating of the mainstream media, he has only one person to blame for his current dismal poll standing: himself.
Trump is his own worst political enemy. He repeatedly ignores the advice of lawyers, advisers and even family members when it comes to how he needs to act, talk and tweet. He refuses to change or, short of that, even adjust.
In Trump’s mind, that he won the 2016 election when almost everyone said he wouldn’t is all the validation he needs — or will ever need — to do whatever he wants, no matter what people say about it. Polls? Polls were wrong about him winning so why wouldn’t they be wrong again? (Sidebar: Polls weren’t really all that far off.)
There is, of course, a chance that Trump is, again, right — that no matter what the polls show, his redefining of what “presidential” means and looks like as well as his constant tweeting endear him as an outsider to voters.
But all available data suggests the exact opposite. The polling makes very clear that people don’t like Trump’s “modern day presidential” mien — and like his Twitter feed even less.
Of course, if you think Trump will change, then you haven’t been paying attention these past six months.
 [Source”indianexpress”]

Great service at Bob Coccia’s Center for Appliances in Bayside

Great service at Bob Coccia’s Center for Appliances in Bayside 1

Bob Coccia’s Center for Appliances in Bayside is the very definition of a mom-and-pop store. Coccia is proud to keep it that way. He has been in the business long enough that he knows intuitively that giving the customer quality service is his top priority.

That’s why in 46 years his store has grown to 3,000 square feet.

“As an independent mom-and-pop type store, I feel like I can give the best service in our store,” Coccia said. “We’re capable of taking care of the customer in the proper and speedy manner.”

And his clients are pretty happy with his approach.

“Mama Mia!” customer Lindsey Harris of Flushing said on the store’s website, bobcocciasappliance.com. “Bob treated my family and me like we were real family … he comes through with great prices, dependable delivery and a great personal touch … Bob, you are one in a million! Thank you! — Lindsey.”

Coccia’s employees, which include his son, Bob Jr., don’t work on commission, so no particular brand is forced down the throat of an unassuming consumer. Instead he and his employees sell the knowledge of the appliance a customer needs. And they charge less for top-of-the-line products than their larger competitors. Just some of the big names whose products Coccia’s carries are GE, Bosch, Electrolux, KitchenAid and Whirlpool.

“You go to the large stores, you’re not dealing with expert help,” he said. “I know the good products, I know the bad products and I try to give the customer the best product at the lowest cost.”

Coccia has been in the appliance business his whole life. He started off with his father repairing appliances for dealers and manufacturers. He then moved on to selling “scratch and dent” appliances, those that have slight cosmetic damage but are in fine working condition, and are sold at lower rates.

He moved up from selling “scratch and dent” to new products after joining the Intercounty Appliance Corp., a buying cooperative in the northeast, which he said allows him to sell better products but at the same low cost.

“I felt I was giving the customer a better product at the same cost factor as scratch and dent,” he said. “It was a big difference.”

Coccia’s specialty is selling appliances as a package for one price. If a customer is remodeling a kitchen, for example, items such as a microwave, refrigerator and stove will be sold together. That allows for lower prices and gets the buyer rebates.

If kitchen appliances aren’t what you’re looking for, Coccia’s also has many other products including air conditioners, barbecues and high-definition televisions.”

Having so much experience in the business and attending two important trade shows a year, Coccia is always on top of new and improved products. When changes are made to existing products, it’s always an improvement, he said. And no one can fill the customer in better than he can.

If something is not in stock at the store, Coccia can always order it from his warehouse in Long Island. And when someone is unsure about what to buy, Coccia is always there to help.

“I don’t plan on retiring very soon. I’m not going anywhere,” he joked.

The store is located at 215-03 Horace Harding Blvd. and can be reached at (718) 224-4344. Hours are 9 a.m.-6 p.m. Monday-Saturday, Sunday 11 a.m.-5 p.m.

6 do’s and don’ts for decorating a bathroom that won’t embarrass you in front of guests

Whether your bathroom is your own personal spa or a tiny space shared with three roommates, it should be a place of order, freshness and calm.

Take a good, hard look around, says designer Shazalynn Cavin-Winfrey of SCW Interiors in Alexandria. “The perfect look and feel of a bathroom is one that meets the end users’ needs,” she says. “It’s different for everyone, but I think that a space that is functional and flexible is key. And your bathroom should be the cleanest room in your home.”

Cavin-Winfrey says she is amazed at how many things people leave scattered on bathroom vanities, shelves and floors. “I think a bathroom should always be uncluttered. The average human makes so many choices and scans so much information in a given day — your daily rituals at home should be easy to maintain and not require any extra work to find things you need.” She says always keeping the bathroom tidy has its benefits, including being ready for guests at all times. “That can help make entertaining stress-free,” she says.

Whether you have a dedicated powder room for guests or everyone must share the one bathroom in your home, these dos and don’ts might help you clean up your act.

Don’t put a rug in your bathroom. A bathroom is not a place for wall-to-wall carpeting or area rugs. These cannot be properly cleaned in this environment. Think of the germs on a bathroom floor and how a damp rug or mat could be a magnet for mold. ­Cavin-Winfrey suggests providing a machine-washable bath mat (with or without rubber backing) for use right after a shower or bath. Then let this dry on the side of the tub or shower when not in use. She uses the no-slip CB2 lateral teak bath mat ($40, cb2.com).

Do stock both bar and liquid soap. In a powder room, Cavin-Winfrey prefers a pump bottle so there is no gooey soap bar left in a pool of water by a previous guest. She would choose ElizabethW’s Vetiver hand wash ($22, elizabethw.com). If you have a guest staying the night, it’s a nice welcoming gesture to leave a fresh bar of soap atop a stack of clean towels on the bed. She likes Crabtree & Evelyn goat milk soap ($8, crabtree-evelyn.com).

Don’t think of toilet paper as an accessory. Stacking a Costco-size tower of toilet paper rolls next to the toilet is not necessary or attractive. Why not reduce clutter and store your roll stockpile in a linen closet or in the garage? If you like to keep a roll or two nearby, use a small holder that fits nicely on the tank or discreetly on the floor. So many of her clients needed an attractive TP organizer, Cavin-Winfrey now sells this Matahari woven rattan two-roll model ($72.50, scwinteriors.com). Also, it’s thoughtful to have a box of tissues around so guests won’t have to rip off a piece of toilet paper to blow their nose or adjust makeup. Extra points for a tissue box cover, such as the one in white lacquer from the Container Store ($13, containerstore.com)

Do minimize products. Your shower, bathtub ledges and countertops should not look like you are a tester for a shampoo or beauty company. Eliminate the excess and store items not used daily elsewhere. “I myself am a product junkie but find unique ways to contain clutter with small trays around the tub or the vanity,” Cavin-Winfrey says. “If your shower doesn’t have an integrated niche, consider wire baskets to mount on the tile.” She prefers the WEBI 12½ -inch rectangular stainless-steel wire caddy ($29, amazon.com), which should be fixed to the wall. As for prescription drugs, medications or personal-hygiene products, tuck them inside a cabinet or drawer.

Don’t use plastic bags to line bathroom trash cans. Do you want to take your style tips from motels? Hopefully not, so don’t use your Target bag as a trash liner, Cavin-Winfrey says, or buy rolls of mini trash-can liners. It seems wrong for the planet to be buying small plastic bags to corral trash in your teeny-tiny wastebasket, she says. Instead, buy good-looking metal or recycled plastic wastebaskets that can be easily and frequently wiped out and sanitized. This hammered-nickel wastebasket ($39, potterybarn.com) fits the bill.

Do use hooks for bath towels, not bars. How many people neatly fold their large towels when they hang them up over a bar? Do you really expect guests to do that? Hanging towels on an oversize hook makes them dry faster and looks less messy, Cavin-Winfrey says. She often uses the large Restoration Hardware Spritz hook ($39, restorationhardware.com) in her projects. Using a bar is fine for hand towels, though.

[Source”indianexpress”]

Check out the best kitchen appliances you can buy for $5K

When it’s time to update your kitchen appliances, $5,000 can go a long way. At this price range, you can splurge a bit on your large appliances and get a few more extras on your products. With $5,000, you can peruse French-door or door-in-a-door refrigerators, slide-in ranges, induction cooktops, and dishwashers with roomy racks and a multitude of cleaning cycles, products that are hard to find if you have less money to play with.

(Only have $2,500 to spare on large kitchen appliances? We’ve got you covered.)

Here are the best refrigerators, ovens and dishwashers you can buy for a total of $5,000 or less:

Refrigerators

Forget the traditional top-freezer refrigerators you grew up with. With a $5,000 budget, you can look at fridges with different designs to accommodate your food storage needs.

The freezer on the Whirlpool WRB322DMBB is located below the refrigerator.

Chris Monroe/CNET

Whirlpool WRB322DMBB, $1,000

When we tested this $1,000 refrigerator, it had the best performance of any refrigerator that had come through the CNET appliances test lab. It might be plain to look at on the outside, but the interior excelled at keeping food cold.

The Samsung RH25H5611SR is a stainless-steel, side-by-side refrigerator.

Tyler Lizenby/CNET

Samsung RH25H5611SR, $1,400

This Food Showcase refrigerator features a door in a door, which means you can open the fridge’s front panel to expose in-door shelves without the need to open the entire door. You can find the Samsung RH25H5611SR for as little as $1,400, which makes it one of the least expensive fridges with the door in a door.

Stoves

A $5,000 kitchen appliance budget means you can start to look at slide-in stoves. These appliances don’t have a back panel (all the controls are in the front) and cost more than their freestanding counterparts. You can also consider induction cooktops for your upgrade.

kenmore-fsr95073-induction-range-product-photos-1.jpg
The Kenmore 95073 is one of the least expensive induction ranges we’ve tested.

Tyler Lizenby/CNET

Kenmore 95073, $1,300

Induction ranges like the Kenmore 95073 use electromagnetism to cook food. Usually, stoves with this type of cooktop can surpass $2,000. This $1,300 Kenmore is a less expensive option that still has all the safety and efficiency benefits of induction cooking.

The Electrolux EI30EF45QS is an electric, slide-in range.

Chris Monroe/CNET

Electrolux EI30EF45QS, $2,065

This slide-in electric range offers a great performance — it cooked foods quickly and evenly during our testing. And its $2,065 won’t eat up your entire appliance budget.

[Source”indianexpress”]

A Cautious Supreme Court Sets a Modern Record for Consensus

People gathered outside the Supreme Court in Washington on Monday, the last day of the court’s term.CreditStephen Crowley/The New York Times

WASHINGTON — The Supreme Court was shorthanded for most of the term that ended Monday, and it responded with caution, setting a modern record for consensus.

“Having eight was unusual and awkward,” Justice Samuel A. Alito Jr. told a judicial conference a few days after Justice Neil M. Gorsuch joined the court in April. “That probably required having a lot more discussion of some things and more compromise and maybe narrower opinions than we would have issued otherwise.”

As Justice Alito’s remarks suggested, the next term, starting in October, will be very different from the past one, which was defined by the long vacancy caused by the death of Justice Antonin Scalia in February 2016 and the court’s strenuous efforts to avoid 4-4 votes.

The court has already agreed to hear cases on President Trump’s travel ban, a clash between gay rights and claims of religious freedom, constitutional limits on partisan gerrymandering, cellphone privacy, human rights violations by corporations and the ability of employees to band together to address workplace issues.

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“Chalk it up to pent-up demand,” said Pratik A. Shah, a lawyer with Akin Gump Strauss Hauer & Feld. “The eight-member court dodged the most provocative or consequential cases, and the new nine-member court is making up for lost time.”

The last term was marked by a level of agreement unseen at the court in more than 70 years. That was a consequence of a lack of divisive disputes on social issues and hard work by the justices, who often favored exceedingly narrow decisions to avoid deadlocks.

The court issued “a lot of what I’d call cautiously unanimous opinions — that is, opinions that are carefully written to decide cases on relatively narrow grounds and to steer clear of big jurisprudential tar pits,” said Jeffrey L. Fisher, a law professor at Stanford.

The court did deadlock twice, in two immigration cases. Those cases will be reargued before all nine justices in the court’s next term. The court also sent a case on a cross-border shooting back to a lower court for further consideration.

Recent terms have ended with blockbuster decisions on gay rights, abortion, affirmative action, health care and voting. “We got used to the idea that every year the court decides several of the biggest national political issues — six or seven consecutive ‘terms of the century’ — but this year saw a regression to the mean,” said Ilya Shapiro, a lawyer with the libertarian Cato Institute.

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Record Agreement in the 2016-17 Supreme Court Term

The share of votes in support of the majority opinion was the highest in at least 70 years.

The share of cases decided by a 5-3 or 5-4 margin continued to be far below average.

The term had nearly the highest share of unanimous cases, with the exception of 2013.

Less consequential cases seemed to produce consensus. According to data from Lee Epstein, a law professor and political scientist at Washington University in St. Louis, the percentage of cases decided by a 5-to-4 or a 5-to-3 vote was 14 percent, compared to an average since 1946 of 22 percent.

Professor Epstein also devised another measure of consensus, dividing the number of votes in support of the majority or plurality opinion by the total number of votes cast. The last term’s rate, 89 percent, was the highest in at least 70 years.

“This term showed that there is broad agreement across ideological lines, sometimes surprisingly broad, on some important areas of the law,” said William M. Jay, a lawyer with Goodwin Procter. For instance, he said, “the court continues to read the First Amendment to provide robust protection for free speech, even for unpopular speech or unpopular citizens.”

There were, of course, major decisions that revealed deep divisions. One of them, Trinity Lutheran Church v. Comer, lowered the wall between church and state by a 7-to-2 vote.

“This case is about nothing less than the relationship between religious institutions and the civil government — that is, between church and state,” Justice Sonia Sotomayor wrote in her dissent, which was joined by Justice Ruth Bader Ginsburg. “The court today profoundly changes that relationship by holding, for the first time, that the Constitution requires the government to provide public funds directly to a church.”

In Ziglar v. Abbasi, the court ruled by a 4-to-2 vote that high-level officials in President George W. Bush’s administration could not be sued for abuses they were accused of committing after the Sept. 11, 2001, attacks. In his dissent, Justice Stephen G. Breyer likened the decision to the Supreme Court’s “refusal to set aside the government’s World War II action removing more than 70,000 American citizens of Japanese origin from their West Coast homes and interning them in camps” in Korematsu v. United States.

But the justices also avoided hearing important disputes by dismissing an appeal in a case on transgender rights after the Trump administration shifted the government’s position and by turning down appeals in cases concerning restrictive voting laws in Texas and North Carolina.

In addressing racial discrimination, the court issued a series of decisions that heartened liberals.

In Buck v. Davis, Chief Justice John G. Roberts Jr. wrote a forceful majority opinion siding with a Texas man who had been sent to death row based on testimony laced with what the chief justice called “a particularly noxious strain of racial prejudice.” In Peña Rodriguez v. Colorado, Justice Anthony M. Kennedy, writing for the majority, said courts must make an exception to the usual rule that jury deliberations are secret when evidence emerges that those discussions were tainted by racism. “Racial bias implicates unique historical, constitutional and institutional concerns,” he wrote.

In Bank of America v. Miami, Chief Justice Roberts provided the crucial fifth vote, joining the court’s four-member liberal bloc, to allow Miami to sue two banks for predatory lending under the Fair Housing Act of 1968.

The decisions amounted to a small but significant trend, said Elizabeth Wydra, the president of the Constitutional Accountability Center, a liberal group. “Just as we have recently seen Justice Kennedy more willing to acknowledge systemic racism in his recent affirmative action and fair housing opinions,” she said, “this term saw Chief Justice Roberts vote in a rather surprising — but welcome — way to acknowledge racial bias in the criminal justice system and make it easier for cities to sue over discriminatory mortgage lending practices.”

[Source”cnbc”]