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Der junge, arbeitslose und vorbestrafte Senegalese Driss Omar Sy lebt mit beinah einem Dutzend Verwandten zusammen, in einer Plattenbauwohnung in Paris. Philippe und Abdel sind sich immer noch sehr nahe. Ein Dank ans Leben uns die wunderbaren Menschen, die ein Stück mit uns gehen.

Scheidet Circulate Ziemlich beste freunde unfastened mp3 down load. In Ziemlich beste Freunde hat er die Zuschauer verzaubert — jetzt erzählt Abdel Sellou, das reale Vorbild für den Pfleger Driss, zum ersten Mal seine eigene Geschichte. Ausgabe sieht der ziemlich ordentlich aus -- lustigste Szene: Schmalzlocke erhält Leseunterricht bezüglich Parkverbot -- Selbst die Besten haben kleine Fehler: Verschwundenes Fabergé-Ei -- Privat-Jet -- Gleitschirmfliegen -- Kunstsinn trifft Banause -- Hübsche Magalie. Die Grundstory ist natürlich die Gleiche.

Einfach Freunde: Die wahre Geschichte des Pflegers Driss aus »Ziemlich beste Freunde« eBook: Abdel Sellou, Lis Künzli, Patricia Klobusiczky: fastdownloadcloud.ru: Kindle - Wo kann ich den movie delphinsommer im net gucken.

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Weiterhin entzieht sich das fromrimtostem. Ein Dank ans Leben uns die wunderbaren Menschen, die ein Stück mit uns gehen. We couldn't have made this movie without the beneficiant donations from around the sector. Driss unbekuemmerte Art gefaellt Philippe. In case you appreciated the film, why now not donate money to the. Philippe Pozzo die Borgo vit aujourdhui au Maroc. Dabei werden mehrere Teilstücken der Datei gleichzeitig runter geladen und somit die Bandbreite besser ausgenutzt. O kann ich recreation of thrones staffel 1 schauen movie4k und kinox probiert? Any legal issues regarding Ziemlich beste Freunde movie on this website should be taken up with the actual file hosts themselves, as we're not affiliated with them. · vielleicht findest du ihn auf kinox. Kostenlos filme online kinofilme und serien anschauen und.

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Braun ist in jedem Fall dominant. Verschiedene , und einige wenige z.

Nadja hat etwas hellere Haare als ich und ebenfalls braune Augen, die in manchen Situationen auch einen Grünschimmer haben Ihr Mann hat blonde Haare und blaue Augen. Wann steht die Farbe der Augen denn fest? Melanin schützt die Augen Forscher gehen davon aus, dass der dunklere Farbstoff die Augen der Kinder aus asiatischen oder afrikanischen Regionen gleich bei der Geburt vor schädlicher Sonneneinstrahlung schützen soll.

baby`s haar - Ich komme mit einem kompletten Outfit, wie auf dem Foto zu sehen ist.

Allerdings haben mein Vater und mein Opa beide blauen Augen. Wann hat sich die Augenfarbe bei euren Zwergen baby braune haare blaue augen. Wie hoch ist die Chance dass sie bleiben. Es steht zwar in vielen Babybüchern usw das sich die Augenfarbe im ersten Jahr entscheidet, aber das stimmt nicht. Mein Mann hat auf allen Kleinkind-Fotos strahlend blaue Augen. Mit 8 oder 9 hat er baby braune haare blaue augen grün-graue Augen bekommen. Mein sohn hatte zwei ganze Wochen blaue Augen, mit acht Wochen ' Plötzlich wurden sie braun. Seit er sechs ist, sind sie grün-braun. Und diese augenfarbe ist individuell, die hat keiner in der Familie. Zwischendurch hatte mein Zwerg jetzt bald 8 auch Bernsteinfarbe. Kann also alles noch kommen. Wir dachten im ersten jahr, von wem hat er die roten haare. Jetzt sind sie dunkelblond, obwohl ich fast schwarze haare habe und mein ex mann dunkelbraune haare. Alle ihre Kinder haben dunkelbraune Augen. Die haben wir wohl von dem Vater meines Vaters, der aus Ukraine kam und ein bisschen asiatisch aussah. Mein Mann hat sehr schöne blaue Augen. Ich habe bis jetzt drei Kinder. Der erste kam mit hellblauen Augen zur Welt und die waren mit 2 Monaten schon braun. Seine Haare waren schwarz, dann im Kindergartenalter blond und langsam werden sie wieder braun er wird bald 8 Meine Mittlere hatte bei der Geburt graublaue Augen und so ab ca 7 Monate waren sie sehr dunkel braun. Sie hat wunderschöne Augen, die sofort auffallen. Ihre Haare waren auch schwarz, wurden dann als Kleinkind sehr hell und jetzt hat sie braune Haare sie ist 5,5 Die Kleine hatte bei der Geburt blaue Augen und sie sind bis heute blau, aber ich finde manchmal wirken sie etwas grünlich. Auf jeden Fall hell wie meine Mutter. Sie wurde auch mit blonden Haaren geboren und die sind immer noch ganz blond und lockig, genauso wie bei meiner Mutter, die kommt aus dem Baltikum und da sind viele Menschen sehr hell Wikinger früher. Kind, mal sehen wie das aussieht. Augrnfarbe und Haare sind sehr individuell. Mein Mann und ich haben beide dunkle Haare und trotzdem ist die Kleine so blond Meine kinder hatten beide bei der Geburt dunkelblaue augen und schwarze haare. Meine tochter hat mittleren blonde haare und ggrün -blaue Augen, die augen wurden erst nach dem ersten lebensjahr anders. Der kleine hat auch blonde haare und braun-grüne augen. Auch da ist das blau erst mit ca. Oma väterlicherseits und mein halbbruder haben blaue augen. Unsere beiden werden ihre blauen Augen wohl behalten, da auch mein Mann und ich blaue Augen haben. Ich hatte mich schon gefreut, weil es ja immer heißt, mit einem Jahr haben sie ihre Augenfarbe. Aber beim Großen wurden sie im Laufe der Jahre immer heller er ist jetzt 5,5 Jahre alt. Der Kleine hat noch dunklere Augen, aber auch sie werden wahrscheinlich heller werden.

KRASSE Fakten über BLAUE AUGEN !
Der Vater meiner Tochter hat eisblaue Augen. Die gängigsten Rechner arbeiten allerdings nur mit den Augenfarben der Eltern. Hab sowas noch nie gesehn. Gelegentlich kann es durch Verdichtung des im Irisstroma zur Bildung weißer Flecken kommen. Der Papa ist hellhäutig mit blonden Haar und grünen Augen. Eine rezessive Augenfarbe ist blau. Liebe Justi, ich könnte es Dir aufzeichnen, tu mir aber im Erklären schwer. Dabei ist mir aufgefallen, dass der Papa und die Mama jeweils braune Augen haben. Mein kleiner 1 Jahr bis blau-Grün-Braun und mein Jüngster wir wArten er hat jetzt Grau-Blau je nach Licht auch mal Grüne. Diese Irisaufhellungen sind sowohl bei Vögeln, als auch bei Säugetieren und Reptilien möglich.

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The annual lecture and corresponding medal were established last year to recognise individuals who have made a significant contribution to architectural culture and discourse, building on the legacy of Sir John Soane. Calling for an approach that neither fetishises historic fabric, distancing it from the present, nor abandons all existing values completely under the forces of investment.

Participants included the Mayor of Ribeira, Manuel Ruiz Rivas; local architect Carlos Henrique Fernandez Coto; as well as Antonio Miranda, Chairman of the local trade unions. Once, for instance, he surprised the dance critic Jill Johnston with a round-trip ticket to England, so she could visit her birthplace.

Joachim Herz Foundation / Kitzmann Architekten - They were an extraordinary couple.

To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems. Adelaide wished that the starkly modern house, designed by the then-Mies-disciple Philip Johnson, could be like everyone else's. And I loathed heiner mies black-tiled floor. I wanted a wooden one. And Adelaide herself now has a home or two not like everyone else's, in which the art is at least as ''weird'' as that owned by her parents. Guided by her longtime companion, the anthropologist Edmund Carpenter, she has acquired a formidable collection of objects from tribal cultures - Peruvian feather hangings, Polynesian sculptures, Eskimo carvings, masks by Northwest Coast Indians. In fact, all five de Menil children - Christophe, Adelaide, Georges, Francois and Philippa - have inherited their parents' interest in art and architecture. A big show of the family's art collections was held at the Grand Palais in Paris two years ago. Ironically, planned in a time of boom for Houston, the museum will be finished in a time of bust, due to falling oil prices. It will house the more than 10,000 objects acquired by the couple. Though the building is not loved by some of Dominique's children, it is hoped that eventually the varied holdings of all of them will repose there, too. Designed heiner mies the Italian architect Renzo Piano, co-creator of the high-tech Pompidou Center in Paris, the museum is so favorably looked upon by Houston bigwigs that more than half of its building costs are being met by local money. But one family member suggests that the figure ''could easily be twice that amount. Millionaires are different from us, as everyone knows, but as a clan the de Menils are different even from their fellow millionaires, most noticeably in the unconventional ways in heiner mies they spend their money. Unlike the normal superwealthy, their pursuits do not run to clubs, yachts heiner mies horseracing. Collectively, they have disbursed tens of millions of dollars for purchases, commissions and general support of art - contributions, to be sure, that more than occasionally have been attended by an impulse to control. They have also come to the aid of heiner mies politicians and Islamic religious groups, avant-garde music and counterculture films, archeological digs and art education, Long Island fishermen and anti-Vietnam activists. Their associates tend not to be other superrichlings, but artists, film makers, poets, anthropologists, activists, professors, priests and - in the case of Philippa, who is involved with Sufism, an Islamic philosophy - sheiks and whirling dervishes. Small wonder that in Houston, a city where, as a local gadfly once observed, ''it's easier to be rich than interesting,'' the de Menils are something of a legend. When they arrived there from Paris in the early 1940's, they were not yet as wealthy as they would become, but they were almost too interesting. heiner mies Hewing to the European tradition of millionaire radicals, they came to be Houston's most rewardingly subversive citizens, bringing maverick ideas to the provinces about art, politics and what to do with money. For starters, in a locale where the ideal home was a formal white-pillared mansion, the de Menils got Philip Johnson to do them a sprawling, one-level house. In a stronghold of segregation, they not only backed civil rights and Martin Luther King, but entertained blacks at dinner. And in a place where modern art was still regarded with suspicion, these ''pioneer cultural wildcatters,'' as one Houstonian calls them, established one of the world's outstanding collections, mounted shows and gave works to institutions - adding insult to injury by bringing the artists themselves to town. They had a foreign accent, and political views that for Texas were extremely liberal. In fact, she is referred to by her oldest son, Georges, as ''the Reverend Mother Superior. She is not a ''go-getter,'' she insists in her French-tinged English. Behind that fragile, otherworldly facade is a complex person of very ambitious reach. Like the Rockefellers, the de Menils are distinguished by the variety and scope of their art interests. Collector-watchers heiner mies out, however, that - starting later and with less money - the de Menils have not yet managed to give us the equivalent of the Cloisters, the Museum of Modern art and Colonial Williamsburg. As one Texan commented, ''The de Menils have done so much good with so little money,'' pointing out that their wealth was ''really peanuts, compared to some fortunes down here. He remembers a rainy night in Paris, when he was ill with a cold but had a manuscipt to deliver to the noted anthropologist Claude Levi-Strauss. He later realized who had delivered the manuscript and wrote her a note. A European artist, who is a friend of Adelaide's and Ted's, remembers making an appointment through them to see Dominique on a visit to Houston. The day and hour were set, with Dominique's heiner mies. But when the artist arrived, she appeared for a moment only. Indeed, shuttling among residences in Houston, New York and Paris, Dominique has heiner mies heavy agenda. While pressing toward the completion of the Houston museum, she finds time to head the Georges Pompidou Art and Culture Foundation in Paris; work on a long-range ethno-historical project, ''The Image of the Black in Western Art''; oversee the editing of the writings of Father Marie-Alain Couturier, the Dominican priest who introduced her and John to modern art; keep up with the activities of such de Menil projects as the Institute for the Arts at Rice University and the Rothko Chapel in Houston, and promote religious ecumenism through worldwide contacts among clergy of various persuasions. An informal art historian and teacher, Dominique has also organized some remarkable exhibitions, innovatively installed. And she goes on collecting - though at a much slower pace, she says, because prices have risen so high. Christophe, for example, was once chided by an East Hampton hostess for not showing up at a party. Christophe, who at 53 is the oldest and a grandmother of three, by her daughter Taya has always been attuned to the avant-garde. She began to collect work by contemporary Americans even before her parents did, and exerted considerable influence on their acquisitions in the field. But as a friend notes, ''She is maybe not so much a collector as a catalyst who makes things happen. Described by another heiner mies as a ''warm, impulsive, kind person who is something of a mark,'' Christophe, in designing costumes for Wilson's theater pieces, discovered a talent for inventing clothes, and has recently set up as a couturier. Advertisement Adelaide, two years younger and known as Addie to the family, is a photographer, and travels with Ted Carpenter on a far-flung anthropological and collecting beat. The two recently returned from a trek to western Tibet to take in the ruins of an 11th-century Buddhist temple. Perhaps the closest of the children to her late father, who was an outspoken liberal drawn to minority causes, Adelaide has developed an interest in the lives of the ''bonackers,'' the vanishing tribe of fishermen and their families native to the eastern tip of Long Island. She has organized a forthcoming book ''Men's Lives'' - with specially commissioned photographs, and a text heiner mies Peter Matthiessen -about them. And several years ago, when they were agitating in Albany for legislation on fishing rights. With Francois and Georges, she is also making a film about her father, who carried on his venturesome art and community activities while functioning as a key executive in the development of Schlumberger Ltd. He remembers admiring a photograph by Henri Cartier-Bresson at Adelaide's house. Shortly thereafter, she gave him a book of Cartier-Bresson photographs, inscribed to him by the master himself, who had been staying with her for the weekend. The middle child is Georges, an elegant and articulate - if slightly stuffy -scholar of 45 who more or less oversees the family's financial matters. The most conservative of the children, and the most involved with family tradition, he uses - in France - his title, Baron, bestowed on the de Menil family by Napoleon. An economist, with a Ph. His accomplished wife, Lois, a political historian with a Ph. They have four children, and collect modern and contemporary abstract art, including works by David Smith, Morris Louis, Kenneth Noland, Helen Frankenthaler and Jules Olitski. The two youngest children are Francois, 41, heiner mies Philippa, 39. Both born in Houston - their three elders were born in France - they grew up in the rebellious 60's and seem to have come to terms more uneasily than the others with the Schlumberger aura. A former film maker, short-time magazine publisher, pilot and hell-raiser who never finished college, Fran,cois - who has his father's baby face - is now a hard-working architectural student at The Cooper Union. Married to Susan Silver, a Barnard graduate their son was born in Januaryhe collects contemporary art, furniture, craft objects of the turn-of-the-century Vienna Secessionist school and rare books on art and architecture. Philippa heiner mies called ''Phip'' by intimates - the mother of two, is probably the closest heir to her mother's ''spirituality,'' and has her good looks and unpretentious manner. Her second husband is is a German-born former art dealer, Heiner Friedrich, with whom she is deeply engaged in Sufism. Of the siblings, she has also undertaken the most wildly ambitious involvement with the arts, as patron of the financially troubled Dia Foundation, whose aim is to support venturesome artists' projects of a nature or scale that make it difficult to obtain other backing. The foundation's extravagant expenditures have necessitated a family rescue effort. I try to stay close to them, and as time goes on, we are more and more in touch. Each is not only glamorously housed in Manhattan, most of them on the Upper East Side, but also has one or two lavish residences elsewhere -Paris, Texas, the Hamptons. Dominique, who maintains three homes herself, shakes her head indulgently over their ''extravagance. A more reticent, but still attention-getting, project is Adelaide's 40-acre housing complex, set in a former potato field not far from Francois's establishment. Playing savior to old buildings in the area, she and Ted Carpenter have rescued 15 of them and restored most, with the aid of the Houston architect, Howard Barnstone, a longtime family friend. Advertisement Until very recently, Christophe also had a sizable house in East Hampton, but it burned down during Hurricane Gloria last fall. Spookily enough, another dwelling she had built on the same site about 20 years ago met the same end. She recently bought another place near Sag Harbor, and in Manhattan she has a splendid three-story former carriage house with a swimming pool on the ground floor, redone with help from the Los Angeles architect Frank Gehry and the ''light sculptor'' Douglas Wheeler. Georges and Lois de Menil have not lagged behind. Their Georgian town house of brick and marble, while more for-mally ordered than the digs of the others, serves as a setting for high-caliber contemporary art, and is one of the Heiner mies East Side's more elegant private dwellings. Additionally, they have a manicured beachfront estate on Fishers Island, off Connecticut, and a house in Paris. Philippa and her husband Heiner have made over a former apartment building into a townhouse. One takes off one's shoes on entering. The big, Orientally carpeted chambers, including a prayer room, are accented by Dan Flavin's sculptures heiner mies fluorescent light, among other works, and on one wall hangs a portrait of the Friedrichs' late Sufi guru, Sheik Muzaffer Ozak. The couple also has a house in Bridgehampton, L. The children and their mother also occasionally drop in on Val-Richer, the vast estate in Normandy passed down by Schlumberger ancestors. An 11th-century abbey revamped during the 18th century, the heiner mies has perhaps 100 rooms. The two met at a ball in Versailles, and were married in 1931, when Dominique was 22 and John was 27 and working in a Paris bank. Seven years later, John joined Schlumberger Ltd. Their backgrounds were very different. Dominique, who earned a degree in mathematics at the University of Paris, was the product of a cultivated family that had, in the late 19th century, built a textile fortune. And she was surrounded by accomplished relatives. An uncle, Jean Schlumberger, helped found the celebrated literary magazine Nouvelle Revue Francaise. She grew up, the middle sister of three, watching her physicist father, Conrad Schlumberger, struggle to perfect his invention, an electric measuring device that disclosed the location of oil deposits. Though John was born to a titled military family, he grew up poor, thanks to the efforts of his father to pay off a relative's debt. To supple-ment the scanty family income, John dropped out of school to work in a bank. Later, attending classes at night, he got a degree from heiner mies University of Paris, adding other degrees in political science and law before taking his compulsory army service in the Rif Mountains of Morocco during some tribal wars - and falling in love for life with Africa. For their honeymoon, he took Dominique on a bus trip through Morocco. For the marriage, Dominique converted to John's Catholicism, a move that at first shocked her clannish family. Notes Dominique's younger sister, Sylvie Boissonnas -also an art collector and patron, who lives in Paris, ''My father was of Gide's atheist generation, and Dominique was very spiritual. She badly needed a religion. Someone recommended a Surrealist painter named Max Ernst to decorate a wall of their apartment; disliking his proposal, the newlyweds commissioned from him instead a portrait of Dominique. They hated the result, and hid it away. They found it after the war, when their view of Ernst had improved, and they later became one of the artist's most diligent patrons, winding up with more than 100 of his works. After the Nazi invasion of France, Dominique fled Paris with her then-three children Georges was a babe in armsmade her way to Spain and at Bilbao boarded a small heiner mies for Havana. The reunited family went to Houston, then the American headquarters for the company. Advertisement It was there that the de Menils began their institutional involvement with art. Such involvements were not confined to Houston, however; among other affiliations, John heiner mies a trustee of the Museum of Modern Art and the Museum of Primitive Art in New York. Dominique, who from childhood had an impulse toward collecting, acquiring such objects as ''shells, cut-out images, exotic seeds,'' attributes her interest in art -late-blooming as it was - to her mother, who would have collected, save for her husband's disapproval. A painter himself, he had been a prime mover in the commissioning of Leger, Matisse and Rouault to heiner mies work for churches in France. He took the the couple around to galleries, singing the praises of the modernists. Soon the couple was on a collecting spree, venturing from Cezanne to Braque to Picasso, then - under the influence of the dealer Alexander Iolas - heavily into Surrealism. So hooked were they that, ''We went crazy,'' says Dominique. She says now that she never imagined their acquisitions would someday fill a museum. And the approaching actuality still surprises her: ''It's a long way from my early days as a young wife and mother. Though designed by one of the architects of the flamboyant Pompidou Center heiner mies Paris, which wears its plumbing on its facade, it bears no resemblance to that outrageous folly. In fact, its long, low bulk looks more like, say, the suburban branch of an elegant department store. The building, primly sheathed in what one Houstonian calls ''Protestant gray clapboard'' probably a first for a museum in this countryhas on the ground floor exhibition spaces set in a landscaped garden. The platform roof comprises precision-made structural elements of ferrocement and steel, engineered so as to reflect changing light conditions with great sensitivity. Expansive main-floor displays will be made up of works in the storage areas, with space set aside for the spectacular theme shows that Dominique and the museum's director, Walter Hopps, have been doing heiner mies for years. Hopps, a well known presence in the field of contemporary art, comes from California and made a reputation early on as director of the esteemed Pasadena Museum of Art. Though the collection has strengths in Mediterranean antiquities, Eurasian and European artifacts, African art, Cubism, Surrealism and contemporary American and European works, it lacks a museum ''profile. Yet these holdings, together with those of the nearby Museum of Fine Arts and the Contemporary Arts Museum, should boost Houston's cultural status to that of a world-class center for the visual arts. The Menil Collection's discreet, low-key architecture befits its site in Montrose, a modest, socially mixed residential area of Houston. Most of the land and houses within a six-block radius, quietly assembled by John, are under de Menil ownership. The gray clapboard of the museum is in keeping with the small, traditional timber-frame homes -some used as foundation offices, others rented to friends, associates and various locals - that surround it. At the suggestion of the Houston designer Howard Barnstone, who might be called the de Menils' architect-in-residence, the houses have mostly been painted a uniform gray, so that the museum heiner mies the bungalows together have the aspect of a heiner mies, but by no means unpleasant, company town. Dominique gracefully dismisses the criticisms of the building - planned by her and John since the early 1970's - primarily voiced by Christophe and Adelaide, who wanted a designer of more weight than Renzo Piano. Her ideas are defended by her son-the-architectural-student. John was more interested in architecture as architecture, and in a sense maybe Christophe and Adelaide are taking his role. But I think it will turn out superbly. The minute the cops arrive, they form ranks. Actually, her children venerate Dominique almost to the point of copying her. Advertisement Dominique, who was courted by other cities, says that the museum is in Houston because ''I was so encouraged here. The Rothko Chapel, with its sculpture, Barnett Newman's ''Broken Obelisk,'' expresses their involvement not only with art, but with politics and religion. The chapel, opened in 1971, is an all-faith center, a ''no man's land of God,'' Dominique says. It serves the vi-sion of a place ''for people in search of peace, meditation and a more intense consciousness of our time. Since its inception, the chapel has witnessed all manner of events, from high-minded colloquia to weddings, bar mitzvahs, a Sufi ceremony by whirling dervishes from Turkey, a reception for the Dalai Lama and avant-garde concerts. The Barnett Newman ''Broken Obelisk,'' made of Cor-Ten steel, stands 26 feet high in a reflecting pool that faces the chapel's entrance. When the de Menils acquired the sculpture in 1968, the year the Rev. Martin Luther King was assassinated, they offered it to the city of Houston on condition that it be dedicated to the black leader. While the city council hemmed and hawed over acceptance of the gift, Newman himself suggested that it be placed at its present site. The city's negativism toward the piece, however, served as a goad to the active de Menil political conscience, according to Fred Hofheinz, a young white liberal who was elected Mayor of the volatile city in 1973 with heavy de Menil backing. Now it's a coalition of businessmen and minorities who run the city. Leland, a civil-rights and antiwar activist who was studying to be a pharmacist at Texas Southern University, had dropped out to run the campaign of a black minister, D. Leon Everett, who sought a seat on the then-all-white board. Helped by Citizens for Good Schools, a progressive organization supported by de Menil money, Everett won his seat, along with the other three candidates supported by the citizens group. Impressed with Leland, John de Menil took him under his wing and brought the young man into his own social and artistic circles, ''sophisticating a rough diamond,'' as Leland puts it. I spent hours talking with John about world politics and philosophy. He wanted me to be exposed to every aspect of their life that would give me a chance to do things for my community. They helped make a heiner mies militant who hated white people heiner mies a humanitarian. John listened patiently to the telephone tirade and then said, ''Listen, my friend, why don't you come to my house for a drink. Then you can see how a Communist lives. A good part of the Menil Collection comprises objects of African and other tribal art, and the foundation began, heiner mies 1961, a long-range research project, ''The Image of the Black in Western Art. The idea was born, Dominique says, out of her ''shock'' at discovering segregation ''when I arrived in the United States, and wondering why, when great artists have seen blacks as beautiful, dignified, noble, they were not considered so here. While the two had mutual feelings for art and social problems, Heiner mies was reticent and understated, John was ebullient, opinionated, action-oriented. John liked to gather the interesting, the creative and -by Houston's standards - the outrageous around him: black activists, artists, poets, renegades of every sort. Later in his life, spending more time in New York, he would give lavish dinners for them and make the rounds -in a chauffeured limousine -of poetry readings, performances and parties, bestowing heiner mies on those who interested him. Heiner mies, for instance, he surprised the dance critic Jill Johnston with a round-trip ticket to England, so she could visit her birthplace. John's assertiveness made itself felt even as he lay dying of cancer, when he prepared a scenario for heiner mies funeral. After his death, he lay in state, wrapped in a sheet in his own bed. The black under-taker who attended him provided a plain, rope-handled pine coffin, which was transported by Volkswagen van to the de Menils' parish church. Plans called for Bob Dylan to sing at the service, but he was unavailable, and a tape was played of John's Dylan favorites. Rites were performed not only by a Catholic prelate, but a black Baptist minister, a rabbi, and a Buddhist priest. More than 1,000 mourners, an international assemblage including a local contingent of Black Panthers - to whom John had given money for setting up a free children's breakfast program - turned out in a heavy rainstorm. Joining the bravely vanguard Contemporary Arts Association, they made their presence felt, producing a major Van Gogh show and staging heiner mies of work by Max Ernst, Joan Miro and Alexander Calder. Eventually - despite their contributions of time and art - their ambitious projects brought them into conflict with budget-minded trustees. They began to concentrate on the more established Museum of Fine Arts. As a trustee there, John was responsible in 1961 for bringing in as director the distinguished but controversial James Johnson Sweeney, former director of the Guggenheim Museum in New York. So in tune with the de Menils' judgments was Sweeney that at one point, seeing a show in Paris of cranky kinetic works by the then-little-known Swiss sculptor Jean Tinguely, he let them know about it. Inevitably, John's impulse to control brought him into conflict with other heiner mies, notably John Blaffer, son of a powerful Houston family. Sweeney, the de Menils' man, was eventually dismissed, partly because he questioned the attributions of works the Blaffer family proposed to donate. At that point, the de Menils began to drift away from the museum. Thomas University, a small Catholic college. Believing in art education and - though committed Catholics -religious ecumenism, they saw in St. Heiner mies, run by the Basilian Fathers, a chance to further the school and their causes. Over the course of nearly 20 years, beginning in the late 1940's, they set up a full-fledged art and art history department, hiring -and paying for - teachers, researchers and what one of heiner mies former de-scribes as ''others with whom they have loose and flexible arrangements. Eventually, the de Menils and their entourage became so much a part of the St. Thomas scene that ''it became difficult to operate without stepping on one of their toes,'' says Father Patrick O. Braden, president of the college at the time. The issue was really the kind of institution St. Thomas was to be - would it maintain its Catholic identity or would it become a secular college. John shot from the hip. He was my particular nemesis. I could have worked with Dominique. Today, Dominique says, her relationship with the still-small institution is ''very friendly. Looking back, I suppose we were too ambitious, and they felt overwhelmed. Bredeweg, now president of the college. Early in heiner mies, the de Menils transferred their patronage from St. Thomas to Rice University, a secular, science-oriented school then beginning to branch out into the liberal arts. Under a five-year plan negotiated with Rice, the de Menils took with them the art library and many of the staff members they had recruited for St. They buttressed a budding art history department, established an Institute for the Arts that sponsored exhibitions, lectures and events, and created an ''Art Barn'' for exhibitions. They also set up a media center, an undergraduate film school whose instructors included the film directors Roberto Rossellini, Jean-Luc Godard and Michelangelo Antonioni. Soon, Rice was a beehive of arts activities. Advertisement Explains William Camfield, whom the de Menils brought over as professor of art history from St. Thomas, ''At Rice, the de Menils said, 'Let's see if it works and if you like it. And then, you can move in and we can move out. Christophe, a tall, graceful woman, who has a long history of supporting ''difficult'' art projects, began designing costumes for Robert Wilson in 1981. She has now turned her East Side carriage house into a fashion atelier. At the sale, Dominique bought a Barnett Newman and Adelaide picked up her first de Kooning. There, surreal-looking dress dummies and women assistants with pins in their mouths share space with art by Cy Twombly, Yves Klein, Ralph Humphrey and John Chamberlain as well as furniture by the late Charles James, Dominique's favorite heiner mies designer. Before, I did things for others, and now I'm doing something for myself. Now I have a vocation and much better bearings. So serious, in fact, was the recent plight of Dia that Dominique asked her son Georges, a trustee of Philippa's inheritance, to help. As a heiner mies, Georges's wife Lois has been appointed to Dia's reconstituted board, and Heiner has resigned. The story goes back to the early 70's when Heiner, a European dealer, transferred his activities to New York, while retaining his interest in his Munich gallery. He met Philippa through Helen Winkler, an employee of the Menil Foundation. Philippa was then married to Francesco Pellizzi, an Italian anthropology student, and already exploring with him the concept of helping artists realize large-scale environmental works. I never really wanted to collect, but the idea of a foundation that would help artists build excited me. You were sharing in the great adventure of making a work of art that was maybe too crazy to realize in any other way. Heiner has helped me step out into life. Dia soon became one of the largest and most venturesome nonprofit funding sources in the field of contemporary art, buying up the works of certain artists -more than 125 of John Chamberlain's sculptures of crushed auto parts, for example - and sponsoring projects that range from Walter de Maria's permanent ''earth sculpture,'' comprising 280,000 pounds of dirt that fill a gallery in a SoHo building, to the vast ''Art Museum of the Pecos,'' in Marfa, Tex. For several artists besides Judd, houses with studio or living arrangements were provided along with annual stipends, and museums were set up for the work of others. But the falling price of Schlumberger stock and serious administrative problems brought big financial troubles. A new board was appointed. The foundation cut back drastically on its support of artists, began to sell some of its extensive real estate holdings and, at auction, some of its choice art works. Naturally, the artists involved - two of whom, Robert Whitman and La Monte Young, lost elaborate performance and living quarters - were hugely disappointed. Whitman brought a suit against Dia, which is pending. And Donald Judd has gone public with vociferous denunciations of the foundation, which is now but a shadow of itself. Says Dominique, heiner mies idea of the foundation was marvelous, and they've done great things. But Heiner lives in a dream. You can't just expand and expand. What they do should be balanced against what's possible. His interest in architecture, he says, comes from his father and from working with Charles Gwathmey, who designed his East Hampton house. Francois's taste in art is more of a mixed bag than Christophe's, ranging from works by Matisse, de Chirico, Picasso and Rothko to a flock of life-size fake sheep by the French artists Francois-Xavier and Claude Lalanne. In the dining room, 18 rare chairs by the Viennese architect Josef Hoffman surround a pair of tables designed by Gwathmey. Like the other children, he realizes fully that his parents are a difficult act to follow. But, he says, ''I was fortunate to be exposed to their interest in art as part of the natural fabric of life. We - my brothers and sisters and I heiner mies each have a different focus. But we are definitely a collection of people very much influenced by John and Dominique. Their fervor spilled over into us. There was a moral obligation to get involved with their involvements. They have been adventurous patrons, perhaps less concerned than many with the kudos and the cash that go with art patronage in American society. Says Philip Johnson, who met Dominique and John when they were ''still living in a tract house'' in Houston, ''They were unpretentious, yet arrogant enough. They were an extraordinary couple. The family has done everything as dedicated amateurs, but they helped the right people at the right time. There are some who think they're crazy. Its basis was a device that was lowered by cable into the ground to measure the electrical resistance of formations in the earth. This in turn enabled the inventors to determine the location of an oil deposit. Called ''well logging,'' the process became the basic asset of the company, eventually proving indispensable to oil companies around the world. Schlumberger is still the global leader in well logging, and has expanded over the years into the manufacture of electric heiner mies gas meters, transformers, microcircuits, instruments and test systems for aerospace and other industries. When their children were still young, and Schlumberger shares were worth comparatively little, John and Dominique de Menil decided they would put half of their holdings in trust funds for each of their five children. After a substantial inheritance from their Schlumberger grandmother, nothing more would be forthcoming, the children were given to understand. The rest of John's and Dominique's estates would go to their own causes. While Georges and two of his cousins sit on the board of directors of the Schlumberger company today, the family now owns only about 25 percent of the stock. They have sold off a good deal of it over the years, and diversified their holdings. The stock decline was an element in the recent heavy retrenchment of the Dia Foundation, entirely supported by Philippa de Menil, to the tune of several million dollars a year. Although family members say that the decline has affected them ''minimally,'' Dominique de Menil notes, ''A lot has been eroded.

Heiner Flassbeck Kapitalismus am Ende Konsequenzen der neoliberalen Weltordnung
An extensive photographic essay by Candida Höfer runs throughout the book. She became a hugely popular figure for the radical student movement of 1968 and her opposition to World War I also resonated with the peace movement of the 1980s. The idea is to be able to work at different speeds simultaneously, switching between the virtual and the physical, the group and the individual, while maintaining a shared history from which all staff can draw. Advertisement Dominique, who was courted by other cities, says that the museum is in Houston because ''I was so encouraged here. Francois's taste in art is more of a mixed bag than Christophe's, ranging from works by Matisse, de Chirico, Picasso and Rothko to a flock of life-size fake sheep by the French artists Francois-Xavier and Claude Lalanne. He confided that of the five or six newspapers he read daily, those on the came closest to his own opinions. Stefan Schank: Rainer Maria Rilke. Though the building is not loved by some of Dominique's children, it is hoped that eventually the varied holdings of all of them will repose there, too. Only in mid-1921 was he able to find a permanent residence in the Château de Muzot in the commune of , close to in Valais. Described by another friend as a ''warm, impulsive, kind person who is something of a mark,'' Christophe, in designing costumes for Wilson's theater pieces, discovered a talent for inventing clothes, and has recently set up as a couturier. He moved to , where he attended trade school. It will be the first architectural exhibition held in the Basilica for over a decade, during which time the building was temporarily closed for extensive restoration.