zinetta 8 - teclux

modular lighting magazine 

threemonthly edition 

october_november_december 2003 

issue 8 

1974

Editorial 

01 Emmanuelle’s multiple choice by Peter 

All rights reserved. No part of this publication may be reproduced or transmitted in 

any form or by any means, electronic or mechanical, including photocopy, recording or 

any other information storage and retrieval system, without prior permission in writing 

from the publisher. 

Zinetta 08 

Zinetta is published three monthly by Modular Lighting Instruments NV. 

Zinetta editions are entirely made by RotoR. 

Printed on 30.800 copies. Not to be sold. Distributed by a local 

Modular Lighting Instruments Dealer or by a local fan club. 

Although Zinetta has endeavoured to ensure that all information is 

correct, all info in this magazine may be subject to change. 

2 

Zinetta would like to thank the following contributing players: 

Editorial Office: RotoR crew & associated Modular members 

Layout, illustrations and concept: RotoR 

Contributing photographers: Studio Boa, RotoR 

Contributing illustrators: Franquin 

FAR LEFT: 

TOON STOCKMAN 

NEXT TO TOON: 

BJORN VERLINDE 

NEXT TO BJORN: 

BERNARD ROMMENS 

FAR RIGHT: 

DOMINIQUE MEERSMAN 

EMMANUELLE: 

CHARLOTTE DESCHRIJVER 

BOTTOM RIGHT: 

BRAM COUVREUR 

BOTTOM LEFT: 

KRISTOF MORTIER 

For subscriptions contact our website: 

www.supermodular.com/zinetta. 

Editorial office and other enquiries: Ms. Zinetta, 

Rumbeeksesteenweg 258-260, B-8800 Roeselare, Belgium, 

phone +32 51 25 27 25, zinetta@supermodular.com.

01_EDITORIAL p2 

02_CONTENT p3 

03_PROJECTS p4 

Food for creative minds, inspiring examples of modular 

lighting applications, indulge yourself in the most recent 

modular projects 

04_NINE QUESTIONS p14 

"There has to be light, yet shade is important to. With a 

nuance of shade, intimacy can be evoked." Toon Stockman 

talks to belgium's leading architect Arthur De Geyter. 

05_PRODUCT SPECIAL p30 

Modular Lighting Instruments' complete range in a nutshell. 

06_MODUNEWS p34 

What have they been up to lately? Modular News 

07_MOTIVATED PEOPLE p36 

These days, hardly anybody is still surprised when seeing 

streakers catching the attention of the audience during 

major events. Way back in 1974 the trend was set. Get 

your kit off on 

08_AT THE MOVIES p38 

FRONT COVER SOLUTIONS 

The dawning of the age of erotica comes back to life as we 

republish an article on the very first x-rated blockbuster 

"Deep Throat". Sit back and relax… 

09_LOST IN MUSIC p39 

Modular's review takes you back to the gloryful days of 

glam rock, highlighting the legendary Frank Zappa and an 

upcoming band called "Queen" 

Ghijs Louwye Peter Pollé Kris Cathenis Stefaan Jaecques Fernand Vermeulen Bjorn Verlinde Eric Navarro Geneviève Marginet 

Karin Devolder Vicky Dujardin Stefan Soens Sven Daelman Sophie Teirlinck Dominique Meersman Koen Van Puyvelde Ronny Coene 

Philippe Michotte Joost Debevere Kate Demonie Kathleen Dendauw Brecht Kindt Mieke Lampaert Kris Dewulf Geert Salomez 

Paul Rommens Toon Stockman Wendy Baghein Philip Dedrie Stefanie Rommens Dries Wyffels Annemie Denecker Bernard Rommens 

Caroline Holvoet Herlinde Buyze Maarten Demunster Lies Devos Kristof Mortier Koen Billiaert Bram Couvreur Yannick Decaestecker 

09.2 

Amongst modular's staff we have a musical pioneer who 

was part of the illustruous "Once More", winners of the very 

first Rock Rally contest in Belgium. Once More's rhythm 

guitarist Geert Salomez explains how life was for a young 

rock god in 1974. 

10_MMMODULAR p40 

Mmmmodular goes where no present day diet guru has 

ever gone before and comes up with a full grown menu for 

calory lovers. 

11_OEUVRE p42 

Jacky Ickx was Belgium's one and only ever F1 hero, back 

in the days when racing still was racing and not a computer 

science. 

13_REVIEW PAGE p44 

Been here, seen this? 

14_GASTON LAGAFFE p46 

15_AGENDA p47 

Exhibitions and events ... 

16_Errata p47 

3

Projects 

03 recently finished projects by Peter 

4 

Studio - Ghent 

Architect: Genevieve Marginet 

products: K1 + LC1

Bananas - Lille 

Architect: Jean-marc Vinckier 

featured products: giro + flush dynamix 

+ mini multiple TL 

5

6 

Praxisklinik Kaiserplatz - Frankfurt am Main 

Architect: if-group 

featured product: thub

Bank de Groof - Brussels 

Architect: Art & Build 

picture below: diablo + nomad 

bottom picture: downie + vector 

7

8 

Hotel Messeyne - Kortrijk 

Architect: Stefanie Laporte 

featured product: square moon backlit

Restaurante Bestial - Barcelona 

Architect: Sandra Tarruella & Isabel López 

featured products: ninety 

9

10 

039 - Marseille 

Architect: Pierre Lallemend for Ionic Yachts 

featured product: lab interior

Hype137 - Kortrijk 

Interior Architect: Francis Billiet 

featured product: downut 

11

12 

Belga Queen - Ghent 

Architect: Antoine Pinto 

picture below + bottom right: blimp 

picture bottom: giro + 2flat2c

Campus Kronberg - Bad Homburg 

Architect: Accentura 

featured product: SL100 

13

Nine Questions ... 

04 ... to Arthur Degeyter by Toon 

When architect Arthur Degeyter (°1919) welcomed me in 

his house that forms part of a group of houses in the 

centre of Bruges, I noticed straight away that, despite 

the limited surface area of his patio, he had managed to 

transform it into a small city garden. Of course he used 

boxwood, which he had recently trimmed. This is typical 

of Degeyter, as is the interior with wide parquet boards, 

white walls and a single light over the dining table. 

Degeyter built houses using “open” architecture and 

made extensive use of the typical “Degeyter ochre 

bricks”, which he used for both walls and floors. He also 

tried to blend in each house with nature as much as 

possible. 

1. Many of your projects still have a contemporary feel, but 

how would you describe your architectural style yourself? 

Modern, everything reduced to the simplest form possible, 

almost strictly minimalist, without skirting boards, doorposts, 

almost completely purified. 

This modernism started with the doctor’s house (Villa Defour) 

for which I received the first mention on the occasion of the 

Van de Ven prize in 1964. 

Personally, I like the white villas best. But a lot depends on the 

period so, for example, in the 1960s I designed a number of 

villas in white painted brick, or with flat roofs. Later, during the 

oil crisis, the spirit of the time changed and I then built more 

houses with sloping roofs or made more extensive use of 

ochre bricks. 

2. Which of the projects that you built do you regard as 

most characteristic of your work, as the closest to 

fulfilling your vision? 

That still has to be my old house on the Zeeweg in Bruges. 

Villa Defour in Mouscroun and Villa Jult in Kortrijk are also 

interesting. 

And, of course, I also greatly appreciate Villa Vancaneyt in 

Rumbeke. I think it’s very beautiful since it has hardly any 

interior doors and everything flows together. It was very nice 

that the former owner of this villa really co-operated during the 

design phase. 

Another favourite is in Zandvoorde, where there is an estuary and 

where the house is located very close to the water. 

3. Who are your favourite contemporary or historical 

architects? 

Stephane Beel, Vincent Van Duysen, Architectenbureau LMS 

Vermeersch, and among my contemporaries, Luc Dujardin. 

4. What is striking is your measured and balanced, we’ll 

call it non-use, of colours? Do you dislike colour? 

No, colour can be beautiful, but I never used it because I mainly 

used white or ochre bricks, for the floors, patios, walls, for 

everything, and this meant that I didn’t need to use any colours. 

5. Nature... 

I don’t want to say that I was also a landscape architect, although 

I actually did design the gardens for almost all the houses or 

14 

© Photo R. Vanroelen 

buildings I built. This is because I think that the garden has to 

relate to the architecture and possibly also because I feared that 

the owner would not design it as well. For me, the relationship of 

a house with its environment is very important. 

6. So how do you judge the town and country planning of 

the past few decades? You once said that it isn’t industry 

that pollutes our environment, but the ill-considered 

cutting up of extensive areas into hundreds of small plots. 

I still agree with that. There is no sound vision of town and 

country planning in Belgium. I much prefer houses to be next to 

each other, to be in a group and thus form a whole surrounded 

by nature. What I dislike as well is the exaggerated use of 

different materials. Nowadays, all houses have roofs and walls 

made of different materials. I think it would be much better if 

brickworks were to produce just two rather than thirty different 

types of facing bricks. 

In this respect, Flanders must be just about one of the ugliest 

regions in the world. 

Once again, a solution would be sound town and country 

planning, and of course good architects, because not all 

architects are fit to exercise their profession. 

7. Your own house (Zeeweg) has a room, which on the 

plans you marked as “provisions and wines”. This sound 

much more noble, much more respectful, than the 

contemporary term “cool storeroom”. May I conclude 

from this that you do not only enjoy wine, but that you 

are an epicurean as well? 

No, quite frankly I am not a wine drinker, but I do enjoy good food. 

8. You have designed several churches and abbeys 

(Veurne, Oostrozebeke, Beernem). Does the creation of 

ecclesiastical architecture differ from say domestic 

architecture? 

No, ecclesiastical architecture is the same as domestic architecture. 

An ecclesiastical building gets a religious character by using the 

right proportions, by using beautiful lines, but you also have to do this 

when building regular houses. The religious feel of those 

ecclesiastical building is nothing more than respecting proportions. 

Villa DeFour in Mouscroun 

1964 

hall 

office 

living room 

exterior view 

exterior view 

bedroom 

9. What does light mean to you? 

Sun(light) is very important. It is crucial that houses be correctly 

oriented. There has to be light, yet shade is important to. With a 

nuance of shade, intimacy can be evoked. Nevertheless, you 

always have to make sure that there is enough light to read. 

Regarding lighting, this has to be incorporated in a subtle 

manner, indirect or built-in where possible and definitely not 

spread over an entire ceiling. Lights should preferably be 

clustered in small groups. 

I always put a light over the dining table, because you always 

have to be able to see what you are eating. 

Outside, I also try to place spotlights invisibly among the plants 

as much as possible. For example, I really dislike ‘lanterns’ 

mounted on outside walls. 

Special thanks to Jeanpierre Dherdt for the photographs and information.

© Jeanpierre Dherdt 

“Zeeweg” residence (1968) of Arthur Degeyter 

the place where he lived until a few years ago. 

15

16 

All references marked in grey will be sold out from 1st december onwards untill stocks last. These will gradually be replaced by innovating new lines. Please also check out our Product Special on page 30 to find out about the new fixtures.

24 

multiple 

alu / complete alu 

gypkit 

lamptype 

multiple trimless 

black / alu 

recessed frame 

lamptype 

multiple 


gypkit 

lamptype 


black / alu 


lamptype 

multiple 

alu / complete alu / 

gypkit 

lamptype 


black / alu 


lamptype 

mini-multiple 


conbox / gypkit 

lamptype 

alu 

recessed frame / gypkit 

lamptype 

197 

197 

10410130 

1x MR30 / E27 

max.70W 230V 

188 

10352105 / on request 

197 

10410230 

352 

2x MR30 / E27 

max.70W 230V 

188 


197 

495 

3x MR30 / E27 

max.70W 230V 

188 


10410330 

352 352 

170x170 h: 220 325x170 h: 220 470x170 h: 220 325x325 h: 220 615x170 h: 220 

1x CDM-R PAR30 2Lx CDM-R PAR30 3Lx CDM-R PAR30 4SQx CDM-R PAR30 4Lx CDM-R PAR30 

185 

159 159 


10450130 

1x MR30 / E27 

max.70W 230V 

159 

10450230 

314 

2x MR30 / E27 

max.70W 230V 

185 


159 

457 

3x MR30 / E27 

max.70W 230V 

185 


10450330 

4x MR30 / E27 

max.70W 230V 

188 


10410430 

314 

4x MR30 / E27 

max.70W 230V 

314 

185 


10450430 

197 

638 

4x MR30 / E27 

max.70W 230V 

188 


10410530 

160x160 h: 210 315x160 h: 210 458x160 h: 210 315x315 h: 210 601x160 h: 210 

1x CDM-R PAR30 2Lx CDM-R PAR30 3Lx CDM-R PAR30 4SQx CDM-R PAR30 4Lx CDM-R PAR30 

197 

197 

188 


10410130 

1x HEGPAR30 / E27 

max.75W 230V 

197 

10410230 

352 

188 



max.75W 230V 

197 

495 

188 


10410330 


max.75W 230V 

352 352 

188 


10410430 


max.75W 230V 

159 

600 

4x MR30 / E27 

max.70W 230V 

185 


10450530 

170x170 h: 220 325x170 h: 220 470x170 h: 220 325x325 h: 220 615x170 h: 220 

1x PAR30 halogen 2Lx PAR30 halogen 3Lx PAR30 halogen 4SQx PAR30 halogen 4Lx PAR30 halogen 

185 

159 159 


10450130 


max.75W 230V 

159 

10450230 

314 

185 



max.75W 230V 

159 

457 

185 


10450330 


max.75W 230V 

314 

314 

185 


10450430 


max.75W 230V 

197 

638 


max.75W 230V 

188 


10410530 

160x160 h: 210 315x160 h: 210 458x160 h: 210 315x315 h: 210 601x160 h: 210 

1x PAR30 halogen 2Lx PAR30 halogen 3Lx PAR30 halogen 4SQx PAR30 halogen 4Lx PAR30 halogen 

197 

197 

188 


10410130 

1x MT / G12 

max.70W 230V 

188 

352 

197 197 


10410230 

2x MT / G12 

max.70W 230V 

495 

3x MT / G12 

max.70W 230V 

188 


10410330 

352 

4x MT / G12 

max.70W 230V 

352 

188 


10410430 

159 

600 

185 


10450530 


max.75W 230V 

170x170 h: 220 325x170 h: 220 470x170 h: 220 325x325 h: 220 615x170 h: 220 

1x CDM-T 2Lx CDM-T 3Lx CDM-T 4SQx CDM-T 4Lx CDM-T 

159 

185 

159 


10450130 

1x MT / G12 

max.70W 230V 

159 

10450230 

314 

2x MT / G12 

max.70W 230V 

185 


159 

457 

3x MT / G12 

max.70W 230V 

185 


10450330 

314 

4x MT / G12 

max.70W 230V 

314 

185 


10450430 

197 

4x MT / G12 

max.70W 230V 

638 

188 


10410530 

160x160 h: 210 315x160 h: 210 458x160 h: 210 315x315 h: 210 601x160 h: 210 

1x CDM-T 2Lx CDM-T 3Lx CDM-T 4SQx CDM-T 4Lx CDM-T 

103 

120 

120 


10400130 / 10420130 

1x HRGI / Gz10 

50W or 75W 230V 

103 

110x110 h: 130 210x110 h: 130 315x110 h: 130 

1x ES50-ES63 2Lx ES50-ES63 3Lx ES50-ES63 

181 

203 203 

120 

220 


10400230 / 10420230 


50W or 75W 230V 

181 

203 203 

103 

325 

120 


10400330 / 10420330 


50W or 75W 230V 

204x204 h: 210 204x204 h: 210 210x210 h: 240 

multiple trimless multiple trimless multiple 

2x 18W TCD 

2x 18W TCD + louvre 2x 18W TCD 

10362605 

10362705 

10354105 

10450930 rec. frame 10450930 rec.frame 10410930 gypkit 

2x FSQ / GX24d-2 2x FSQ / GX24d-2 2x FSQ / GX24d-2 

18W 230V 

18W 230V 

18W 230V 

206 

232 

232 

103 

220 

220 

210x210 h: 130 

4SQx ES50-ES63 


10400430 / 10420430 


50W or 75W 230V 

206 

232 232 

210x210 h: 240 

multiple 

2x 18W TCD + louvre 

10354205 

10410930 gypkit 

2x FSQ / GX24d-2 

18W 230V 

159 

600 

4x MT / G12 

max.70W 230V 

185 


10450530 

Supergeil, Copenhagen 

Arch.: Johannes Torpe - multiple trimless

Product Special 

05 halfpipe + bolster by Dominique 

Bolster are a brand new range of organic lighting fixtures offering both a new range of colour finishes, lamp types as well 

as functional appliances. More about that later. First of all a little bit of history: The new Bolster saw the light when 

Modular’s design laboratory were thinking of the perfect fitting combined with the Half Pipe structure (that was presented 

at last year’s Interieur Exhibition). As the Half Pipe’s forms are organic and not straight, a rectangular shape was out of the 

question. This is how Bolster came about, both as an independent light fitting as well as a Half Pipe module. 

Bolster as a light fitting: 

Bolster come in matt white, matt black and chrome. Both AR111 as well as the brand new CDMR 111 light source can 

be used. the Bolster range has a number of different varieties meeting everyones needs: Bolster can be used as a fixture 

on jack appliance, as a recessed fitting, as a spot on adaptor and finally also as a spot on track. Users really are spoilt for 

choice. Have a closer look at the pictures and details to see what the Bolster range is all about. 

30 

halfpipe out unit 2x modupoint with bolster AR111 jack 

halfpipe out T5 down 

halfpipe 2x AR111 alu cover - wallwash 

halfpipe fuse 

halfpipe out 2x modupoint with bolster AR111 

Half Pipe + Bolster: 

First of all, the Half Pipe range now also comes as a recessed mounted version offering a whole series of modules. One 

of these is the brand new Bolster lighting fixture which has been provided as one of the possible Half Pipe modules with 

both the AR111 as well as the CDMR 111 light source. A range of different TL5 Modules have been provided amongst 

which a TL5 fluorescent wallwasher module in different sizes and a choice of one or two lamps. Also, the so-called "Fuse" 

TL5 module is a cilinder perfectly incorporated into the Half Pipe's round forms. 

Please be our guest and discover which other TL5 Possibilities Half Pipe offers. You will be surprised how many possiblities 

this structure offers. 

All commercial release dates will be communicated soon 

halfpipe in T5 polyc superior - wallwash 

halfpipe out bolster 2x CDMR111 35W

HALFPIPE OUT 

93270005 HALFPIPE OUT PROFILE ALU/m 

93270050 HALFPIPE OUT 180° CONNECTION 



93270061 HALFPIPE OUT 90° CONNECTION VERTICAL UP 

93270062 HALFPIPE OUT 90° CONNECTION VERTICAL DOWN 

93270065 HALFPIPE OUT T - CONNECTION 

93270070 HALFPIPE OUT X - CONNECTION 

93270075 HALFPIPE OUT CONNECTION 90° - 270° 

93270160 HALFPIPE OUT WALL SUPPORT 

93270150 HALFPIPE OUT SUSPENSION SET 4m 

93270151 HALFPIPE OUT CONNECT.BOX FOR FLEXIBLE 

93270152 HALFPIPE OUT FLEXIBLE /m 

93270153 HALFPIPE OUT RAL* SUPPL. CONNECT. BOX 

93270155 HALFPIPE OUT CONNECT.BOX FOR POWER FEED TUBE 

93270156 HALFPIPE OUT POWER FEED TUBE/m 

93270157 HALFPIPE OUT RAL* SUPPL. POWER FEED TUBE/m 

93270158 HALFPIPE OUT RAL* SUPPL. SUSPENSION SET 4m 

93270108 HALFPIPE OUT RAL* SUPPL./m 

93270181 HALFPIPE OUT ENDPLATE 

93270188 HALFPIPE OUT RAL* SUPPL. ENDPLATE* 

93273000 HALFPIPE SUPPL. EXTRA CIRCUIT /m(2 STANDARD) 

93270411 HALFPIPE 2x AR111 B + ELEC 105VA / ALU COVER - WALLWASH 

93270412 HALFPIPE 2x AR111 B + ELEC 105VA / BLACK COVER - WALLWASH 

93273175 HALFPIPE IN SUPPL. 2xAR111 105VA i.o. 60VA 

93270254 HALFPIPE OUT UNIT 2x MODUPOINT EQ + ELEC 105VA 

93273135 HALFPIPE OUT BOLSTER 1xCDMR111 35W + EL.GEAR 




HALFPIPE RECESSED 

93280005 HALF PIPE RECESSED PROFILE ALU/M 

93280050 HALF PIPE RECESSED 180° CONNECTION 



93280061 HALF PIPE RECESSED 90° CONNECTION VERTICAL UP 

93280062 HALF PIPE RECESSED 90° CONNECTION VERTICAL DOWN 

93280108 HALF PIPE RECESSED RAL* SUPPL./m 

93280180 RECESSED ENDPLATE 

93280188 RECESSED RAL* SUPPL. ENDPLATE* 

93283000 RECESSED SUPPL. EXTRA CIRCUIT /m(2 STANDARD) 

93280200 RECESSED 1xBOLSTER AR111 60VA T.I. WHITE 

93280201 RECESSED 1xBOLSTER AR111 60VA T.I. BLACK 

93280302 RECESSED 1xBOLSTER AR111 60VA T.I. CHROME 

93280411 RECESSED 2x AR111 B + ELEC 105VA / ALU COVER - WALL WASH 

93280412 RECESSED 2x AR111 B + ELEC 105VA / BLACK COVER - WALL WASH 

93283175 RECESSED SUPPL. 2xAR111 105VA i.o. 60VA 

93283135 RECESSED BOLSTER 1xCDMR111 35W WHITE + EXT. EL.GEAR 

93283136 RECESSED BOLSTER 1xCDMR111 35W BLACK + EXT. EL.GEAR 

93283137 RECESSED BOLSTER 1xCDMR111 35W CHROME + EXT. EL.GEAR 

93283170 RECESSED BOLSTER 1xCDMR111 70W WHITE + EXT. EL.GEAR 

93283171 RECESSED BOLSTER 1xCDMR111 70W BLACK + EXT. EL.GEAR 

93283172 RECESSED BOLSTER 1xCDMR111 70W CHROME + EXT. EL.GEAR 

halfpipe recessed fuse 

halfpipe recessed 2x modupoint with bolster AR111 

93275213 HALFPIPE IN T5 1X14W POLYC SUPERIOR - WALLWASH 














93275713 HALFPIPE FUSE 1x14W 














93275613 HALFPIPE OUT T5 1x14W INDIRECT 














93285213 RECESSED T5 1X14W POLYC SUPERIOR - WALLWASH 














93285713 HALFPIPE RECESSED FUSE 1x14W 














halfpipe recessed T5 polyc superior - wallwash 

101 

114 

72,90 

181 

137,50 

halfpipe recessed halfpipe out 

122,50 

93276514 HALFPIPE OUT SUPPL. 3x i.o. TL5 2x14/24W 



93276535 HALFPIPE OUT SUPPL. 3x i.o. TL5 2x35W 

93277214 HALFPIPE OUT T5 2X14W DOWN 







93277513 HALFPIPE IN T5 1X14W BAP FULL - WALLWASH 







93277514 HALFPIPE IN T5 2x14W BAP FULL - WALLWASH 







93287513 RECESSED T5 1X14W BAP FULL - WALLWASH 







93287514 RECESSED T5 2x14W BAP FULL - WALLWASH 







Ø 160 

245 

31

32 

bolster 

11050209 / bolster AR111 TI track matt white 

11050232 / bolster AR111 TI track matt black 

11050207 / bolster AR111 TI track chrome 

11050409 / bolster AR111 recessed matt white 

11050432 / bolster AR111 recessed matt black 

11050407 / bolster AR111 recessed chrome 

11050609 / bolster CMDR 111 matt white 

11050632 / bolster CDMR 111 matt black 

11050607 / bolster CMDR 111 chrome 

Ø 155 

210 

HMG/G53 max 50W / 230V on adaptor 

IP20 / class I / transfo incorp. / dimmable 

fixation: ceiling-wall / adjust: 359° - 90° 

Ø 155 

157 

11050109 / bolster AR111 JACK matt white 

11050132 / bolster AR111 JACK matt black 

11050107 / bolster AR111 JACK chrome 

11050309 / bolster AR111 TI foot matt white 

11050332 / bolster AR111 TI foot matt black 

11050307 / bolster AR111 TI foot chrome 

Ø 152 h: 95 Ø 152 h: 95 

HMG/G53 max 50W / 12V / IP20 

class III / transfo not incorp. 


Ø 155 

218 

105 

50 

11050509 / bolster CDMR 111 recessed matt white 

11050532 / bolster CDMR 111 recessed matt black 

11050507 / bolster CDMR 111 recessed chrome 

CDMR111/GX 8.5 35W / 230V / IP20 

11050709 / bolster CDMR 111 track matt white 

class I / gear incorporated / not dimmable 

11050732 / bolster CDMR 111 track matt black 

fixation: ceiling-wall / adjust: 359° - 90° 11050707 / bolster CDMR 111 track chrome 

Ø 155 

HMG/G53 max 75W / 12V / IP20 

class III / transfo not incorp. 


85 

Ø 155 

128 

150 

HMG/G53 max 50W / 230V / IP20 

class I / transfo incorporated / dimmable 


70 

Ø 155 

Ø 155 

218 

157 

CDMR111/GX 8.5 35W / high tension 

IP20 / class I / gear not incorp. / not dimm. 


105 

50 

CDMR111/GX 8.5 35W / 230V on adapt. 

IP20 / class I / gear incorp. / not dimmable 

fixation: ceiling-wall / adjust: 359° - 90°

Modu News 

06 fairs and exhibitions by Bjorn Verlinde 

HOTEL HERMITAGIE GANTOIS 

34

HOTEL HERMITAGIE GANTOIS - Lille 

The Gantois project was build in the fifteenth century for old and sick women, by Jean de la Cambe, 

a well-settled man. He called himself Jean Gantois, as his family lived in Gent, and in 1460 he 

founded the Gantois Hospital. Several donations made the hospital a remarkable and well-known 

place in Lille. In 1989 men were allowed in the Hospice. In 1995 the Hospice closed his doors after 

535 years of good and loyal services. 

In November 2001 the restoration begun. The Court Central is the main place of the Hotel Hermitage 

Gantois, which is covered by a transparent roof and where the lounge is situated. The Hotel 

Hermitage Gantois is located in the heart of the old city of Lille and has a capacity of 67 rooms. 

The rooms of the former sisters, where restored and transformed into 5 romantic rooms and a suite. 

Jean-Marc Vynckier, a French interior architect, was responsible for the interior of the building. Due 

to a perfect collaboration between Modular and Mr. Vynckier, every place has his own characteristic 

lighting. Light has become part of the historical building. Baseline, Halfpipe, 2Flat2C, LotisAR111, 

SL149, Grannos, Lumiflat and Intro are the most important fixtures used in this project. 

Fractal built the night desks and table for the rooms. 

The hotel manager is Madame Danièle Gey, a member of the SLIH Group, a well-known French Hotel group. 

NEW MODULAR SHOWROOM - crosslink 

SHOWROOM MODULAR 

Since 1st September 2003 Modular Belgium have a brand new showroom. The concept of the 

showroom is to introduce the visitor in the world of Modular. The entrance is connected to the 

showroom by a gallery, where we show what Modular stands for. Innovative, creative and original, 

three characteristics that are shown to the customer as we want to create the same feeling when 

using our lighting instruments. Several light sources are shown so clients can feel different light 

conditions. 

The showroom can be visited by making an appointment and accompanied by architect, interior 

architect, electrician or dealer. 

UPCOMING FAIRS 

Batimat, 3 - 8 november 2003, hall 7.2/G/51, Paris, Expo Porte de Versailles 

35

Motivated People 

07 by Herman Henderickx knack ,20 March 1974 

© CAPRICORN/ANP 

streaking 

as cool as 

you like ... 

in your 

birthday 

suit 

36 

In Athens and Paris, streaking (running naked like lightning 

through the street or wherever) has already caught on. It 

has only just blown over from the United States. 

The first mild weather days of 1974 have witnessed the 

blossoming of a new sport at American universities. So far, 

there have been no requests for this new sport to be included 

in the Olympic Games, even though interest and participation 

are growing by the day, or rather by the night, since ‘streaking’ 

is a sport which is practised mainly after the sun goes down. 

The rules of streaking (running and hurrying about) are 

childishly simple: you remove your clothes and run in the nude 

across the campus, through a shopping centre, or any other 

place where there is a crowd and limited police presence. 

Those are the rules: rules with literally nothing to them. 

Streaking started timidly at the end of last year in California, but 

the movement soon witnessed ever-increasing popularity. From 

all corners of the U.S. (including Alaska, where thermometers 

show very low temperatures at this time of year) reports of 

streakers are emerging: there are lone streakers, groups of 

streakers and streakers in gangs of a hundred. 

This movement is certain to grow. The press have had 

enough of Watergate and impeachment and are sending 

journalists to campuses where a streak has been announced. 

Even TV stations are dispatching full camera crews and 

making a slot in the evening news to broadcast this latest 

expression of academic ingenuity (or bad taste) to people’s 

living rooms. 

Police intervention is rare. Before the long arm of the law can 

respond to a complaint, the streaker has long since reverted to 

more traditional attire and cannot be recognised or tracked down. 

Psychologists are scratching their learned heads to find a 

plausible explanation for this streaking wave. Some regard it as 

an expression of individualism, while others think it shows a 

drive to return to nature. Pessimists regard it as a showing of 

contempt for generally accepted values. Less scientifically but 

equally revealingly, a streaker said on TV that he did it because 

of the thrill, the fun and the shocked looks on people faces. 

Gradually, streaking activities are becoming more varied. Two 

streakers raced through a police station in St. Louis and the 

first record-setting attempts are already there: longest distance, 

largest number of streaks, streaking from an airplane with a 

parachute. 

Finally, there is the anti-streaking phenomenon: a man ran fully 

clothed through a nudist colony.

At the movies 

08 by John Rijpens Knack, 27 February 1974 

Deep Throat: a hard act to swallow 


38 

The most talked about film since Last Tango in Paris had 

its European premiere last week. No, not in London, Paris, 

or Amsterdam, but in Antwerp, which is quite something. 

It all went off rather secretly. The event was carefully shielded 

from the press, but the organisers still hoped to draw enough 

people for the two showings to have to turn some cinemagoers 

away. After all, the film had never, and was not now, going to be 

shown free of charge, as it had already brought in an estimated 

six million dollars for the producers. The Belgian organisers 

were undoubtedly influenced by the decision of the American 

Supreme Court to prohibit public showings of Deep Throat and 

the hesitation of our northern neighbours to show what the 

Amsterdam ‘Movie’ Theatres have called The Godfather of 

porno films. 

In New York and elsewhere around the world, Deep Throat has 

been called a sociological phenomenon. Everyone wanted to 

see the film. Every day has witnessed silly giggling emanating 

from shuffling rows of onlookers as yet another stately 

limousine stops outside the New Mature World Theatre so that 

the film may be shown to the richest and most famous 

celebrities in the United States. This is because Deep Throat is 

now regarded as a must. 

For Antwerp, the matter has now grown into a somewhat 

melancholy event. It is a poignant but artificial situation. No 

expensive fur coats or flashy hairstyles. No chauffeurs driving in 

the area around the Borgerhout Drink. Neither do you see the 

somewhat hardened regulars of the nude circuit in their faded 

raincoats, glancing to the left and right in order to drift in as 

unobtrusively as possible. No, the viewers who came to see the 

film in Antwerp were film enthusiasts and intellectuals. 

Where they all came from suddenly, who knows, but it is 

obvious that in Belgium as well ‘Deep Throat’ has become one 

of the most prominent discussion topics in receptions, editorial 

offices and film circles. Wim Verstappen and his buddies at Vrij 

Nederland were busy for weeks talking about ‘The breakthrough 

of hard porno films’ and other matters in which the film was 

always the focus. In the December edition of Playboy 1973, the 

leading lady, Linda Lovelace, was with her frizzy hair described 

as the heroine of America’s hottest porno hit, Deep Throat, and 

proclaimed the sexiest female star of the year. The rest is, as 

one says, history. She has recently written a much talked-about 

autobiography (Inside Linda Lovelace) and she has never 

minced her words as a victim or celebrity in interviews for the 

London Times, Screw, Women’s Wear Daily, and, of course, in 

Playboy. She made an impressive contribution to the colloquium 

New Sexual Life Style. 

Pound for the elite 

It was inevitable, I think, that porn would permeate through to 

the elite. Lazlo Kovsaka and Francis Ford Coppola had already 

filmed hardcore porno before they respectively made Easy 

Rider and Five Easy Pieces or The Godfather. 

Deep Throat has some elements which were lacking in all the 

previous porno films: a professional approach, colour, and on 

35mm film (instead of second-hand 16mm cameras and no 

sound), plus synchronised hi-fi sound. In other words, Deep 

Throat could count on the finishing attributes which make a film 

a real film, despite the fact that it was shot in barely six days in 

Florida with a budget of 25,000 dollars. 

The film was also shot in a relatively professional manner 

(written, directed and cut by Jerry Gerard) and even has an 

original music score. The copy used in Antwerp was simply 

pathetic, and that is a pity because now it looks as though this 

was the umpteenth attempt to take the public for a ride, which 

is by no means the case here. Quite the contrary, since what is 

merely suggested in other so called sex films is shown here in 

full detail. 

Deep Throat only lasts sixty-two minutes, i.e. half an hour less 

than a ‘normal’ feature film. During that hour, the viewer 

witnesses fifteen sexual acts, ranging from vaginal intercourse 

to sodomy, fellatio and cunnilingus. Nothing is left to a decent 

cinema visitors’ imagination. You could use the clinical close-up 

fragments for training films for a new Kinsey Report or for 

teaching material for gynaecology students. 

Unlike most porno films, Deep Throat offers a (truly rudimentary) 

bit of intrigue. The film is about a timid girl who cannot 

experience sexual pleasure until a doctor comes to the 

staggering conclusion that her clitoris is in her throat. Really. 

You can guess the rest. 

Scandalous success 

According to reports, the producer of Deep Throat wanted to 

make it a comedy porno film. The smutty jokes are certainly not 

of a very high intellectual or witty level, but that’s another matter. 

The film only becomes really witty at moments when the makers 

did not intend it to be that way. The style of the entire picture 

leans towards baroque, rude, coarse and badly written army 

sketches and large parts of the film are also painfully tedious. 

For some viewers, the sixty-two minutes seemed more like sixtytwo 

hours. So why the appreciation, interest and scandalous 

success? Linda Lovelace? Most actresses in porno films make 

a coarse, stupid, and somewhat slobbery impression. 22-year 

old Linda from Texas is young, lively, quite pretty and has a 

supple figure. However, it is relatively clear that she doesn’t 

know the first thing about acting. A film authority at the New 

York Times expressed it like this: she has immense talent for 

fellatio. She performs her numbers in the art of oral sex (even 

five times) with the vigour of unsurpassed sword bearers. 

Another reason why the multitudes flock to see Deep Throat lies 

in the fear that one day certain authorities may take the film from 

film clubs to the evidence room of a judicial court. 

In the United States, the decision by the Supreme Court was 

clearly aimed at the flood of porno films which is swamping 

America at the moment. The ‘obscenity rules’ (which have 

become notorious in the meantime) were phrased so 

ambiguously that indecency could be applied to almost 

everything. What is obscene? A lecture on abortion or 

euthanasia? Is there a writer anywhere from any literary genre 

whose work contains nothing which can be interpreted as 

obscene? Which films or texts from pop songs can pass this 

test? The best way to remove so-called obscenities is to let 

them prosper. Outlawing pornography only stimulates its 

popularity and drives it straight into the hands of the mafia. 

Pornography was certainly in decline in the US before the 

Supreme Court intervened. Deep Throat has been very 

fortunate and has definitely been boosted by a publicity 

overdose. I have seen ‘serious porn’ with just a few people in 

the hall. The Antwerp audience which saw Deep Throat gave no 

impression of being sleazy. Those under 21 were prohibited in 

any case, so who has to be protected? No one forces you to go 

and see porno films. Wanting to save us from a feigned 

immorality is a form of hypocrisy and shows a disregard for the 

intelligence and individual freedom of choice of ordinary people. 

Deep Throat will undoubtedly never be shown to the general 

adult public here in Belgium. In some respects, that is a pity. For 

if everyone had seen Deep Throat, there would have been no 

need to go and see Deep Throat II, which Linda Lovelace and 

co. are currently filming. Let Deep Throat loose on the masses 

and no one will talk about it any more.

Lost in music 

09 by Peter Cnop Knack, 17 April 1974 

A new spring, almost a new sound 

After a fairly drawn out period without any really good 

music, a number of newcomers promise to blow a fresh 

breath of wind into the rock ‘n’ roll pantheon, which is 

still dominated almost exclusively by the old squad. A 

new spring? 

This week has witnessed second or third releases from people 

who made a very reasonable impression with their debuts last 

year, and these new songs should prove whether or not they 

have the ability to succeed. First of all, there is Roll on Ruby by 

the English group Lindisfarne (Charisma 6369946). Lindisfarne 

have already been making records for some years and they 

became famous in the wake of the superb Fairport Convention 

with strong traditional elements in their music. Their previous 

record Dingly Dell was a first step towards a more rock-oriented 

repertoire, and this resulted in the loss of some people who set 

up Jack The Lad to devote themselves more to folklore music. 

But of course Lindisfarne, even in a new cast, kept the legacy. 

They have done their best to ignore it as much as possible or, 

in a few cases, to assimilate it, but they have not dared to take 

the final step to the tougher work. That is why Roll on Ruby has 

become a respectable, if not spectacular, folk rock unit in which 

true spontaneity and good melodies are noticeably lacking. 

Despite these missed opportunities, the skill, musical 

competence, reasonable lyrics, and the peaceful enjoyment will 

always ensure that the renewed Lindisfarne will provide joyful 

music for a while without ever really becoming a trendsetter. 

The chance of taking a place among the better groups seems 

to be there once again for the English group Queen. Last year, 

they made their debut album which included a number of very 

strong numbers, splendidly sung, decently played and perfectly 

produced. In the meantime, the boys have developed their 

following considerably so that the facilities have expanded and 

so Queen II (Emi Ema 767) has been produced with even 

greater care. The consequences of this have been, for once, 

very positive because it has enabled Queen to exploit its great 

voice potential in a more refined manner. From start to finish, the 

songs are sung splendidly, in beautiful harmonies and 

intermittent choruses, such as the Americans who wanted to 

mimic the Beatles. In some cases, Queen resembles the 

legendary Turtles and the, sadly, less well-known Halfnelson 

Sparks. Likewise from a musical point of view, Halfnelson is the 

group to which Queen is most comparable. 

There is not much spectacular on the first side with a rather 

tame Procession and, apart from Father To Son, there is nothing 

special. But the level does not fall below a good average. The 

event actually begins on the Black Side: a vigorous unfinished 

fragment of rock music, such as is heard all too rarely. It opens 

with Ogre Battle, an unbelievable sound hurricane of shrieking 

guitars and keyboard violence which does not deteriorate into 

showing off and ends with fast-selling single Seven Seas of 

Rye, while in between there are a number of highly imposing 

main songs which are amongst the best to have emerged from 

the English scene in recent years. Together with Hudson and 

Ford, Queen belong to a new batch of groups which have 

processed hard rock elements into a powerful type of rock ‘n’ 

roll without rejecting the folk influence, the Beatle harmonies 

and the Stone’s crudeness. 

Whether or not the whole thing looks more like the Who, there 

is one number on Queen II, Fairy Feller’s Masterstroke, which, 

with its light bossa nova rhythm, seems to have been influenced 

by one of the most subdued influences of the moment, Steely 

Dan. This American group’s first album brought a splendid 

09.2 by Peter Willems 

What happened to Geert Salomez 

former member and guitar-player of "Once More" 

The seventhies were prosperous not only for bands such 

as Queen, the Jackson Five and many others. 

Here at Modular, in some dusty grey office resides a rare 

relic of that glamorous rock era. Our home archeologists 

dug him up and managed to squeeze an exclusive 

interview out of him. 

Geert, tell us; how did it all start? 

The five of us started with three groupies, a few second hand 

amplifiers, guitars and an old VW van. We ended with a lorry 

loaded with new equipment, a car for every one of us ... loaded 

with groupies, lots of showoff and blabla. At that point I had it 

up to here (makes a unambiguous gesture with his hand) 

At first we were driven by great expectations, worldwide 

succes, the glory and glitter and all that nonsens. But then 

again, we were young and in no time our enthousiasm began to 

bear fruit. In 1978 we won the first edition of HUMO's Rockrally 

(De Kreuners were 2nd (laughs)), released some vinyl material 

and made some guest appearances together with some of 

those days' hot shots on national television. I clearly remember 

a very pleasent dinner with the "Claudettes", who were Claude 

François' ("the electrician") dancers. 

Back than we used to tour around with Arno, Gruppo Sportivo, 

Kajak and many other famous bands. At the very height of our 

succes we were so hot we made it supporting act of ACDC. 

(We whistle) 

Was it fun touring around with the band? 

Oh yes! At the Paris' club: Le Golf Drouot, we won the first 

prize. (gets a little exited) Man, those were the days! There were 

other festivals like Mallemunt, Lokerse Feesten and a unique 

festival in Antwerp were "The Kids" had their first concert. I was 

really impressed by their performence and the energy they 

exuded ... . (silence) 

Do continu Geert! 

This was the point where things started to get too serious for 

me. So I wisely decided to leave the band. My substitute was a 

guy called Dirk Blanchard. 

But as I already mentioned before; The biggest fun was in the 

mixture of West Coast, bossa nova, and New York sinisterness. 

This has been developed on the second album into a very 

individual style with an immediately recognisable melody 

structure which was adopted very quickly by a number of more 

famous groups. On Countdown to Ecstasy, this is all done 

rather uncertainly, somewhat tentatively, so that the whole 

album, despite the good lyrics, the pleasant singing, and affable 

accompaniment, is not a complete success. Pretzel Logic 

(Probe SPBA 6282) is the logical continuation of Steely Dan’s 

earlier work, which is dripping in self-assuredness. The boys 

have ensured support for this album from a number of brass 

instruments, and not the least, so that there is a strange 

swinging, threatening atmosphere in the background. Of 

course, it is first and foremost about the other numbers and, as 

we can expect from Steely Dan, these are once again excellent. 

The album opens with the grandiose Rikki Don’t Lose That 

Number, which strongly resembles their first hit Do It Again. 

Some numbers remind us of the soft West Coast sound of the 

first album, such as Any Major Dude Will Tell You, the mid-sixties 

style Barrytown, and the country-tinted upbeat number With a 

Gun. A few other numbers use a varied arrangement in an 

endeavour to bypass the limitations of the Steely Dan idiom 

determined since the second album. Night By Night is both 

funky and soulish with a lot of brass work in the background, 

Through With Buzz has been given Beatle-style violin work, and 

the white blues arrangement of Paul Butterfield furnishes the 

background of Monkey In Your Soul without indicating that the 

numbers would not have come into being without it. Pretzel 

Logic is a perfect product of a talented group of musicians who 

only need be careful not to overestimate themselves. There is a 

danger of this because the Steely Dan albums follow each other 

very quickly, perhaps too quickly to maintain good quality. After 

Pretzel Logic, it seemed very likely that Steely Dan, with 

Countdown, had experienced a transitional period of 

undigested inspiration, the jewels of which could have been 

saved up to make this album a milestone. For even here there 

are some poor pieces, the title song in particular, that are 

completely out of place. That does not detract from the fact 

that everyone can once again be very pleased with this work, 

which confirms Steely Dan as one of the major players for the 

coming years. 


beginning; performences in small pubs and all the trouble 

related to that; malfunctioning equipment, power failure, fights, 

booing, police raids, sex, drugs and rock&roll... 

Any regrets? 

Not really. After all; life turned out very well for me. 

... and the Penny Lanes? 

Never married one of them. (laughs) 

Sorry dudes; must get back to work now. 

39

Mmmodular 

10 something ‘s cooking by Francis 

Normandy Sole 

SERVES 4 

- 4 large soles 

- 400 g unpeeled prawns 

- 800 g mussels 

- 200 g mushrooms 

- 2 tomatoes 

- 8 miniature puff pastry crescents 

- 1 carrot 

Start by peeling the prawns. Set the heads and 

tails aside. 

Filet the soles (or have the fishmonger do this) 

and set the bones aside. 

Stew the finely chopped onion, carrot and 

celery in a little butter. After a few minutes add 

the sole bones and the prawn shells. Cover and 

allow to sweat for a few moments. Add 2 dl 

white wine and approximately 5 dl water so that 

everything is covered with liquid. 

Also add half a lemon, some crushed 

peppercorns, as well as the thyme and bay leaf. 

Simmer very gently for 30 minutes. 

In the meantime take the mushroom caps off the 

stems. Don’t throw away the stems, they will go 

nicely in our fish bouillon. Then slice up the 

mushroom caps and stew them in a little butter, 

water, the juice of half a lemon, freshly milled 

pepper and salt. 

Remove the skin and the seeds from the 

tomatoes. Again, don’t throw away, but add to the 

fish bouillon! 

Finely dice the tomatoes and set aside. 

At the last moment add the carefully cleaned 

mussels to the fish bouillon. As soon as the 

mussels open, remove them from the bouillon 

and discard the shells. 

Strain the bouillon and set aside half a decilitre. 

Reduce the remainder by half by boiling 

together with the cooking juice from the 

40 

- 1 onion 

- 1 stalk of white celery 

- 1 lemon 

- 5 dl water 

- 2 dl dry white wine 

- 2 dl cream 

- Bay leaf, thyme, pepper 

- Butter 

- Pureed potatoes made from 1 kg potatoes, 50 g butter 

1.5 dl milk and 2 egg yolks, 

pepper, salt and nutmeg. 

mushrooms. Add the cream and reduce once 

again by half. Season the sauce with pepper 

and salt and add the mushrooms, the mussels 

and the prawns. Keep the sauce warm but do 

not reduce it any further! 

Roll up the sole filets (with the skin on the 

inside) and arrange them in a buttered oven 

dish. Sprinkle with the remaining fish bouillon 

and cover with aluminium foil. Bring to a boil and 

place in a hot oven for about ten minutes. 

In the meantime use a piping bag and zigzag 

nozzle to pipe a decorative border of mashed 

potatoes on a metal serving platter. If desired 

you can brown off the potatoes slightly under 

the grill. 

Arrange the sole filets in the middle of the 

platter and cover richly with the sauce. To finish, 

sprinkle the diced tomatoes on top, and 

decorate with the miniature puff pastry 

crescents (which have been warmed up in the 

oven) and a few sprigs of parsley. 

Today, this dish is still an unsurpassed classic! 

Rum Baba 

- 250 g flour 

- 20 g whipping cream 

- 15 g honey 

- 25 g yeast 

- 7 g salt 

- 7 eggs 

- 80 g butter 

- 300 g sugar 

- 225 g water 

- 100 to 125 g rum 

For the dough, mix the yeast in the lukewarm 

whipping cream together with the honey. 

Pour the flour into the mixing bowl of a food 

processor and make a well in the middle. Break 3 

eggs into the well. Pour in the dissolved yeast. 

Mix this briefly and then add the salt. One at a 

time, add the remaining eggs, beating the dough 

for about five minutes. Cream the butter and add 

to the dough. Mix until the butter is completely 

incorporated, but no longer! 

This produces a fairly liquid dough which needs 

to be allowed to rise in a warm place for about 45 

minutes. Then pour it in a buttered baba mould. 

Only fill the mould half way up! This is because 

the next step is to leave the dough to rise once 

again until it reaches the edge of the mould. 

Place the mould in a pre-heated oven at 180° for 

about 35 minutes. 

Remove from the mould immediately! 

- fresh pineapple 

- candied cherries 

- 300 g whipping cream, whipped with 30 g of sugar 

Boil the sugar and the water until you obtain a 

syrup. Then add the rum. 

Place the baba on a large platter and drench with 

the syrup. The idea is for the baba to absorb all the 

syrup. 

Finally, fill the middle of the baba with pineapple 

chunks and whipping cream and finish by 

decorating the edge with whipping cream, 

pineapple and cherries.

NORMANDY SOLE & RUM BABA 

1 2 

3 

41

Jacky Ickx 

11 Oeuvre by Peter 

Jacky Ikcx, born as Jacques-Bernard Ickx on the 1st of January 1945 and son of the respected Belgian 

motoring journalist of the same name, Jacky began his career successfully in motorcycle trials events 

and later raced a Lotus Cortina with great success in saloon car events. He exploded to prominence 

at the age of twenty-two when he drove a Tyrrell F2 Matra MS7 with remarkable zest in the German 

GP at Nurburgring, running amongst the leading F1 aces in the top half-dozen before the French 

machine broke its suspension. Ickx scored a Championship point on his first GP outing at Monza that 

same year at the wheel of a Cooper-Maserati, but it was his success in winning the 1967 European 

F2 Championship for Matra that secured this very formal young gentleman a place in the works Ferrari 

team the following year. He drove brilliantly to win the French GP at Rouen and was in the running 

for the World Championship right up the Canadian GP where a stuck throttle in practice resulted in 

a broken leg. 

For 1969 he switched to the Brabham team. But the team is focused on owner Brabham. His first 

results are poor, but when Brabham breaks his foot, Ickx gets the first car and things immediately start 

to improve. winning the German and Canadian Grand Prix, but this move had been massaged by the 

Gulf Oil Corporation who wanted to have Ickx driving their GT40 sports cars; it was a worthwhile 

move, however, for he won Le Mans for them! In 1970 he returned to Ferrari where he used the superb 

new flat-12 312 to win the Austrian, Canadian and Mexican Grand Prix, only just failing to exceed the 

points total accumulated by Jochen Rindt prior to his death at Monza. The 1971 season yielded no 

victories for Ickx, but 1972 saw him win the German Grand Prix at Nurburgring, the last such success 

of his career. In the middle of 1973 he quit Ferrari and transferred to Team Lotus alongside Ronnie 

Peterson the following year, but apart from a fine wet weather win in the non-title Brands Hatch Race 

of Champions, Ickx now found himself locked into a gradual decline. 


42 

© BELGA 

He quit the team mid-way through 1975 and then squandered what was left of his prestigious 

reputation with a disastrous foray with the Wolf- Williams team during the first half of 1976. A brief 

foray with Ensign in the second half of 1976 went some way to restoring his reputation, but his F1 

career petered out in 1979 after he deputised for the injured Patrick Depailler in the Ligier squad. He 

subsequently became Clerk of the Course for the Monaco Grand Prix, but had his licence withdrawn 

in absolutely outrageous circumstances following the 1984 race when he was obliquely accused of 

favouring Alain Prost's Porsche-engined McLaren which had just emerged victorious as he flagged 

the race to a premature halt in monsoon conditions. 

Ickx's links with Porsche made him partial, so the critics said. Truth be told, it was a ludicrous reflection 

on FISA inability to administer the sport even- handedly. Gentlemen who know their stuff like Ickx were 

rare gems and badly needed on the administrative side. He was married for many years to Catherine 

Blaton, daughter of the wealthy Belgian industrialist Jean Blaton, a regular Ferrari privateer at Le mans 

in the 1960s who raced under the pseudonym of 'Beurlys'. Ickx continued with sports cars for several 

more years, winning Le Mans five times. 

© CAPRICORN/ANP

Review page 

13 been here, seen this? by Peter & Toon 

RUBIK’S CUBE 

Rubik's Cube literally took the world by storm in 

the early 1980's, winning England's "Toy of the 

Year" award for two consecutive years (1980 and 

1981) and becoming one of the best-selling toys 

ever. The Cube was so popular during the early 

part of the decade that the entire decade is now 

associated with the Cube and an entire 

generation of children grew up with a Cube in 

their hands. 

Ernö Rubik actually invented his Magic Cube in 

1974. A teacher of three-dimensional design at 

the Academy of Applied Art in Budapest, Rubik 

designed his Cube to help teach his students to 

think in three dimensions and to develop spatial 

reasoning skills. He did not envision the 

immense popularity that his puzzle would obtain, 

nor could he imagine the impact that his Cube 

would have on the world of mathematics. 

DISCREET 59201 

FRANK ZAPPA 

Yes, dear readers, the Brain has been busy again. 

And how! Zappa is clearly going through a 

rejuvenation. After the first period of the Mothers, 

full of cynical parodies, and the long instrumental 

period, followed again by a parody with old Turtles 

and all in line with a very tedious jazz period, Zappa 

came on strongly with Overnite Sensation: fairly 

simple music with cynical lyrics and filthy words 

sung by the master himself, through which he has 

apparently processed all his influences. This time it 

happened without the Mothers, even though a few 

faithful friends did enter the studio. They produced 

an album which links up closely with the previous 

one as regards the lyrics and delivery. The melody 

structures, too, are still very simple, but as regards 

the arrangements, it uses elements from every 

period of Zappa’s musical past: this means brass, 

cymbals, individual tempo variation, the marimba 

sounds of Uncle Meat, do-be-do-wa-wa choirs from 

‘Ruben and the Jets’, the mass choirs of ‘200 

Motels’, all supporting a splendid album ‘for your 

dining and dancing pleasure’ as Zap says it himself: 

Well said Zap: the musicians whom Frank has 

invited have names to make choirs of angels burst 

into songs of rejoicing, and you, too: Aynsley 

Dunbar, Jim Gordan, Jack Bruce, George Duke, 

Jean-Luc Ponty Sugar, Cane Harris, Ian 

Underwood, Bruce Fowler, Ray Collins, and a 

number of others. All to be enjoyed one by one, and 

even Zappa shines in their midst, because apart 

from the only instrumental piece on this album, 

Zappa is in very good shape. 

44 

MCM/782 APL 

The MCM/782 APL computer, designed by a 

Canadian company Micro Computer Machines 

Inc. (MCM) in the period between 1972 and 73, 

is the earliest example of a microcomputer 

manufactured specifically for personal use. 

MCM was among the first companies to fully 

recognize, articulate, and act upon the immense 

potential of microprocessor technology for the 

development of a new generation of cost 

effective computing systems. The MCM/70 

looks a bit like an old-fashioned answering 

machine with a built-in keyboard. Designed in a 

time before floppy disks, the MCM/70 used 

automated 100 kb built-in tape drives to store 

information and weighted 9 kg. But it was 

coveted by computer programmers, accountants 

and insurance agents for its power, small size 

and reasonable price tag. It’s inventor Mers Kutt 

wanted something that could fit in a suitcase, so 

he built around Intel Corp.'s 8008 

microprocessor. Weighing 20 pounds, the 

MCM/70 wasn't as light as today's laptops. 

The album opens with a short story with four 

numbers about Nanook the Eskimo, who is not 

allowed to eat any snow which has turned yellow 

(because of what? Yuk!). He is pestered by a fur 

hunter, puts him out of action, and more specifically 

blinds him with the yellow snow crystals. The only 

one who can cure him is St. Alfonso, where Father 

Vivian O’blivion marks the spot and other things. 

That’s the story, with splendid fifties choirs and a lot 

of musical jokes. The first side concludes with one 

of Zappa’s major numbers about the mystery 

maker, gurus and such like, Cosmic Debris, sung 

(or, rather, spoken) by Zappa in old style, with a lot 

of participation/interventions from a genuine 

Broadway Musical. Side two is brilliant and proves 

that only Zappa can produce seventies music with 

a fifties feeling. Excentrifugal Forz is a splendid 

blues parody, Uncle Remus is once again full of old 

rock elements, even delivered with very modern 

means. ‘Stink Foot’ is about sweaty feet and 

enables Zappa to perform some praiseworthy work 

with the guitar and pedal, which is never really 

absent, of course, much like this album in fact. This 

is worthy of recommendation, and since you can 

hardly speak in letter symbols (‘) you can ask for an 

apostrophe at the record shop. 

Peter Cnop 

SUPER BRUTE 295 SNOWMOBILE 

Manufactured by Alouette Recreational Products 

Limited (a subsidiary of Coleco Ltd.) of Montreal, 

Quebec, Canada. 

The 1974 Super Brute 295 was distinguished by 

its avant-garde design. It offered a number of 

important new features, the main one being its 

front Ski-Sorber suspension system. A shock 

was mounted on an articulated arm to replace 

the leaf springs previously mounted on the 

directional skis. 

Internally operating track with a horizontally 

toothed sprocket, reducing vibrations and 

providing better performance. 

Embossed aluminum frame for more body. 

Highly profiled seat hiding the gas tank, which 

was located under the handlebars. 

Windshield, dials and headlight located on the 

vehicle’s steering mechanism. 

Many of this model’s innovations would be 

borrowed by other manufacturers. 

THE TANGA 

1974 was the year when the string, originally 

called tanga, made its way to Europe and the 

States. It came over from Brazil where it was first 

spotted on the beaches of Rio de Janeiro. The 

seventies being the decade of sexual 

emancipation, thousands of women couldn’t 

wait to lay their hands on the thing. The tanga 

consists of two tiny triangles of cloth joined by a 

cord over each hip. fashion designer Rudi 

Gernreich has been credited with introducing 

the first on in the US where they soon started 

calling it “thong” after the "Thong Song," This 

catchy hit song, which catapaulted the Dru Hill 

frontman up the music charts, had people of all 

ages singing about the hottest piece of clothing 

in years—the thong, th-thong, thong, thong. 

DIAMOND DOGS - DAVID BOWIE 

After Ziggy's suicide and temporary resurrection 

as Aladdin Sane (who retreated into his mod 

youth on Pin Ups), David Bowie had to look 

futurewards-and being David Bowie, went as far 

as he could, to Apocalypse Now. After plans to 

stage a musical 1984 were thwarted by George 

Orwell's estate, David Bowie stirred in a cast of 

androgynous deviants and completed Diamond 

Dogs, abandoning the Spiders, hiring 

sessioneers (Herbie Flowers, Tony Newman) and 

handling all guitar chores himself. Diamond Dogs 

was musical years away from David Bowie's past 

too; from 1984's Phillyfunk excursion and the 

futuristic garage band raunch of the title track 

and Rebel Rebel (an anthem of prime Ziggyish 

glitter-pop) to extravagant ballads like Rock 'n' 

POST-IT 

No one got the idea and then stayed up nights 

to invent it. A man named Spencer Silver was 

working in the 3M research laboratories in 1970 

trying to find a strong adhesive. Silver 

developed a new adhesive, but it was even 

weaker than what 3M already manufactured. It 

stuck to objects, but could easily be lifted off. It 

was super weak instead of super strong. 

No one knew what to do with the stuff, but Silver 

didn't discard it. Then one Sunday four years 

later, another 3M scientist named Arthur Fry was 

singing in the church's choir. He used markers 

to keep his place in the hymnal, but they kept 

falling out of the book. Remembering Silver's 

adhesive, Fry used some to coat his markers. 

Success! With the weak adhesive, the markers 

stayed in place, yet lifted off without damaging 

the pages. 3M began distributing Post-it Notes 

nationwide in 1980. Today they are one of the 

most popular office products available ... and we 

hate it. Although it has proven to be very handy 

most employees seem to use it primarily to cover 

their desks and computers with it. The post-it is 

everbodies favourite reminder ... but reminde 

that it’s not a very aesthetic invention. 

Roll With Me, Big Brother and Sweet 

Thing/Candidate that used a scene-painting 

Moog, mellotron and pining sax to considerably 

dramatic effect. David Bowie's voice also added 

a rich, sonorous warble to its register. The reissue's 

bonus tracks, the early plastic soul 

prototype Dodo and a completely different 

Candidate, lack clarity and finished arrangement 

but are nevertheless semi-precious curios.

Gaston Lagaffe 

13 by Franquin 

46 

© Editions Dupuis S.A.

Agenda 

15 by Peter 

Have an eye on the work of Pieter De Bruyne, a well known Belgian architect and furniture designer 

who died sixteen years ago at the age of 56. During his brief life he was very productive and ideas 

and work have influenced many generations of designers and architects. The three pictures show 

some of the interior of the house in which he lived. 

ICONEN VAN DE VLAAMSE DESIGN 

The exhibition “Icons of Design in Flanders” is the first exhibition of a series of exhibitions the 

Flemish Parliament will hold in “De Loketten” in the next few years. 

The impressive exposition hall, the former “counter hall” of the Postcheque, is a part of the Flemish 

House of Representatives. 

The Flemish Parliament is proud of exhibiting a remarkable selection of objects made by Flemish 

Designers. Modular is also selected with the Square Moon 4x 18W and the Nomad AR111. 

ICONS OF DESIGN IN FLANDERS 

Brussels, Belgium 

Until 04/03/2004 

www.vlaamsparlement.be 

Errata 

16 

Errata from Zinetta 7, page 5 

This project was credited wrongly in our previous issue. 

We apologize for our mistake. 

My Sushi - Milano 

Architect: studio 8&A : Anna Barile & Antonio Ottoboni 

featured products: square moon 

© vercruysse & dujardin fotografen 

47

Main office - Belgium 

Modular Lighting Instruments NV Rumbeeksesteenweg 258-260 8800 Roeselare Belgium 

Tel: **32 (0)51 26 56 56 Fax: **32 (0)51 22 80 04 Email: welcome@supermodular.com 

Australia, South-East Asia 

Modular Lighting Australasia 189a St. Johns Road Glebe N.S.W. 2037 Australia 

Tel: **61 295 71 88 00 Fax: **61 295 71 88 11 Email: welcome@jsblighting.com.au 

Italy 

Modular Lighting Italy Via Machiavelli 9, 34132 Trieste Italy 

Tel: **39 040 347 61 65 Fax: **39 040 348 37 91 Email: info@modularitalia.it 

Japan 

Modular Lighting Japan Terrace House B 1-9-7 Nishi azabu, Minato-ku Tokyo 106-0031 Japan 

Tel: **81-357 75 25 11 Fax: **81-357 75 25 12 Email: welcome@modularjp.com 

supermodular.com 

for a complete international dealerlist please log on to our website 

The Netherlands 

Modular Lighting Nederland BV Bouwerij 54 1185 XX Amstelveen The Netherlands 

Tel: **31 (0)20 347 30 47 Fax: **31 (0)20 347 30 48 Email: info@modular.nl 

Spain 

Modular Lighting Spain PG. Sant Joan 10, 08010 Barcelona Spain 

Tel.: **34 93 244 43 43 Fax: **34 93 265 59 63 Email: modularspain@ca2l.com 

United Kingdom 

Modular Lighting U.K. 22-24 St. Giles High Street London WC2H 8LN United Kingdom 

Tel: **44 (0)20 7681 9933 Fax: **44 (0)20 7681 9943 Email: all@modular-lighting.co.uk 

Germany 

Modular Lighting Germany GmbH Lichtstraße 43 G 50825 Köln Germany 

Tel: **49 (0)221 88884 0 Fax: **49 (0)221 88884 444 Email: info@modularlighting.de

zinetta 8 - teclux

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