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Redessiner la Skyline de La Défense

Futur siège du groupe TotalÉnergies, The Link revisite le modèle de la tour traditionnelle pour l’adapter aux évolutions des modes de travail. Sa morphologie en deux ailes reliées par des plateformes, les « links », offre des espaces favorisant l’intelligence collective et permet de donner une place inédite à la nature au sein d’un immeuble de grande hauteur.

The Link étant doté de 2 800 m2 d’espaces extérieurs, aucun salarié ne sera à plus de trente secondes d’un accès à l’air libre.

Larges de plus de 8 mètres et dotés de jardins offrant des vues spectaculaires, les "links" sont pensés comme des points de rencontre. En reliant les deux bâtiments, ils créeront des plateaux de 3 000 m2, surface inédite pour une tour de La Défense.

Tous les étages fonctionneront en duplex via de grands escaliers ouverts créant des unités de 6 000 m2 qui pourront accueillir 500 personnes, soit quatre fois plus qu’un étage de tour classique. Les déplacements au sein de chaque étage se feront à pied de façon à multiplier les interactions et générer de la sérendipité.

Contenus associés

Grande Armée

À l’initiative du Comité Grande-Armée, PCA-STREAM livre « Grande-Armée 2030 », une vision stratégique basée sur une étude de son histoire et des enjeux urbains contemporains pour réinscrire l’avenue de la Grande-Armée dans la dynamique urbaine que connaît l’axe historique de Paris et l’adapter aux mutations de la ville du XXIe siècle.

Exposition "Champs-Élysées, histoire & perspectives"

L’exposition Champs-Élysées, histoire & perspectives présente une étude menée par PCA-STREAM entre 2018 et 2020, à l’initiative du Comité Champs-Élysées, avec la collaboration d’une cinquantaine de chercheurs, scientifiques, acteurs économiques et culturels français et internationaux. Elle retrace l’évolution de la « plus belle avenue du monde » et propose une vision adaptée aux enjeux contemporains.

Fabrique de l'Art

Dans un contexte de mutations des pratiques culturelles qui interroge l’avenir des musées, le Centre Pompidou a lancé un concours pour la création d’un nouveau pôle de conservation, remporté par l’agence PCA-STREAM avec le projet de la Fabrique de l’Art. Abritant les collections du Centre Pompidou et du musée Picasso, il offrira un pôle de réserve de référence réunissant dans un même bâtiment un lieu de recherche et de conservation de pointe, mais aussi un lieu de diffusion qui deviendra un nouveau centre de vie pour les Franciliens, au cœur d’un parc magique.

• DOSSIER DE PRESSE

• Paris — La Défense
• Architecture
• Nouveaux usages
• Modélisation
• Systèmes techniques

Accompagner la transformation de La Défense

The Link rééquilibrera la skyline de La Défense, en miroir de la Tour First, dans la perspective de l’axe historique, du Louvre à l’Arche de La Défense via les Champs‑Élysées. Elle offrira un nouveau signal visible depuis l’ensemble de la métropole parisienne et participera à la transformation du quartier d’affaires en un lieu de vie pacifié et reconnecté à la ville. L’emplacement stratégique de The Link, à la frontière de la dalle et de la ville de Puteaux permettra de créer un nouvel accès vers la Défense depuis la ville, notamment pour les personnes à mobilité réduite et les vélos. Ces travaux préfigurent la transformation du boulevard circulaire en un boulevard urbain apaisé, aménagé pour les piétons et les mobilités douces. The Link enclenchera enfin la rénovation complète du cours Michelet, l’un des quartiers historiques de La Défense, qui n’avait pas changé depuis les années 1980, avec un projet paysager de désenclavement.

Repenser le modèle de la tour

Les tours classiques sont condamnées par des limites intrinsèques, désormais rédhibitoires : verticalité, cloisonnement, minéralité, absence d’accès extérieur. PCA-STEAM a pris le parti de repenser les fondamentaux de la tour traditionnelle en inventant une nouvelle horizontalité répondant à un changement de paradigme dans l’organisation du travail. L’agence a imaginé une morphologie de tour innovante qui tire parti de la taille de la parcelle : la tour est dédoublée en deux ailes, reliées par trente liaisons, les « links ». Larges de plus de 8 m et dotés de jardins offrant des vues spectaculaires, ils sont pensés comme des points de rencontre qui deviendront autant de « places du village ». En reliant les deux bâtiments, ces links créeront des plateaux de 3 000 m 2 , surface inédite pour une tour de La Défense.

Tous les étages fonctionneront en duplex via de grands escaliers ouverts créant des unités de 6 000 m 2 qui pourront accueillir 500 personnes, soit quatre fois plus qu’un étage de tour classique. Les déplacements au sein de chaque duplex se feront à pied, sans prendre l’ascenseur, de façon à multiplier les interactions et générer de la sérendipité. Les façades vitrées toute hauteur offrent une luminosité exceptionnelle sur tous les plateaux. Par ses caractéristiques de modularité et de flexibilité, The Link est capable de s’adapter aux différentes configurations souhaitées avec une simplicité inédite pour un projet de cette envergure : bureaux cloisonné, open space, espaces mixtes, flex office, salles de travail connectées, box, espaces d’isolement… The Link étant doté de 2 800 m 2 d’espaces extérieurs, aucun salarié ne sera à plus de trente secondes d’un accès à l’air libre. Le jardin paysager en rooftop, à 154 m du sol, créera lui un nouveau belvédère spectaculaire sur Paris et l’axe historique.

Incarner une vision durable

The Link permettra à TotalÉnergies de réduire de 50 % sa consommation énergétique par rapport à ses tours actuelles, notamment via sa façade en double-peau, qui créera une isolation thermique et sera dotée de panneaux photovoltaïques. The Link favorise également l’utilisation de transports décarbonés : pas de parking voiture mais 350 m 2 de parking vélo en sous-sol, des accès directs à pied ou en vélo depuis le boulevard et une participation au financement de la restructuration de la station Esplanade du Métro Ligne 1, en parallèle de l’apaisement du boulevard circulaire… Sur l’ensemble du cycle de vie du bâtiment, le recours aux transports décarbonés par les collaborateurs de la tour participera à équilibrer le bilan carbone de sa construction.

Groupama Immobilier

Tour de bureaux dédoublée en 2 ailes comprenant : 30 plateformes de vie (« links »), un rooftop à ciel ouvert, 10 cafés et restaurants, 3 auditoriums, un Business Center, un centre sportif, un centre médical. HAUTEUR DE CONSTRUCTION — Aile Arche : 241mètres — Aile Seine : 178 mètres

Localisation

Cours Michelet, La Défense

Certifications

HQE “Outstanding”; HQE Sustainable Building 2016 (V3 – Jan. 2019); BREEAM Excellent; BREEAM international 2016 – New construction; Well Building Standard Label – Level: Silver Effinergie+ 2013 Certification; Biodivercity Label – Level: Basic

Preneur : TotalÉnergies Investisseur : Groupama Immobilier Maîtrise d’ouvrage : ADIM Paris Île-de-France — contrat de CPI AMO Investisseur : Egis Conseils — MA — CAPTIM Entreprise générale : Bateg MOC : Artelia BET Structure : Setec TPI Géotechnique : Fugro BET Façades : EPPAG BET HQE : GreenAffair BET Fluides : Barbanel BET restauration : Convergence Acousticien : Jean Paul Lamoureux Économiste : AE75 Bureau de contrôle : Véritas SSI et sécurité : CSD Faces Paysagiste conception : Coloco Paysage

Investor/builder: Groupama (SCI The Link La Défense)/ADIM Ile-de-France Architect: PCA STREAM - Philippe Chiambaretta Architecte Height/storey: 54 levels, 242 metres (Arche wing) and 178 metres (Seine wing) Surface area: 130,000 sq.m, offices (demolition, reconstruction) Delivery date: 2025 Location: Esplanade Sud, Michelet district (Puteaux)

The Groupama Group and Total have signed a Lease in Future State of Completion for the construction of The Link project, which will house Total's future headquarters in Paris La Défense. The Link, which refers to the "links" that will connect the two wings of the tower, is a project designed by the architectural firm PCA-STREAM on behalf of Groupama, the site owner, and is being built by Vinci Construction France.

A new iconic tower for Paris La Défense

Located in the Michelet district, The Link comprises two towers linked by 30 levels of green walkways. The 'Arche' wing will rise to 228 metres above the Parvis with 50 floors and the 'Seine' wing to 165 metres with 35 floors. The whole complex will rest on a common base of three levels between the urban boulevard and the forecourt. The walkways will allow the creation of 3,000 sq.m. and 6,000 sq.m. duplex floors, with all floors connected in pairs by large, open, easily accessible staircases. Employees will benefit from 130,000 sq.m. of office, restaurant, co-working and relaxation space. These spaces are designed to improve the quality of well-being at work and collective efficiency.

The tower will be built on the current site of the Michelet building, which will be demolished in 2021. This will be followed by the construction of The Link until 2025.

The Link invents a new tower model

Philippe Chiambaretta has rethought the fundamentals of the traditional tower to respond to a change in the work organisation model.

• A new horizontality: PCA STREAM has devised an innovative tower morphology that takes advantage of the size of the plot: the tower is split into 2 wings, connected by 30 links. Over 8 metres wide and equipped with aerial gardens offering spectacular views, they are designed as meeting points.
• New 6,000 sq.m. duplexes: by connecting the two buildings, these Links will create 3,000 sq.m. floors. All floors will function as duplexes via large open staircases creating 6,000 sq.m. units that will accommodate 500 people, four times as many as a conventional tower floor.
• Each duplex will have its own organic life, within which movements will be made on foot, without taking the lift, with the idea of multiplying human interaction.
• An "open-air" tower, with 2,800 sq.m. of outdoor spaces: 6 large terraces, 15 open-air hanging gardens, 6 naturally ventilated winter gardens, 2 rooftop gardens. No employee will be more than 30 seconds' walk from an outdoor space.
• A belvedere over Paris: the rooftop garden 154 metres above ground level creates a new view of Paris and the historic axis linking La Défense to the Louvre, via the Arc de Triomphe and the Concorde

The Link will have the highest environmental certification (HQE Exceptional), guaranteeing the best standards in terms of energy efficiency, thermal and acoustic comfort. 100% of the workstations will be first daylight and 25% of the energy required to light the tower will be provided by its photovoltaic façade. The work will be carried out in compliance with the Circular Economy Charter for the Real Estate and Construction sector, signed by Groupama Immobilier and VINCI Construction France.

The Link will enable Total to reduce its energy consumption by 50% compared with its current towers, thanks in particular to its double-skinned façade, which creates thermal insulation and will be equipped with photovoltaic panels.

Public spaces and traffic flow redesigned

The arrival of The Link tower in 2025 will transform the landscape of the Michelet district , which is currently isolated. In the future, the district will be largely connected to the rest of the Puteaux area and will bring a real dynamic to Paris La Défense. The Cours Michelet will be thoroughly renovated and planted.

The delivery of the Carré Michelet office complex (Eurosic Gecina) in September 2019 marked the start of this transformation.

In close collaboration with the Hauts-de-Seine Department and the City of Puteaux, a study was carried out in favour of creating urban connections to link the slab to Puteaux city centre. The redevelopment of the circular boulevard , which currently forms a border between the business district and the centre of Puteaux, is also being studied with a view to transforming it into a calm urban boulevard that can be crossed on foot.

Key dates for the project

• April 2019: Planning permission granted
• March 2020: signing of the Lease in Future State of Completion between Groupama and Total and the Property Development Contract between Groupama and VINCI Construction France
• 2020: demolition of existing buildings, design
• 2021: construction of the foundations
• 2022: construction of the base (7 floors, from the 2nd basement to the 2nd floor)
• 2023 - 2025: construction of the structure at the rate of one floor per week, interior fittings 2nd half of 2025: finishing touches, inspection and acceptance of the site

Labels and accreditations

• HQE SUSTAINABLE BUILDING 2016 OUTSTANDING
• BIODIVERCITY BASIC
• BBC EFFINERGIE +
• WELL BUILDING STANDARD CORE & SHELL SILVER
• BREEAM INTERNATIONAL 2016 NEW CONSTRUCTION EXCELLENT

Click to enlarge

The Link © PCA-Stream

The Link from Puteaux © PCA Stream

Did you know ?

The Link encourages the use of low-carbon transport: no car parking but 350 sq.m. of underground bicycle parking, direct access on foot or by bicycle from the boulevard, calming of the circular boulevard, etc.

• Enseignement
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• Faits Divers
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• Animation Commerciale
• Conseil départemental des Hauts-de-Seine
• Entreprises
• Paris La Défense
• Restauration
• Westfield Cnit
• Westfield Les 4 Temps
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• Technologie
• Aménagement Urbain
• Architecture
• Espace Vert
• Circulation

The Link, le futur siège de TotalEnergies se dévoile un peu plus

Le chantier avance bien… Lancé en début d’année avec la destruction de l’ancien immeuble Michelet , les travaux de construction de The Link, le futur siège de TotalEnergies sont entrés dans une nouvelle phase, cruciale, avec la création des fondations de l’édifice . « Sur le chantier les fondations sont en train d’être creusées, avec des pieux à soixante mètres de profondeur, une distance jamais atteinte jusque-là et rendue nécessaire par la proximité de la Seine et les dimensions de The Link », affirme dans un communiqué Groupama Immobilier qui porte le projet depuis 2016.

Cette étape du chantier se terminera en janvier prochain, avant l’achèvement du terrassement au cours du mois de mai. En juin 2022 l’immense radier en béton, le socle du building sera coulé. Viendra ensuite la construction de la cinquantaine d’étages de l’édifice dont l’inauguration est prévue pour 2025.

Ce chantier mené par le groupe Vinci avoisine le milliard d’euros et va générer 1 500 à 2 000 emplois. Pour Groupama cet investissement français « donne un coup de fouet au secteur stratégique du BTP et toute la chaîne de la sous-traitance » avec plus de cinquante corps de métiers et 200 entreprises ce qui représente plus de sept millions d’euros d’heures travaillées.

« The Link inaugure une nouvelle génération de tours et sera le marqueur d’une nouvelle ère pour La Défense. Elle répond aux nouvelles attentes des utilisateurs avec un record d’espaces extérieurs et d’espaces de convivialité, la production d’énergie solaire et une porte d’entrée inédite depuis la ville de Puteaux à pied et en mobilité douces. The Link est aussi le signal de la vitalité d’un savoir-faire français en matière de ville de demain – nous sommes très fiers de réaliser une opération avec un investisseur, un architecte, un promoteur, un constructeur, un façadier et un futur occupant tous français », commente Eric Donnet, le directeur général de Groupama Immobilier qui dévoile de nouvelles images du projet dans une vidéo.

Destiné à accueillir le nouveau QG mondial du groupe français TotalEnergies, The Link a été imaginé par l’architecte Philippe Chiambaretta. Le bâtiment développant près de 130 000 mètres carrés de bureaux et services sera composé de deux tours, l’une de 52 étages et l’autre de 35, reliées entre elles par des « Links ». Le gratte-ciel comptera 2 800 mètres carrés de terrasses, jardins et rooftops. De très nombreux services seront intégrés avec notamment des restaurants, un fitness, un auditorium,…

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• Avant/Après
• Faits divers
• Arche Ouest
• Esplanade Nord
• Esplanade Sud
• La Garenne-Colombes
• Hauts-de-Seine
• Île-de-France

The Link : une nouvelle étape importante de franchie

La construction de la tour The Link, futur siège de TotalEnergies se poursuit avec une « étape clef », la réalisation du radier qui permettra de construire le socle des tours.

Sur son site internet, Paris La Défense, établissement public gestionnaire et aménageur du quartier d’affaires revient sur l’avancement des travaux de The Link, futur siège de TotalEnergies.

Il est ainsi expliqué qu’une étape clef débute, la « réalisation du radier de la tour ». « Le radier est une « dalle très épaisse » sur laquelle nous allons réaliser le socle de la tour puis les deux ailes de la Tour. Il s’agit donc d’un ouvrage majeur qui assurera la répartition des charges, raconte l’établissement public. Dans notre métier, il s’agit d’une étape clef dans l’avancement d’un projet car elle lance le démarrage du “gros-œuvre” ».

Pour réaliser les travaux et garantir l’accès au chantier, le boulevard circulaire devra être fermé durant plusieurs samedis dans les prochaines semaines. Il est ainsi expliqué que le boulevard sera partiellement fermé entre la boucle Gallieni et le carrefour Bellini, du vendredi à partir de 21 h et jusqu’au samedi minuit, les samedis 27 mai, 4 juin, 18 juin, 25 juin et 2 juillet. Concernant les déviations, elles seront similaires à celles « initiées lors du montage de la plateforme logistique ».

CREDIT PHOTO : ILLUSTRATION/LA GAZETTE DE LA DEFENSE

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Découvrez The Link, le nouveau siège de Total à La Défense

EN IMAGES. Le groupe Total a choisi de faire de la tour The Link, à La Défense , son futur siège. Découverte en images de ce bâtiment imaginé par l' architecte Philippe Chiambaretta.

• Philippe Chiambaretta gagne le nouveau QG de l'art contemporain de Montpellier
• Avec le ShAKe, Philippe Chiambaretta secoue l'architecture de bureaux

=> Plateaux dédoublés, espaces de rencontre multipliés, rapport à la ville modifié, façades bioclimatiques… découvrez la suite de ce reportage dans les pages suivantes

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NCT 127 Set 2 U.S. Dates in World Tour: Is Your City One of the Lucky Stops?

The shows will come just after the K-pop boy band release their new '2 Baddies' album.

By Jeff Benjamin

Jeff Benjamin

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After months of speculation,  NCT 127  is finally making their post-pandemic return to the U.S. this year for two dates in their ongoing world tour.

The K-pop boy band announced plans to play shows on both coasts in the U.S. this year. First up, hitting Los Angeles’ Crypto.com Arena on Oct. 6, followed by an Oct. 13 concert at the Prudential Center in Newark, N.J.

The two dates come as part of NCT 127’s “The Link” world tour, first announced in November 2021 and officially kicking off with a three-date run in the Seoul Sky Dome. The trek has also visited Tokyo, Singapore and Manila with a press release sharing that Latin American dates will be announced soon.

See latest videos, charts and news

The timing of the shows comes just after the Sept. 15 release of NCT 127’s upcoming album  2 Baddies , which the group announced and began teasing with new visuals and videos earlier this month.  2 Baddies  follows up NCT 127’s  Sticker  album from 2021 that peaked at No. 3 on the Billboard 200 and spent 17 weeks on the chart.

DJ Khaled & The Kid LAROI to Headline NHL Stanley Cup Concert Series

While speaking about his first solo single “Forever Only” released earlier this month, NCT 127 member Jaehyun also gave Billboard  some insight into the upcoming LP, its accompanying dance elements and forthcoming tour dates . “The style of choreography this time is kind of free; where you can express more of your own dancing style,” he said in the interview. “It was really fun to do the choreography…hopefully we’ll have a chance to meet our fans all around the world.”

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Sightseeing via Metro: Take the Red Line Tour of Los Angeles

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While car culture dominates Los Angeles , most of LA's main attractions are accessible via the LA Metro subway and over-ground train system. Of all the Los Angeles Metro lines, the Red Line has the highest density of attractions within walking distance. It's also the fastest since it's the only one that's all underground. This Metro Red Line tour will show you how to see some of LA's most famous sights and some lesser-known gems within an easy walk (or a little farther walk) of the Metro Stations. The entire line takes 29 minutes from Union Station to the North Hollywood Arts and Theatre District if you don't get off in between. The Downtown LA stations are so close together, with so many attractions in between, that you may find yourself walking from one station to the next rather than taking the train.

Aside from the attractions, you can visit from the Metro Red Line, you can also take a free Art Tour of the Metro art installations.

Union Station

Union Station is the Downtown LA terminus of the Red Line. It connects you to Metrolink inter-city commuter trains and numerous bus lines as well as the Metro Gold Line to  East LA and Pasadena. Right across Alameda Street from Union Station, you'll find El Pueblo de Los Angeles Historic Monument (Olvera Street), which includes LA Plaza museum of Mexican culture in LA, the Chinese American Museum ,and The Italian American Museum of Los Angeles in addition to its most popular feature, the Mexican Marketplace with its many vendors of Mexican imports and Mexican restaurants.

To the right of El Pueblo from Union Station at Alameda and Main Street is the southeast corner of New Chinatown . The Chinatown Gate at Broadway is just a couple short blocks straight up Cesar Chavez Avenue, but it's 4 more blocks up to Chinatown Central Plaza. You can also take the Gold Line one stop from Union Station to the Chinatown Station, which is a block and a half from Chinatown Central Plaza.

If you walk left out of Union Station, you'll be in Little Tokyo, where you'll find the Geffen Contemporary, a branch of the Museum of Contemporary Art and the Japanese American National Museum as well as numerous Japanese shops and restaurants.

From the south end of Olvera Street at El Pueblo, you're just a block and a freeway overpass from LA City Hall, which is a little closer to the Civic Center Metro Station.

Civic Center Metro Station

The Civic Center Metro Station lets you off in the middle of the three-block expanse of Grand Park with exits toward City Hall (Broadway/Spring Street) at the bottom of the hill and exits toward the Music Center (Hill Street/Grand Ave) at the top of the hill.

Grand Park itself has a small botanic garden, grassy areas, and benches as well as a large fountain at the top with a light show at night. Kids and adults cool off in the water in the summer. There's also a Starbucks near the foot of the fountain. The park hosts weekly outdoor yoga and various music events and festivals.

The Los Angeles Music Center on Grand Avenue includes five performance venues, one of which is Frank Gehry's stunning Walt Disney Concert Hall . There are free tours of both the Disney Concert Hall and the main Music Center Campus.

Next to the Disney Concert Hall heading south on Grand Avenue is The Broad , LA's newest museum of contemporary art, and across the street from that the main campus of the Museum of Contemporary Art (MOCA).

Behind the MOCA and the Omni Hotel in California Plaza, an outdoor performance venue used by Grand Performances summer concert series. The Angels Flight funicular railway - when it's operational – travels one block from California Plaza down to Hill Street. There's a stairway adjacent to Angels Flight for when it's not operating. At this point, you're closer to the Pershing Square Metro Station.

Pershing Square Metro Station

If you're heading for California Plaza, the Pershing Square Station is closer than Civic Center. Although Pershing Square itself is a block further south, there's an exit from the Metro station at 4th and Hill, a block below California Plaza. If Angeles Flight is running, you can catch a ride up the hill, otherwise, it's a steep walk up.

Pershing Square is also the closest stop for Grand Central Market , which is across from the Hill Street end of Angels Flight. If you walk through Grand Central Market to Broadway, the Bradbury Building is across the street on the other side. Just a square brick building on the outside, the elaborate ironwork inside was inspired by a science fiction novel and has been used as a movie location in a number of films.

This part of Broadway stretching several blocks south is known for the density of classic theatres, most of which are closed most of the time. A few are in use as clubs or churches, but they all open up for one night in January for Night on Broadway.

If you exit the Pershing Square Station at 5th and Hill, you'll be at Pershing Square itself with its colorful geometric sculptures. Facing the square is the Millennium Biltmore Hotel. It's worth stepping inside to check out the ornate lobby and Gallery Bar.

Pass Pershing Square and the Biltmore walking up 5th Street (or walk through the Biltmore) to reach the US Bank Tower, where you'll find OUE Skyspace LA with its 70th-floor Skyslide and Observation Deck.

Down the block, The Standard hotel at Flower and 6th has one of the most famous rooftop bars in the city. The romantic Perch restaurant and bar, one of the Coolest Downtown LA Bars , is on Hill Street right across 5th Street from the Metro exit.

On the south side of Pershing Square is the Jewelry District and a couple blocks east, centered around Spring Street, is Gallery Row, home to more than 50 art galleries, museums, theatres, and public art installations all within walking distance. The Downtown LA Art Walk takes place on Gallery Row on the 2nd Thursday of each month.

7th Street/Metro Center Station

7th Street/Metro Center Station is the closest Red Line Station to the attractions at LA Live, about 5 blocks south. It's also the connecting station for the Blue Line or Expo Line, which both have a stop closer to LA Live and the Convention Center.

This is the closest station to the Fig at 7th shopping center and food court, which you might find interesting if you're staying downtown and don't have a lot of options, but as far as shopping and eating go, it doesn't measure up to the larger malls and shopping options in Los Angeles .

The Expo Line will take you past USC and the Exposition Park Museums and across town through Culver City to Santa Monica .

The Blue Line will also get you closer to the LA Fashion District on the way south to Long Beach . 

Westlake/Macarthur Park Station and Up Vermont

The Westlake/Macarthur Park station is at Macarthur Park, where you'll find an interesting array of summer concerts at the Levitt Pavilion LA. Among numerous taquerias and other Mexican restaurants, another notable landmark at this stop is the original Langer's Delicatessen that has been open at this location since 1947.

The Consulate General of Mexico in Los Angeles on the far side of Macarthur Park often hosts art and cultural exhibits, film screenings, ​and music events.

If you're on the Red Line, you can relax and breeze through the Wilshire/Vermont Station. If you happen to be on the Purple Line, this is where you'll want to switch to the Red Line unless you're heading to the Wiltern Theatre, the Line Hotel or Normandie Hotel, or just want to embark on a deeper exploration of LA's vast Koreatown , which is about ten times the size of Chinatown.

Vermont & Sunset Station

Architecture, local art, and sunsets are the features attractions at Barnsdall Art Park in Hollywood. The park at the top of Olive Hill features Frank Lloyd Wright's Hollyhock House , which you can tour for a fee, and the Los Angeles Municipal Gallery, which you can visit for free. The sunsets are also free. During the summer, the park hosts outdoor theatre and wine events.

Another quirky attraction nearby on Hollywood Boulevard just east of Vermont (cross the street and turn right on Hollywood to the middle of the block) is La Luz de Jesus Gallery, a showcase for underground, counterculture art, and gifts.

There are also some popular nightlife options nearby, including Rockwell Table and Stage, where Jeff Goldblum and his jazz band are regularly in the entertainment lineup.​

Unless you're looking for Thai or Armenian food, you can probably skip Hollywood & Western Station, although the Metro Station itself and adjacent tile apartment building form an interesting piece of public art. There are a few low-end tourist hotels in the vicinity.

Hollywood & Vine Station

Hollywood and Vine is the second heart of Hollywood. You'll find the east end of the Hollywood Walk of Fame, the Capitol Records Building, views of the Hollywood Sign , the Pantages Theatre for Broadway shows, the Fonda Theatre for indie artist concerts, Avalon nightclub, and tons of other clubs, restaurants, bars, and hotels clustered right around this intersection.

The creepy Museum of Death, one of LA's Most Unusual Museums , is just east on Hollywood Boulevard at Gower

On Sunday mornings, it's the closest stop to the Hollywood Farmer's Market on Ivar north of Sunset, which is a good spot for people watching.

You can hoof it a couple blocks down Vine to Sunset, turn right and admire the geodesic Cinerama Dome. Scout for celebs hitting the flics at the ArcLight Cinemas or shopping for beats at Amoeba Music.​​

Hollywood & Highland Station

Hollywood and Highland is the real heart of Hollywood with the most attractions clustered in a small area. The Metro Station is under the Hollywood & Highland Center , which includes a shopping mall, restaurants, the Dolby Theatre , Dave & Buster's and Hard Rock Café, and incorporates the adjacent Chinese Theatre and Madame Tussauds . It also houses the office of Starline Tours, and a number of other LA bus tours and walking tours depart from here. 

Some of the most popular stars on the Hollywood Walk of Fame are right out front, and you'll find costumed characters on the sidewalk ready to pose with you for tips.

Immediately across the street, you'll find The Disney Entertainment Center, where Jimmy Kimmel, Live! is taped , El Capitan Theatre , which screens the latest Disney movies with live pre-shows and prop exhibits, and the Ghirardelli Soda Fountain and Disney Store.

Cattycorner across the intersection of Hollywood and Highland, Ripley's Believe It Or Not is on the corner, with the Hollywood Museum in the pink Max Factor building next door on Highland.

Heading left down Hollywood Boulevard from the Metro, you'll find the Hollywood Wax Museum, the Guinness World Records Museum, the Museum of Broken Relationships, the Egyptian Theatre, the historic Musso & Frank Grill and a bevy of Hollywood nightclubs and bars all up and down the side streets.​

You can walk the three and a half long blocks uphill on Highland to the Hollywood Bowl , which has a museum you can visit during the day, or catch the shuttle from Hollywood & Highland.

Universal City Station & North Hollywood

The Universal City Station is ​directly across from the Universal Studios Hollywood /NBC Universal complex. It's quite a long walk up the hill to Universal CityWalk and the theme park entrance, but there's a free shuttle from the Metro.

The Red Line makes its final stop at the north end of the North Hollywood Arts and Theatre District at Lankershim and Chandler. There are a couple dozen small theatres within a few blocks of each other. Some have resident professional companies with full seasons of shows and others rent out to independent productions. With various discount entertainment programs , you can often see a live play in this neighborhood (and some others) for less than the cost of a movie ticket.

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PARIS | The Link | 242m | 52 fl | 178m | U/C

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Groupama veut construire la tour la plus haute de France [...] Click to expand...

great tower!!!  

This tower could be the new headquater of Total (the oil company) http://immobilier.lefigaro.fr/article/groupama-veut-construire-la-tour-la-plus-haute-de-france_30368c6c-3a55-11e7-87cf-a12835191447/  

Nice, this would balance the skyline of La Defence.  

Not sure about the slanted top; there are already many of them in La Defense. The tower looks good anyway.  

LD used to be all flat-roofed, so I don't mind, and in fact, an additional spire would be appropriate, particularly if it could increase the height by a 30-50m The name is a little dumb though  

these are actually 2 towers linked by balconies. The tallest one is 244m and the small one is 174m  

217489394  

very very nice tower  

Groupama Immobilier and PCA-STREAM unveil The Link, the tower that will mark the advent of the new Defense, and will complete its entrance door. The Link concept wants to rethink the office tower, (too) long synonymous with verticality and isolation. “A tower in La Défense is schematically a stack of trays of 1800m2 on average, on which the employees are isolated in small groups of 150 people per floor. The access to natural light is uneven, non-existent outdoor spaces and common spaces where work together very rare. The traditional tower does not respond to the new paradigm of work spaces: places that promote cohesion, live together and collective intelligence, while respecting individual comfort, “observes Philippe Chiambaretta. This can generate an impression of isolation and anonymity among employees, “who often have only the only place to find themselves the foot of their turn”. PCA-STREAM has therefore devised an innovative tower morphology that takes advantage of the size of the parcel: the tower is split into 2 wings, connected by 30 platforms, the “Links”. These platforms constitute the essential and distinctive element of the high-rise They are more than 8 meters high and have terraces and suspended gardens on each floor, with spectacular views. They are thought to be collective work spaces, meeting points to create a link. True “village places”. The “Links” will mainly provide a solution to the oldest fault of the office tower: lack of horizontality. By linking the two buildings, these platforms will create trays of 3,000 m2, unprecedented surface for a Tour de la Défense. Better: all floors will be duplexed via large open staircases, creating 6,000 m2 units, which can be converted into enclosed offices or coworking spaces. To make 500 people work and live together: the equivalent of a business unit or a large SME. Click to expand...

Très beau - tout simplement  

Cyril said: Des rendus inédits sur le site de l'architecte https://www.pca-stream.com/fr/projets/the-link-39 Click to expand...

wow, what a great modern tower  

Good to have another spectacular tall building in Paris.  

This looks great  

Au terme d’un dialogue de six mois mené sur trois projets, le groupe Total a sélectionné le projet The Link pour accueillir en 2022, sur 120 000 m2, son nouveau siège social dans le quartier Michelet, à La Défense. Un protocole a été signé entre Total et Groupama Immobilier, propriétaire et développeur de ce projet, en vue de conclure un bail en état futur d’achèvement, acte définitif et engageant prévu pour la fin de l’année. Ce déménagement doit permettre permettre à Total de rassembler sur un lieu unique les collaborateurs des sièges des branches Total Global Services et holding, basées à Paris La Défense, soit quelque 6 500 personnes. Car les tours Coupole et Michelet, à La Défense, qui abritent aujourd'hui les équipes de Total, "ont vieilli" et "auront de plus en plus de mal à s'adapter aux normes HQE", a estimé le groupe. JLL a été retenu par Total pour l’accompagner et le conseiller tout au long de ce projet, tant dans la mise en oeuvre de la stratégie immobilière que dans les analyses et les négociations contractuelles techniques, économiques et financières, ainsi que dans le suivi de la construction du nouvel immeuble en tant qu’assistant à maître d’ouvrage. L’équipe projet est également constituée du cabinet Gide en qualité de conseil juridique de Total sur cette opération. « Le projet est remarquable par sa taille, The Link développant 120 000 m², mais surtout par son ambition et son approche innovante, avance JLL, retenu par Total pour l’accompagner et le conseiller dans le montage et le développement de l’opération. Ce projet est une opportunité de créer un environnement de travail qui combine bien-être, convivialité et efficacité au service des ambitions stratégiques de Total. » Conçu par Philippe Chiambaretta, l’architecte qui a conçu le #Cloud.Paris et le Stream Building aux Batignolles, The Link culminera à 244 m de haut, détrônant ainsi la tour First et ses 231 m au classement des gratte-ciel les plus hauts de France. Click to expand...

^^ What will happen to the old Tour Total?  

Total is going to sold it, as well as the smaller michelet total also owns. Then, we dont know what the future owner will do. Demolish it and rebuild something new, or refurbish it..  

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A tour narrated by current UCLA student tour guides is offered online and on-campus. These tours are designed for students in 9th grade and above.

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NCT 127 2nd Tour: Neo City - The Link

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• 2 Set lists
• 3.1 Canceled shows
• 4 References

History [ ]

On November 15, 2021, NCT 127 officially announced their return to touring with their reworked second world tour, Neo City – The Link, in support of their third studio album, Sticker , with the tour to begin in December 2021 in Seoul before performing at other major cities around the world including Chicago, Atlanta, New York, Dallas, Los Angeles, Amsterdam, London, Paris, and Berlin. [1] The Seoul concerts (December 17–19) served as the first concerts held at the reopened Gocheok Sky Dome since the beginning of the COVID-19 pandemic, as well as NCT 127's first domestic concerts in almost three years. The tour title, "The Link," is named from NCT's "universe" where the audience is being linked as one through music and dreams. [2] [3]

Due to the ongoing pandemic, attendees were required to present proof of vaccination and present a negative PCR test. Audience members had to observe social distancing in entering and departing the venue and being seated. Fans were not allowed to shout in the venue, and they were encouraged to clap loudly instead. In the Seoul concerts, only a maximum of 5,000 people were allowed despite the venue being able to accommodate 20,000 to 30,000 people. Due to pandemic restrictions and limited attendance, the December 19th Seoul concert was livestreamed via V Live ( Beyond LIVE ) for global fans and CGV Cinemas in South Korea for domestic fans. It was re-streamed on December 26, 2021.

Two additional dates were announced for January 2022 at the Saitama Super Arena in Japan, however these were cancelled in December 2021 due to Japan's new border controls and restrictions in response to the new Omicron COVID-19 variant.

On May 11, 2022, it was announced that their first Tokyo Dome concert will be released on Blu-ray on September 28 and that two new Japanese original songs will be performed at their Japan dome tour. [4] On May 13, 2022, it was also announced that the May 28th Tokyo Dome concert will be livestreamed via Beyond LIVE . [5]

Taeil did not participate at the show in Nagoya after testing positive for COVID-19 in Japan. Yuta did not participate at the Singapore show after testing positive for COVID-19. [6]

On August 25, 2022, Live Nation announced two U.S. tour dates. [7]

On September 26, 2022, SM Entertainment announced a special two-day Seoul concert, titled "Neo City : Seoul - The Link⁺". [8] The second show (October 23) would also be live-streamed via Beyond LIVE with re-streaming on November 20.

On December 8, 2022, the group announced nine additional tour dates in U.S. and Latin America. [9]

On January 6, 2023, SM Entertainment announced that Haechan will not participate at the tour in United States and Latin America due to heart palpitations. [10]

Set lists [ ]

Canceled shows [ ], references [ ].

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Bruno Latour, the Post-Truth Philosopher, Mounts a Defense of Science

He spent decades deconstructing the ways that scientists claim their authority. Can his ideas help them regain that authority today?

Bruno Latour at his home in Paris. Credit... Christopher Anderson/Magnum, for The New York Times

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By Ava Kofman

• Oct. 25, 2018

I n the summer of 1996, during an international anthropology conference in southeastern Brazil, Bruno Latour, France’s most famous and misunderstood philosopher, was approached by an anxious-looking developmental psychologist. The psychologist had a delicate question, and for this reason he requested that Latour meet him in a secluded spot — beside a lake at the Swiss-style resort where they were staying. Removing from his pocket a piece of paper on which he’d scribbled some notes, the psychologist hesitated before asking, “Do you believe in reality?”

For a moment, Latour thought he was being set up for a joke. His early work, it was true, had done more than that of any other living thinker to unsettle the traditional understanding of how we acquire knowledge of what’s real. It had long been taken for granted, for example, that scientific facts and entities, like cells and quarks and prions, existed “out there” in the world before they were discovered by scientists. Latour turned this notion on its head. In a series of controversial books in the 1970s and 1980s, he argued that scientific facts should instead be seen as a product of scientific inquiry. Facts, Latour said, were “networked”; they stood or fell not on the strength of their inherent veracity but on the strength of the institutions and practices that produced them and made them intelligible. If this network broke down, the facts would go with them.

Still, Latour had never seen himself as doing anything so radical, or absurd, as calling into question the existence of reality. As a founder of the new academic discipline of science and technology studies, or S.T.S., Latour regarded himself and his colleagues as allies of science. Of course he believed in reality, he told the psychologist, convinced that the conversation was in jest. From the look of relief on the man’s face, however, Latour realized that the question had been posed in earnest. “I had to switch interpretations fast enough to comprehend both the monster he was seeing me as,” he later wrote of the encounter, “and his touching openness of mind in daring to address such a monster privately. It must have taken courage for him to meet with one of these creatures that threatened, in his view, the whole establishment of science.”

Latour’s interlocutor was not the only person who felt that the establishment of science was under attack. The mid-1990s were the years of the so-called science wars, a series of heated public debates between “realists,” who held that facts were objective and free-standing, and “social constructionists,” like Latour, who believed that such facts were created by scientific research. To hint at any of the contention and compromise that went on behind the scenes, the realists feared, would give succor to the enemies of progress: creationists, anti‐vaxxers, flat‐earthers and cranks of all stripes. If scientific knowledge was socially produced — and thus partial, fallible, contingent — how could that not weaken its claims on reality? At the height of the conflict, the physicist Alan Sokal, who was under the impression that Latour and his S.T.S. colleagues thought that “the laws of physics are mere social conventions,” invited them to jump out the window of his 21st-floor apartment.

At the time, the science wars struck most people outside the academy, if they noticed them at all, as an overheated scholastic squabble. Lately, however, these debates have begun to look more like a prelude to the post-truth era in which society as a whole is presently condemned to live. The past decade has seen a precipitous rise not just in anti-scientific thinking — last year, only 37 percent of conservative Republicans believed in the occurrence of global warming, down from 50 percent in 2008 — but in all manner of reactionary obscurantism, from online conspiracy theories to the much-discussed death of expertise. The election of Donald Trump, a president who invents the facts to suit his mood and goes after the credibility of anyone who contradicts him, would seem to represent the culmination of this epistemic rot. “Do you believe in reality?” is now the question that half of America wants to ask the president and his legion of supporters.

“I think we were so happy to develop all this critique because we were so sure of the authority of science,” Latour reflected this spring. “And that the authority of science would be shared because there was a common world.” We were seated at the dining-room table of his daughter’s apartment in the 19th Arrondissement of Paris, where Latour, who is 71, was babysitting for his 8-year-old grandson, Ulysse. The apartment, he told me proudly, was purchased with the money that came with the award of the 2013 Holberg Prize, known as the Nobel of the humanities, for what the jury heralded as his “reinterpretation of modernity.” He was wearing a purple turtleneck sweater, his favorite burgundy slacks and sensible black walking shoes. He has a full head of dark, disheveled hair, and his vigorously overgrown eyebrows sweep several unsettling centimeters up beyond the rim of his round spectacles, like a nun’s cornette. “Even this notion of a common world we didn’t have to articulate, because it was obvious,” he continued. “Now we have people who no longer share the idea that there is a common world. And that of course changes everything.”

Those who worried that Latour’s early work was opening a Pandora’s box may feel that their fears have been more than borne out. Indeed, commentators on the left and the right, possibly overstating the reach of French theory, have recently leveled blame for our current state of affairs at “postmodernists” like Latour. By showing that scientific facts are the product of all-too-human procedures, these critics charge, Latour — whether he intended to or not — gave license to a pernicious anything-goes relativism that cynical conservatives were only too happy to appropriate for their own ends. Latour himself has sometimes worried about the same thing. As early as 2004 he publicly expressed the fear that his critical “weapons,” or at least a grotesque caricature of them, were being “smuggled” to the other side, as corporate-funded climate skeptics used arguments about the constructed nature of knowledge to sow doubt around the scientific consensus on climate change.

But Latour believes that if the climate skeptics and other junk scientists have made anything clear, it’s that the traditional image of facts was never sustainable to begin with. “The way I see it, I was doing the same thing and saying the same thing,” he told me, removing his glasses. “Then the situation changed.” If anything, our current post-truth moment is less a product of Latour’s ideas than a validation of them. In the way that a person notices her body only once something goes wrong with it, we are becoming conscious of the role that Latourian networks play in producing and sustaining knowledge only now that those networks are under assault.

This, in essence, is the premise of Latour’s latest book, “Down to Earth,” an illuminating and counterintuitive analysis of the present post-truth moment, which will be published in the United States next month. What journalists, scientists and other experts fail to grasp, Latour argues, is that “facts remain robust only when they are supported by a common culture, by institutions that can be trusted, by a more or less decent public life, by more or less reliable media.” With the rise of alternative facts, it has become clear that whether or not a statement is believed depends far less on its veracity than on the conditions of its “construction” — that is, who is making it, to whom it’s being addressed and from which institutions it emerges and is made visible. A greater understanding of the circumstances out of which misinformation arises and the communities in which it takes root, Latour contends, will better equip us to combat it.

Philosophers have traditionally recognized a division between facts and values — between, say, scientific knowledge on one hand and human judgments on the other. Latour believes that this is specious. Many of his books are attempts to illuminate, as he has written, “both the history of humans’ involvement in the making of scientific facts and the sciences’ involvement in the making of human history.” In a formulation that was galling to both sociologists and scientists, he once argued that Louis Pasteur did not just, as is commonly accepted, discover microbes; rather, he collaborated with them.

Latour likes to say that he has been attuned from an early age to the ways in which human beings influence their natural environment. His affluent family, proprietors of the prominent winemaking business Maison Louis Latour, had been cultivating the same Burgundy vineyards for more than 150 years when Bruno, the youngest of eight children, was born there in 1947. An older brother was already being groomed to run the family firm, so Latour was encouraged to pursue a classical education. At 17, he was sent to Saint-Louis de Gonzague, one of the most prestigious schools in Paris, where he mingled with other young members of the French elite. Although he was a wealthy and well-read Catholic, he found himself completely unprepared for the virulent snobbery of the capital. He was made to feel like the proud, provincial hero of a Balzac novel who arrives in Paris and soon discovers how little he knows about the ways of the world. It was at Saint-Louis de Gonzague that he began to study philosophy, a compulsory subject in the final year of French high school. The first text he was assigned was Nietzsche’s “The Birth of Tragedy”; unlike “all the confusion of mathematics,” it immediately struck him as clear and perfectly rational.

In 1966, he began his undergraduate study at the University of Dijon, where he developed an interest in epistemology — the branch of philosophy concerned with how knowledge is made — but even then he had started to suspect that most of what he was learning was “probably wrong.” Philosophers talked about science as though it were a purely cognitive enterprise, a matter of sheer intellectual virtuosity, and about scientists (when they talked about them at all) as logical, objective, heroic.

These suspicions only deepened over the following years, which Latour spent in the Ivory Coast, under the auspices of a sort of French Peace Corps to avoid military service. As he wrote his doctoral dissertation, he taught philosophy at a technical school in Abidjan and volunteered to work on a study commissioned by the French government. His task was to find out why French companies, which still owned and operated many of the factories in postcolonial Abidjan, were having such difficulty recruiting “competent” black executives. It took less than a day for Latour to realize that the premise was flawed. “The question was absurd because they did everything not to have black executives,” he told me. In the French-run engineering schools, black students were taught abstract theories without receiving any practical exposure to the actual machinery they were expected to use. When they were subsequently unable to understand technical drawings, they were accused of having “premodern,” “African” minds. “It was clearly a racist situation,” he said, “which was hidden behind cognitive, pseudohistorical and cultural explanations.”

In Abidjan, Latour began to wonder what it would look like to study scientific knowledge not as a cognitive process but as an embodied cultural practice enabled by instruments, machinery and specific historical conditions. Would the mind of a scientist or an engineer from, say, California seem any more “modern” or “rational” than that of one from the Ivory Coast if it were studied independent of the education, the laboratory and the tools that shaped it and made its work possible?

Before leaving Dijon for Abidjan, Latour met Roger Guillemin, a biologist who would soon go on to win the Nobel Prize for his work on hormone production in the brain. Guillemin later invited him to study his laboratory at the Salk Institute in San Diego, and so beginning in 1975, Latour spent two years there as a sort of participant-observer, following scientists around as they went about their daily work. Part of Latour’s immersion in the lab involved conducting actual experiments, and his co-workers would often gather around to watch. They couldn’t believe that someone could be, as he put it, “so bad and clumsy.” He found pipetting especially difficult. Anytime the slightest thought crossed his mind, he would forget where he placed the instrument and have to start all over again. He later realized that it was precisely his lack of aptitude for lab work that led him to pay such close attention to the intricate, mundane labor involved in the manufacture of objectivity.

When he presented his early findings at the first meeting of the newly established Society for Social Studies of Science, in 1976, many of his colleagues were taken aback by a series of black-and-white photographic slides depicting scientists on the job, as though they were chimpanzees. It was felt that scientists were the only ones who could speak with authority on behalf of science; there was something blasphemous about subjecting the discipline, supposedly the apex of modern society, to the kind of cold scrutiny that anthropologists traditionally reserved for “premodern” peoples. Not everyone felt the same way, however. The previous year, in California, Latour met Steve Woolgar, a British sociologist, who was intrigued by his unorthodox approach. Woolgar turned Latour on to the work of other sociologists and anthropologists, like Michael Lynch, Sharon Traweek and Harold Garfinkel, who had also begun to study science as a social practice. Latour, in turn, invited Woolgar to spend a few weeks with him studying his primates at the Salk Institute.

The two men collaborated on “Laboratory Life,” which after its publication in 1979 became a founding text in the nascent field of science and technology studies and, by academic standards, a breakthrough success. The book continues to challenge some of our most deeply held notions about how knowledge is made. No one had ever contested that scientists were human beings, but most people believed that by following the scientific method, scientists were able to arrive at objective facts that transcended their human origins. A decade and a half earlier, in his best seller, “The Structure of Scientific Revolutions,” the physicist-turned-philosopher Thomas Kuhn had done much to weaken the Whig interpretation of science by showing how historical advances were governed by contingency and debate. What Latour observed firsthand in Guillemin’s lab made the traditional view of science look like little more than a self-serving fiction.

Day-to-day research — what he termed science in the making — appeared not so much as a stepwise progression toward rational truth as a disorderly mass of stray observations, inconclusive results and fledgling explanations. Far from simply discovering facts, scientists seemed to be, as Latour and Woolgar wrote in “Laboratory Life,” “in the business of being convinced and convincing others.” During the process of arguing over uncertain data, scientists foregrounded the reality that they were, in some essential sense, always speaking for the facts; and yet, as soon as their propositions were turned into indisputable statements and peer-reviewed papers — what Latour called ready-made science — they claimed that such facts had always spoken for themselves. That is, only once the scientific community accepted something as true were the all-too-human processes behind it effectively erased or, as Latour put it, black-boxed.

In the 1980s, Latour helped to develop and advocate for a new approach to sociological research called Actor-Network Theory. While controversial at the time, it has since been adopted as a methodological tool not just in sociology but also in a range of disciplines, like urban design and public health. From his studies of laboratories, Latour had seen how an apparently weak and isolated item — a scientific instrument, a scrap of paper, a photograph, a bacterial culture — could acquire enormous power because of the complicated network of other items, known as actors, that were mobilized around it. The more socially “networked” a fact was (the more people and things involved in its production), the more effectively it could refute its less-plausible alternatives. The medical revolution commonly attributed to the genius of Pasteur, he argued, should instead be seen as a result of an association between not just doctors, nurses and hygienists but also worms, milk, sputum, parasites, cows and farms. Science was “social,” then, not merely because it was performed by people (this, he thought, was a reductive misunderstanding of the word “social”); rather, science was social because it brought together a multitude of human and nonhuman entities and harnessed their collective power to act on and transform the world.

In the fall of 2016, the hottest year on record, Latour took a plane from Paris to Calgary, Canada, where he was due to deliver a lecture on “the now-obsolete notion of nature.” Several hours into the flight, above the Baffin ice sheets to the west of Greenland, he peered out the window. What he saw startled him. That year the North Pole was melting at an accelerated pace. The tundra below, rent with fissures, reminded him of the agonized face from Edvard Munch’s painting “The Scream.”

“It was as though the ice was sending me a message,” Latour recalled in March. Dressed in a striking suit (straw-colored tie, blue waistcoat), he was speaking to a sold-out theater of some 200 people in Strasbourg as part of the city’s biennial puppetry festival. Although Latour is a figure of international renown on the academic circuit, his lecture — a sort of anti-TED Talk on climate change featuring an array of surreal images and acoustical effects — was anything but a traditional conference paper. Throughout the performance, Latour’s looming figure was hidden behind images projected onto a screen, so that it seemed as though he were being swallowed by his own PowerPoint presentation. The effect was a bit like watching “An Inconvenient Truth,” if Al Gore had been a coltish French philosopher who said things like “Scientists, artists, and social scientists like myself are beginning to propose what we call — and maybe it’s too exaggerated — a new cosmology.”

The idea that we can stand back and behold nature at a distance, as something discrete from our actions, is an illusion, Latour says. This was the message that the melting ice sheets were sending him. “My activity in this plane going to Canada was actually having an effect on the very spectacle of nature that I was seeing,” he told his Strasbourg audience. “In that sense, there is no outside anymore.” Appropriately enough, the show, which he has performed in several cities across Europe and will bring to New York this week , is called “Inside.” In our current environmental crisis, he continued, a new image of the earth is needed — one that recognizes that there is no such thing as a view from nowhere and that we are always implicated in the creation of our view. With the advent of the Anthropocene, a word proposed by scientists around the turn of the century to designate a new epoch in which humanity has become tantamount to a geological force, Latour’s idea that humans and nonhumans are acting together — and that the earth reacts to those actions — now sounds a lot like common sense. “He is really the thinker of the Anthropocene,” Philippe Pignarre, Latour’s French publisher of 40 years, told me. “A lot of scientists in France didn’t like him originally because he treated them like other workers, and they believed in having a special relationship to the truth. But now they are using his work. He is at the center of people who want to think about the world.”

“Inside” draws heavily on “Down to Earth,” his new book, which has been highly praised in France since its release there last fall. Scientists, he writes, have largely looked at the problem of climate-change denial through the lens of rational empiricism that has governed their profession for centuries; many limit their domain to science, thinking it inappropriate to weigh in on political questions or to speak in an emotional register to communicate urgency. Even though the evidence in support of global warming has long been overwhelming, some scientists continue to believe that the problem of denialism can be solved through ever more data and greater public education. Political scientists, meanwhile, have shown that so-called “irrational” individuals, especially those who are highly educated, in some cases actually hold onto their opinions more strongly when faced with facts that contradict them. Instead of accusing Trump supporters and climate denialists of irrationality, Latour argues that it is untenable to talk about scientific facts as though their rightness alone will be persuasive. In this respect, “Down to Earth” extends the sociological analysis that he brought to bear on factory workers in Abidjan and scientists in California to the minds of anti-scientific voters, looking at the ways in which the reception of seemingly universal knowledge is shaped by the values and local circumstances of those to whom it is being communicated.

Latour believes that if scientists were transparent about how science really functions — as a process in which people, politics, institutions, peer review and so forth all play their parts — they would be in a stronger position to convince people of their claims. Climatologists, he says, must recognize that, as nature’s designated representatives, they have always been political actors, and that they are now combatants in a war whose outcome will have planetary ramifications. We would be in a much better situation, he has told scientists, if they stopped pretending that “the others” — the climate-change deniers — “are the ones engaged in politics and that you are engaged ‘only in science.’ ” In certain respects, new efforts like the March for Science , which has sought to underscore the indispensable role that science plays (or ought to play) in policy decisions, and groups like 314 Action, which are supporting the campaigns of scientists and engineers running for public office, represent an important if belated acknowledgment from today’s scientists that they need, as one of the March’s slogans put it, to step out of the lab and into the streets. (To this Latour might add that the lab has never been truly separate from the streets; that it seems to be is merely a result of scientific culture’s attempt to pass itself off as above the fray.)

Of course, the risk inherent in this embrace of politics is that climate deniers will seize on any acknowledgment of the social factors involved in science to discredit it even further. In a New York Times Op-Ed , a coastal geologist argued that the March for Science would “reinforce the narrative from skeptical conservatives that scientists are an interest group and politicize their data, research and findings for their own ends.” This was what happened in the infamous 2009 incident now known as Climategate , when emails to and from scientists at the University of East Anglia, a leading center for climate research in Britain, were hacked, revealing exactly the kinds of messy debates that Latour documented in “Laboratory Life.” Climate skeptics cited this as proof that the scientists weren’t really discovering climate change but simply massaging the data to fit their preconceptions. Certainly the incident did not, as scholars of science and technology studies might have hoped, lead the public to a deeper understanding of the controversy and negotiation that govern all good science in the making.

Some might see this discouraging episode as a reason to back away from a more openly pugnacious approach on the part of scientists. Latour does not. As pleasing as it might be to return to a heroic vision of science, attacks like these — which exploit our culture’s longstanding division between a politics up for debate and a science “beyond dispute” — are not going away. After all, when climatologists speak about the facts in a measured tone, acknowledging their confidence interval, the skeptics claim the mantle of science for themselves, declaring that the facts aren’t yet certain enough and that their own junk science must also be considered. And yet when prominent climate scientists present their facts with passionate conviction, climate skeptics accuse them of political bias. This toxic cycle has further corroded the classical view of science that Latour has long considered indefensible.

“It’s an important political moment,” says Donna Haraway, a leading feminist S.T.S. scholar and philosopher of science, describing the rise of anti-scientific thinking and the pro-science mobilization it has inspired. “But it’s also an important moment not to go back to very conventional and very bad epistemologies about how scientific knowledge is put together and why and how it holds. Bruno has been incredibly creative and strong in making these arguments. We need to show the bankruptcy of this climate controversy without closing down the fact that science is a set of situated practices and not capital-S science.”

As the assaults on their expertise have increased, some scientists, Latour told me, have begun to realize that the classical view of science — the assumption that the facts speak for themselves and will therefore be interpreted by all citizens in the same way — “doesn’t give them back their old authority.” In an interview last year, Rush Holt Jr., a physicist who served for 16 years in Congress, described the March for Science as a turning point: People, he said, were realizing “that they need to defend the conditions in which science can thrive.”

Whether they are conscious of this epistemological shift, it is becoming increasingly common to hear scientists characterize their discipline as a “social enterprise” and to point to the strength of their scientific track record, their labors of consensus building and the credible reputations of their researchers. Some have even begun to accept that their factual statements about the world are laden with judgments and warnings — that, in Latour’s words, “to state the fact and to ring the bell is one and the same thing.” The grim tone of the most recent report from the United Nations Intergovernmental Panel on Climate Change, which spoke of the need for “rapid, far-reaching and unprecedented changes in all aspects of society,” marks a significant departure from the I.P.C.C.’s previous work, because it shows the scientific community, as the journalist David Wallace-Wells wrote for New York magazine , “finally discarding caution in describing the implications of its own finding.”

At a meeting between French industrialists and a climatologist a few years ago, Latour was struck when he heard the scientist defend his results not on the basis of the unimpeachable authority of science but by laying out to his audience his manufacturing secrets: “the large number of researchers involved in climate analysis, the complex system for verifying data, the articles and reports, the principle of peer evaluation, the vast network of weather stations, floating weather buoys, satellites and computers that ensure the flow of information.” The climate denialists, by contrast, the scientist said, had none of this institutional architecture. Latour realized he was witnessing the beginnings a seismic rhetorical shift: from scientists appealing to transcendent, capital-T Truth to touting the robust networks through which truth is, and has always been, established.

The great paradox of Latour’s life — one that is not lost on him — is that he has achieved a kind of great-man status even as so much of his work has sought to show that intellectual labor is anything but a solo endeavor. In the last two decades, he has become widely recognized as one of the most inventive and influential of contemporary philosophers, not just for his radical approach to science but also for his far-ranging investigations of modern life. His dozens of books include an ethnography of one of France’s supreme courts, a paean to the difficulty of religious speech, a mixed-media “opera” about the streets of Paris and a polyphonic investigation into the failure of an automated subway system — narrated, in part, by the subway itself. This work has inspired — or, depending on your point of view, infected — everyone from literary scholars and object-oriented philosophers to management theorists and seminarians.

Unlike most philosophers, for whom thinking is a sedentary activity, Latour insists on testing our taken-for-granted ideas about the world against the world itself. In effect, he has been running a 50-year experiment, during which he has collected data at the Salk Institute in San Diego, in the Amazon rain forest and in the Kenyan savanna. The current phase of this never-ending research has found him taking on a region commensurate with his global ambition. Latour has recently been traveling the world to observe the scientists who study the effects of climate change on what’s known as the critical zone — the thin layer of earth that stretches from the lower atmosphere down to the vegetation, soil and bedrock. It is “critical,” according to geologists, because it is the only place where terrestrial life can flourish. As Latour put it in his lecture in Strasbourg, “Everything we care for, everything we have ever encountered, is here in this tiny critical zone.” Much of his interest in the critical zone stems from his conviction that greater public understanding of it will more accurately show how climate science is made, before its hectic social dimension gets black-boxed.

One afternoon during the week before his trip to the Strasbourg puppetry festival, Latour met Jérôme Gaillardet, a soft-spoken geochemist, and Alexandra Arènes, a landscape architect whom Latour has described as a latter-day Copernicus, at the Institut de Physique du Globe de Paris, one of the country’s top research universities for earth and planetary sciences. Latour had paired his usual aqua Lacoste messenger bag and burgundy slacks with a brown suede jacket, pumpkin scarf and flat tweed cap, which gave him the appearance of a Wes Anderson character. The three of them were gathering to discuss a paper they had written for The Anthropocene Review, a transdisciplinary journal.

Latour first met Gaillardet and Arènes through Sciences Po, one of France’s leading universities, where he is an emeritus professor and served as the director of research. Under the guidance of Gaillardet, who directs the network of critical-zone observatories, or C.Z.O.s, in France, Latour has traveled to interview scientists at a handful of the more than 200 sites that informally constitute the international C.Z.O. network. He has become something of a celebrity on the critical-zone circuit, attending meetings at which prospective research is decided, giving talks about this highly heterogeneous region of the earth, publishing papers with environmental scientists (most recently in Science) and encouraging scientists to include humans as a variable in their studies.

The authors sat around a circular table in Gaillardet’s office. It was functionally decorated with an equation-strewn whiteboard, pedagogic rocks, geochemistry textbooks and a perpetually spinning desk globe. The idea for the paper emerged after Latour told Gaillardet that the standard representations of the critical zone were “a total disaster.” In contrast to the standard image of the earth, in which the critical zone is represented merely as a thin layer, their paper proposed a new representation in which the critical zone, the most fragile and threatened area of the earth, is the center of attention.

They tackled the comments with playful self-deprecation. Arènes realized they had to change the word “concrete,” which had a more material connotation for geologists than for philosophers. Gaillardet wondered whether a rock could be described as an agent, and pointed out several other flourishes that were “very rare” in scientific articles, such as the literary epigraph and the fact that a whole sentence was in parentheses. Latour proudly noted that theirs was most likely the only scientific paper ever to have cited Peter Sloterdijk. As they went through and made line edits to the text, Latour saw I was taking notes and turned to me with a wry smile. “Don’t say we are manipulating facts!” he said. “This is normal science. There is nothing untoward here.”

An hour into the discussion, during a tea break, Gaillardet presented Latour with a thick stack of books on geochemistry, several of which contained equations and problem sets. Latour considered his homework wistfully. The books seemed useful, but he wasn’t sure when he would find the time to give them the attention they deserved. He was especially interested in the monograph by Linus Pauling, whose work he had recently been revisiting. Impressed by Latour’s dedication, Gaillardet remarked that Latour could have been a scientist. The idea seemed almost too much for him to bear.

“I could have been a scientist,” Latour said with arch gravity. “I’ve wasted my life.”

“Oh, Bru- no! ” Gaillardet said, in the way in which one might comfort a wounded bird.

“To produce one fact!” Latour sighed, and pointed a finger in the air, as though to demonstrate its indisputable solidity. There was an ache in his eyes. “Can you imagine the pleasure of producing one fact?”

The week after we met in Paris, Latour traveled to the Vosges mountain range in Alsace-Lorraine, two hours southwest of Strasbourg, to observe Gaillardet and other scientists at work at the Strengbach Critical Zone Observatory. It was a clear, cold morning, and after a week of intermittent snow, the landscape was draped in white. In addition to several sweaters and a coat, Latour was wearing a brightly patterned red ascot, which seemed to be his way of subtly acknowledging the significance of the business at hand. Strengbach, one of the oldest C.Z.O.s in France, was originally established in 1986 to measure the effects of acid rain. In recent years, the 200-acre hillside forest, equipped with sensors and an array of high-tech devices, has become a site for studying the impact of climate change on water chemistry, soil content and vegetation.

Near the top of a winding mountain path, Gaillardet explained to me that some of the questions Latour had been asking the group, in particular about the influence of living organisms on geological processes, were difficult to answer because they forced scientists to reckon with knowledge outside their specialized fields. Part of the trouble with climate change has been that its breadth and complexity defy disciplinary boundaries, making it difficult for specialists to convey the implications of atmospheric patterns from their data alone. What the critical-zone observatories had done, Gaillardet said, was to draw together scientists working in Balkanized disciplines to describe minute environmental changes that more general models of earth-systems science could not detect. But even though human beings were the cause of these changes, earth-systems science had until recently focused on the natural world to the exclusion of the social.

With Latour’s appearance on the scene, labs like Gaillardet’s have started to study environmental changes with a thorough recognition that humans and nonhumans, society and nature, are inseparable, bound together in a web of reciprocal influence. This is not simply philosophical conjecture. As Latour has long maintained, critical-zone scientists themselves — like many environmental researchers — play a part in the cyclical processes they study: Others use their research to make changes to the very environment they are measuring, in turn challenging the traditional image of scientists as disinterested observers of a passive natural world. “I think what we’ve done with Bruno goes further than simple combination,” Gaillardet told me. “It changes the way that social science and earth science think.”

As we continued to climb, a view began to emerge of the copse of Germany’s Black Forest dotting the edges of the Rhine Plain. Recent storms had blown several large trees over our path, and at one point, we took a precarious shortcut, clambering over fallen branches while trekking downhill through thick snow.

Shortly after noon, we reached the summit of the mountain, where we discovered a low concrete bunker. Inside was the observatory’s gravimeter. A blue cylindrical machine, it measures differences in the mass of the water collected in a catchment farther down the mountain by tracking infinitesimal changes in gravitational force. The old Dell computer to which it was attached was taking a while to turn on. As we waited, Jacques Hinderer, an amiable geophysicist, explained some of the difficulties in obtaining precise data. Gaillardet kept his eye on Latour, who wore an expression of beatific delight, to make sure he was understanding the technical details.

When the computer finally came to life, its screen displayed a simple animation — green waves of varying thickness undulating against a blue background. Strictly speaking, they represented the gravitational effects of the ocean waves and the tide. But these tremors also reminded me of Latour’s description of the earth in the Anthropocene as “an active, local, limited, sensitive, fragile, trembling and easily irritated envelope.” He stood before the small monitor, rapt. “It’s beautiful that ocean waves can actually be heard in the middle of the Vosges,” he said. “The whole earth is made sensitive here. It’s very moving.”

Had they been among our circus that day, Latour’s critics might have felt that there was something odd about the scene — the old adversary of science worshipers kneeling before the altar of science. But what they would have missed — what they have always missed — was that Latour never sought to deny the existence of gravity. He has been doing something much more unusual: trying to redescribe the conditions by which this knowledge comes to be known.

Crowded into the little concrete room, we were seeing gravity as Latour had always seen it — not as the thing in itself, nor as a mental representation, but as scientific technology allowed us to see it. This, in Latour’s view, was the only way it could be seen. Gravity, he has argued time and again, was created and made visible by the labor and expertise of scientists, the government funding that paid for their education, the electricity that powered up the sluggish computer, the truck that transported the gravimeter to the mountaintop, the geophysicists who translated its readings into calculations and legible diagrams, and so on. Without this network, the invisible waves would remain lost to our senses. For a few moments, Latour stood reverently before the rolling waves on the screen. Then he said to the assembled scientists, as though he were admiring a newborn child, “Beautiful — you must be really proud.”

Ava Kofman is a contributing writer for The Intercept. This is her first article for the magazine.

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Callisto: Space Innovation Tour

Come aboard the orion spacecraft and discover the inner workings of new, special space technology that flew to the moon during nasa’s artemis i flight test..

Frequently Asked Questions

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The 13 Best Los Angeles Tours

Maximize your time in Los Angeles with the insider tips and historical context provided by the best local tours.

Courtesy of Bikes and Hikes LA

At more than 465 square miles, Los Angeles defies easy exploration. Even those who dream of touring the city's top attractions in a sporty convertible may be discouraged by the city's notorious traffic congestion and tough parking rules. To enjoy that stress-free, laid-back vacation California is famous for, choose an easy, efficient guided tour. Using both traveler sentiment and expert opinion, U.S. News selected some of the top tours in Los Angeles whose entertaining introduction to the city will engage intrepid explorers, first-time visitors and local residents alike.

Bikes and Hikes LA – Hollywood Sign Hike

Price: From $29 Duration: 3 hours

Summit Mount Hollywood on this hiking trip. You'll see Griffith Park and the Forest Lawn Mausoleum as well as the world-famous Hollywood sign and panoramic vistas of the city. Be ready for a workout: You'll hike approximately 4 miles round-trip. Reviewers say the tour is excellent and the guides provide lots of history during the hike.

Tours are offered daily year-round and depart at 8:45 a.m. and 4:15 p.m. The company also offers a shorter version of this hike and several bike tours of LA.

Check prices & availability on:

Open Bus Tours – Movie Star Home Tour

Price: From $35 Duration: 2 hours

Open Bus Tours whisks you through Hollywood and Beverly Hills in an open-top van to show you the places where the rich and famous play. The guide will point out landmarks associated with past and current celebrities, contemporary sports figures and YouTube stars, plus drive past famous movie studios and filming locations, if available. You can snap photos of mansions, the Hollywood sign, the Hollywood Walk of Fame, Rodeo Drive, the Sunset Strip, the Dolby Theatre and more. Visitors say they like leaving the LA driving to fun, knowledgeable guides who entertain them with gossip. Others emphasize that this is more of a sightseeing tour and wish that they saw more celebrity homes.

The tours are available from Thursday to Monday; there are four departures each day. The company also offers private tours.

Big Bus Tours Los Angeles – TMZ Celebrity Tour

Price: Adults from $59; kids from $49 Duration: 2 hours

Gossip, secrets and buzz-worthy names are the focus of this popular Hollywood Celebrity Hot Spot Tour from Big Bus Tours Los Angeles and TMZ, the famous celebrity news website. The guided bus outing departs several times daily from Hollywood and makes no stops. Instead, the entertaining guides show video clips, share stories, do giveaways and play games. Recent tour-takers who love celebrity gossip and pop culture offer very positive reviews of the outing, while some complain about not seeing any celebrities during their tour.

Tours depart multiple times daily. TMZ also runs a Hollywood Selfie Tour, which shuttles tourgoers to the best photo spots.

ExperienceFirst – Haunted Hollywood Walking Tour: True Crime, Creepy Tales

Price: Adults from $39; kids from $35 Duration: 2 hours

This ghost tour not only covers paranormal activity in Hollywood, but also delves into LA's crime history. You'll learn about serial killers who traumatized the city as well as the infamous Manson family murders. Among the locations you'll visit are the Hollywood Roosevelt hotel and the Hollywood Pantages Theatre. Reviewers say the tour is excellent and that guides are wonderful storytellers.

Trips depart at 6 p.m. nightly. ExperienceFirst also operates guided hikes to the Hollywood sign, among others.

Courtesy of A Day in LA

A Day in LA Tours – LA City Tour

Price: Adults from $99; kids from $89 Duration: 7.5 hours

Cruise from Venice Beach to Griffith Park and everywhere in between on this tour. Tourgoers will hop on an air-conditioned bus that's equipped with device charging ports and cruise in comfort to areas like Beverly Hills, Rodeo Drive and Santa Monica. First-time visitors to LA rave about how much you see in one day despite the city's famous traffic. Others appreciate spending about 40 minutes at each attraction so they could explore and take photos.

Trips depart daily around 8 a.m. A Day in LA Tours offers hotel pickup from Los Angeles area hotels for an additional fee. You can also take this tour from Anaheim.

Six Taste – Downtown Los Angeles Food Tour

Price: From $85 Duration: 4 hours

On this Downtown LA walking tour by Six Taste, visitors will sample signature dishes from five eateries while learning more about the history of downtown and the city's diverse cultures. Tastings may include pupusas, pizza, chicken mole and gelato. The company partners with more than 100 restaurants, so these tastings may change. Locals and visitors alike rave about the Six Taste guides and their selection of hard-to-find stands and shops, as well as the delicious food.

Downtown tours run on Saturdays and Sundays only at 11 a.m. The tour is vegetarian friendly. Some dietary accommodations can be made as long as you notify the company at least 72 hours in advance. Other popular Six Taste tours explore Santa Monica and the Arts District.

Malibu Wine Hikes – Malibu Wine Hike & Trail Tour

Price: From $49 Duration: 2 hours

California wine is a must-try for oenophiles, but you won't need to venture to Napa, Sonoma or Santa Barbara to sample some vino. Approximately 30 miles west of LA you'll find Malibu, a well-known beach town and home to Malibu Wine Hikes. On its 2.5-mile wine tour, you'll explore Saddlerock Ranch and its incomparable beauty, including the property's grape vines. Guides will tell you about the varietals the ranch grows and you'll get to taste the wine it produces. Visitors say they had a great time and are particularly wowed by the scenery.

Keep in mind this hike isn't accessible and strollers and wagons are not allowed. Tours depart Wednesday through Monday. Times can vary by day, but you can generally expect tours in the late morning and mid-afternoon. Malibu Wine Hikes also offers a popular tour in a four-wheel drive vehicle.

Sunset Ranch Hollywood – Mulholland Trail Tour

Price: From $75 Duration: 1 hour

Hop on a trusted steed and explore Griffith Park with Sunset Ranch. As you ride through the park, you'll see the Hollywood Sign, the Pacific and LA vistas. Tour-takers say that the guides are friendly and knowledgeable; the ride is a great option for beginners. They also rave about the views from the trail. While children are welcome, they must be at least 8 years old to ride; they company doesn't allow double riders.

You'll want to book your tour online in advance to secure a spot. Tours depart hourly from 9 a.m. to 3 p.m. If you want a longer ride, consider the two-hour Mt. Hollywood Trail Tour.

Courtesy of Architecture Tours L.A.

Architecture Tours L.A. – Silver Lake

Price: From $80 Duration: 2-3 hours

Architecture buffs and design professionals should book ahead for this tour of the Silver Lake neighborhood. For up to three hours, you'll view midcentury modern and contemporary homes by master architects Richard Neutra, Rudolph Schindler, John Lautner and other notables. Architectural historian and author Laura Massino Smith is your expert guide as she chauffeurs you through the neighborhood via van. Tour-takers appreciate Smith's insider access to homes designed by master architects that would otherwise be impossible to find or view up close.

Tours run daily around 10 a.m. and are given by reservation only. You can get tickets by contacting the company directly and you must have at least two people to book. Architecture Tours L.A. hosts a variety of other tours through Los Angeles neighborhoods, such as Hancock Park/Miracle Mile and West Hollywood/Beverly Hills.

Sidewalk Food Tours of Los Angeles – Downtown LA Food Tour

Price: Adults from $89; kids from $75 Duration: 3 hours

This vegetarian-friendly food tour of downtown Los Angeles appeals to travelers interested in the neighborhood's history and ethnically diverse culinary scene. You'll make six food stops that could include doughnuts, French pastry, Mexican tacos and Asian fusion. You'll also walk through Grand Central Market and see sights like the Biltmore Los Angeles, a luxury hotel, and the Million Dollar Theatre. Visitors rave about the knowledgeable guides and appreciate finding restaurants to return to, while locals enjoy learning about downtown and the city's hidden gem restaurants.

Expect to walk or stand the entire tour and bring a full water bottle. Tours run at 11 a.m. Friday through Monday. Many stops can accommodate gluten-free, vegan and dairy-free diets. Sidewalk Food Tours also offers a West Hollywood Food Tour and private food tours.

Surf City Tours – The Perfect Malibu Tour

Price: Adults from $85; kids from $70 Duration: 5.5 hours

See the homes of the rich and famous – with a side of spectacular ocean scenery – during this tour. Surf City Tours whisks you through Malibu to see the homes of celebrities like Lady Gaga and Cher as well as historic sites and filming locations. It also includes an hourlong stop so you can explore the beach on your own. Travelers say the tour is a must-do and appreciate the guides' enthusiasm and historical knowledge.

Tours depart at 9:30 a.m. daily. You must bring a car seat for all children 8 and younger. Tours depart from the company's location in Santa Monica. The company also runs a surfing trip and a Hollywood tour.

Universal Studios Studio Tour

Price: Included with park admission Duration: 1 hour

Movie fans will get a thrill out of Universal Studios' Studio Tour, a theme park attraction that moves tram riders around the studio backlot. Jimmy Fallon serves as your video tour guide who introduces short clips that serve to enhance the narration from your in-person guide. During the tram ride, you'll encounter the Jupiter's Claim set from "Nope," the shark from "Jaws" and other key props. Interactive experiences include watching a 3D King Kong battle a T. rex and racing alongside stars from "The Fast and the Furious" movie franchise. Both experiences are favorites of reviewers who especially enjoy the special effects. Some tour-takers feel that it is more of another theme park ride than a tour.

The backlot tours leave throughout the day. Tours are included with the Universal Studios Hollywood theme park ticket, which starts at $109 per person for one-day general admission. The park offers multiple shows and rides featuring famous animals, cartoon characters and blockbuster hits.

Warner Bros. Studio Tour Hollywood

Price: Adults from $70; kids from $60 Duration: 3 hours

Spend time with friends, scientists and wizards during the Warner Bros. Studio Tour. For one hour of the experience, a guide will drive you around the backlots of the studio while they tell you about the company's history and how they produce films and shows. The remainder of the the tour is self-guided. Tour-takers can explore sets from "Friends" and "The Big Bang Theory," see numerous costumes and props (including items from the DC Universe and "Fantastic Beasts") and grab a bite to eat or a souvenir at the cafe and shop. Tourgoers rave about this tour, calling it an absolute must for movie fans.

Tours are available daily from 9 a.m. to 3:30 p.m. You must select a specific time slot when you book. You can upgrade your experience to a Plus or Deluxe tour, which include longer guided tours and meals.

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Tags: Tours , Los Angeles , Vacations , Travel , California Vacations , US Vacations , U.S. West Vacations

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Toddler dies after being hit by SUV at gas station, officials say

NEOLA, Iowa ( WOWT /Gray News) - A toddler died after being hit by an SUV at an Iowa gas station Wednesday afternoon, according to officials.

The Iowa State Patrol said a 2024 Chevy Equinox was pulling slowly past the pumps at a Kum & Go gas station near Neola at about 2:30 p.m.

According to state patrol, a 2-year-old then ran in front of the vehicle.

The SUV, driven by a 67-year-old woman, hit the child, resulting in fatal injuries, according to the state patrol’s report.

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Authorities are continuing to investigate.

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Taylor Swift's Sweet Onstage Reaction to Football Lyric Amid Travis Kelce Romance Will Feel Like Flying

Taylor swift couldn't help but react to a lyric about dating a football player in her song "fifteen" during her june 2 eras tour concert in lyon, france..

Taylor Swift was feeling the alchemy during a recent Eras Tour stop. 

The "Fortnight" singer had an adorable reaction to singing a lyric that called to mind boyfriend Travis Kelce 's profession at her June 2 show in Lyon, France. 

In a video shared to TikTok , Taylor was seen sporting a wide grin and blushing as she performed her Fearless track "Fifteen." 

"In your life, you'll do things greater than dating the boy on the football team," she sang, before laughing to herself. "I didn't know it at fifteen."

After the crowd erupted in cheers over her cheeky delivery, the 34-year-old threw her head back before continuing on to sing the next line.

Fans were quick to draw a connection between Taylor's reaction and her romance with Travis, who she began dating last summer . 

"Our girl has got her forever man," one user commented under the video, "sooooo cuteeee."

Another fan joked about what Taylor must have been thinking while singing those words, writing, "She's like well that's ironic."

Of course, that's not the only time Travis got a subtle shoutout during her concert. Back in May, fans also caught a nod  to the Kansas City Chiefs tight end that was added into the choreography for Taylor's  Tortured Poets Department  segment of the show.

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During "So High School," the Grammy winner and her back-up dancers performed the swag-surf—a move Travis and his teammates often do to celebrate a win—while sitting on bleachers. 

The new setlist addition certainly earned approval from Travis, who shared he had a "blast" watching the updated version of the show in Paris alongside Taylor's pal Gigi Hadid and her boyfriend Bradley Cooper . 

"It was an all-around lovely night," the NFL star told brother Jason Kelce during a May 15 episode of their New Heights podcast. "I don't know if they're just getting better or if I'm just forgetting how they are."

Travis added, "It was electric."

Keep reading to relive Taylor and Travis' love story. 

July 2023: So, Make the Friendship Bracelets

Taylor Swift and Travis Kelce 's love story began in July 2023, when the singer's Eras Tour made a stop at Arrowhead Stadium in Kansas City, Mo.

As a huge Swiftie, the Kansas City Chiefs tight end caught the show with hopes of giving Taylor a friendship bracelet with his number on it . However, he failed to complete the pass due to her pre-show rituals.

"I was disappointed that she doesn't talk before or after her shows because she has to save her voice for the 44 songs that she sings," Travis shared on the July 26 episode of his  New Heights podcast. "So, I was a little butt-hurt I didn't get to hand her one of the bracelets I made for her."

Summer 2023: This Is Him Trying

After publicly recounting his fumble—a move Taylor would later describe as "metal as hell" —Travis decided to shoot his shot and invite the Grammy winner to watch the Chiefs play at Arrowhead Stadium.

"I threw it out there, I threw the ball in her court," he shared on The Pat McAfee Show . "I told her, you know, 'I've seen you rock the stage in Arrowhead, you might have to come see me rock the stage in Arrowhead and see which one's a little more lit.' So, we'll see what happens in the near future."

August 2023: Enchanted to Meet You

Travis was rocking a mustache—which he debuted in August during training camp—when he was first introduced to Taylor .

As he later noted of the era, "That 'stache and the 87 jersey was pretty iconic there for a little bit, and I had it when I met Taylor for the first time."

September 2023: Sparks Fly

By early September, a source close to the situation told E! News that Travis and Taylor were " texting and talking here and there ."

"It's been very low-key," the insider explained, "as he's been in season."

September 2023: Cheer Captain

Accepting Travis' invite, Taylor joined the athlete's mom Donna Kelce at Arrowhead Stadium to watch him and the Chiefs take on the Chicago Bears. After the game, Taylor and Travis were seen packing PDA at a local bar .

Though folklore had it that it was the couple's first in-person meeting, the "Karma" singer later clarified the two had spent a "significant amount of time" getting to know each other beforehand.

As Taylor noted, "We would never be psychotic enough to hard launch a first date." 

October 2023: Team Up

As an indication that the relationship was heating up, Taylor brought her squad —including friends Blake Lively , Ryan Reynolds , Sophie Turner , Hugh Jackman , Sabrina Carpenter and Antoni Porowski —to watch the Chiefs play against the New York Jets at MetLife Stadium in New Jersey.

October 2023: It's Nice to Have a Friend

Another sign that Travis could be The 1 ? Taylor started bonding with Brittany Mahomes —the wife of Travis' BFF and teammate Patrick Mahomes —in and outside of NFL games .

October 2023: Welcome to New York

The couple took their romance to TV, making a surprise appearance on the Oct. 14 episode of Saturday Night Live . Their Big Apple takeover also included the after-party for the NBC sketch show and a date night at the Waverly Inn .

November 2023: Karma Is Her Boyfriend

During a bye week, Travis traveled down to Argentina to catch the South American leg of Taylor's Eras Tour. Not only did the NFL star bond with Taylor's dad , Scott Swift , at the Nov. 11 show in Buenos Aires, but he also got a special shoutout from the stage.

" Karma is that guy on the Chiefs ," Taylor sang, "coming straight home to me."

After the show, the Midnights  artist was seen running up to Travis backstage and greeting him with a passionate kiss .

December 2024: Speak Now

Taylor addressed the lavender craze surrounding her appearances at Travis' games.

"I'm going to see him do what he loves, we're showing up for each other, other people are there and we don't care," she told Time . "The opposite of that is you have to go to an extreme amount of effort to make sure no one knows that you're seeing someone."

December 2023: You, Who Charmed Her Dad

The music superstar turned Travis' Dec. 17 game into a family affair, bringing her dad to cheer on her man .

January 2024: All the Midnights

Taylor and Travis spent their first New Year's Eve together, sharing a romantic kiss when the clock struck midnight on Jan. 1.

January 2024: Chosen Family

Continuing to bond with Travis' family, Taylor hung out with his brother Jason Kelce and sister-in-law Kylie Kelce at the Chiefs' game against the Buffalo Bills.

January 2024: Saved by the Perfect Kiss

Taylor joined Travis on the football field when the Chiefs won the AFC Championship , a victory that cemented the team's spot in the 2024 Super Bowl . The couple shared a celebratory kiss before exchanging the L-word .

"Tay, I'm gonna enjoy with the guys," he told her. "I love you—so much it's not funny."

February 2024: Super Bowl Champs

The pair locked lips on the field after Travis led the Kansas City Chiefs to victory on Feb. 11, 2024 in Las Vegas.

February 2024: TikTok Official

Taylor posted footage of Travis on social media for the first time Feb. 12, poking fun at how she took her parents clubbing with the athlete after the Super Bowl.

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Cyndi lauper announces farewell tour.

Ahead of the release of her documentary 'Let the Canary Sing,' the '80s icon has unveiled the 23-date stops for her final set of concerts in North America.

By Tatiana Tenreyro

Tatiana Tenreyro

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Cyndi Lauper is closing the chapter on touring with her Girls Just Wanna Have Fun Farewell Tour.

Ahead of the release of her documentary, Let the Canary Sing , Lauper announced her final North America tour, which kicks off this fall in Montreal. It also includes stops in Los Angeles, Boston, Nashville, Chicago and New York City — the latter being a hometown show for the singer. Special guests will accompany Lauper throughout the tour, with their names announced at a later date.

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Let the Canary Sing , which premiered at the 2023 Tribeca Film Festival, will stream exclusively on Paramount+ starting Tuesday. The documentary follows Lauper’s rise to fame and interviews with her family, friends and the ’80s icon herself.

The 23 Girls Just Wanna Have Fun Farewell Tour dates are listed below.

Fri Oct 18 | Montreal, QC | Bell Centre

Sun Oct 20 | Toronto, ON | Scotiabank Arena

Thu Oct 24 | Detroit, MI | Fox Theatre

Sat Oct 26 | Boston, MA | MGM Music Hall at Fenway

Sun Oct 27 | Washington, DC | Capital One Arena

Wed Oct 30 | New York, NY | Madison Square Garden

Fri Nov 01 | Nashville, TN | Bridgestone Arena

Sun Nov 03 | Columbus, OH | Schottenstein Center

Wed Nov 06 | Tampa, FL | Amalie Arena

Fri Nov 08 | Hollywood, FL | Hard Rock Hollywood

Sun Nov 10 | Atlanta, GA | State Farm Arena

Tue Nov 12 | Dallas, TX | American Airlines Center

Thu Nov 14 | Austin, TX | Moody Center

Sat Nov 16 | Houston, TX | Toyota Center

Tue Nov 19 | Phoenix, AZ | Footprint Center

Wed Nov 20 | San Diego, CA | Viejas Arena

Sat Nov 23 | Los Angeles, CA | Intuit Dome

Sun Nov 24 | Palm Desert, CA | Acrisure Arena

Tue Nov 26 | San Francisco, CA | Chase Center

Sat Nov 30 | Portland, OR | Moda Center

Sun Dec 01 | Seattle, WA | Climate Pledge Arena

Wed Dec 04 | Minneapolis, MN | Target Center

Thu Dec 05 | Chicago, IL | United Center

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