Schwarz
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Francie Rehwald wanted her mountainside house to be environmentally friendly and to be "feminine," to have curves. "I'm a gal," says the 60-year-old retiree.
Her architect had an idea: Buy a junked 747 and cut it apart. Turn the wings into a roof, the nose into a meditation temple. Use the remaining scrap to build six more buildings, including a barn for rare animals. He made a sketch.
Rebuilding any city is a complicated business. As soon as the flood waters began to subside in New Orleans, suggestions for what to do with a devastated city started coming from everywhere. Two local citizens suggest twenty points of entry.via metropolis
speaking of scams. some may know that schwarz was born in new orleans way back in 1955. my dad told me about the the "I bet i know where you got dem shoes" routine, so i was prepared when i was walking down the bowery one day and this guy came up and said "I bet i know where you got dem shoes."
you never know whats in a factory sealed box. i know of several people who bought a factory wrapped brick in a sony box off the street here in nyc in the 80's. im sure that scam is still around and what they really bought was an invaluable life lesson for one hundred dollars which is cheep if you dont do it twice. buyer beware. check out this nasty factory wrapped shit from a new orleans metro blogger.
yes, we are following fellow blogger Jim Louis's posted reports from new orleans on his email from nola blog.
we are also posting the digital photo e.mail attachments he's sending in. mostly images of his neighborhood in the fourth ward.
NEW ORLEANS, Nov. 7 - Something once unimaginable has begun to happen here: the United Parcel Service is delivering again downtown. At Langenstein's grocery, celery and pork chops are moving out the door, and revelers spill out of the Magazine Street bars on Friday nights.
But just a mile away, workers are struggling to restore some flood protection to the city, which would barely stay dry in even a modest tropical storm. Tens of thousands of homeowners, facing six-figure repair bills for their rotting houses, are unlikely to get more than a fraction of that from the government. As phones ring in empty offices, even the shrimp business can barely find customers, and the economy remains comatose.
[...]
Will New Orleans be granted a vastly strengthened flood protection system - at a cost of up to $20 billion - or will it be told to allow low-lying residential neighborhoods to return to marshland? Will the city have to take control of thousands of houses to restore them - at a cost that no one has calculated - or will it have to tell thousands of evacuated residents not to return?
Every major decision seems to rely on another decision that has to be made first, and no one has stepped in to announce what the city will do and break the cycle of uncertainty. Many residents and business owners will not return and invest without an assurance of flood protection, for example. But workers who could rebuild the levees and much of the rest of the city are hampered by the lack of housing.
The definition of art is not something that anyone would lightly undertake. Nor would it normally be left to a US customs official to decide. But that is exactly what happened in October 1926 when Marcel Duchamp arrived on the New York dockside accompanying 20 modernist masterpieces from Brancusi's studio that were destined for selling exhibitions in New York and Chicago. Duchamp at that time had given up art in favour of chess, and was trying to eke out a living by art-dealing with his friend Henri-Pierre Roché, mainly in Brancusi.
The point was that ordinary merchandise was subject to duty at 40 per cent, while art was not. And the customs official on duty at the time happened to be an amateur sculptor – just the sort of person to have bumptiously confident views about matters aesthetic. He took one look at the Brancusis, concluded that they weren't art, and levied $4,000 duty.
Two months after Hurricane Katrina displaced more than 1 million people, problems with federal housing aid threaten to spawn a new wave of homelessness.
In Texas, thousands of evacuees who found shelter in apartments face eviction threats because rents are going unpaid.
In Louisiana, some evacuees are beginning to show up in homeless shelters because they haven't received federal aid or don't know how to get it.
Advocates for the poor say the situation will worsen this winter.
“They are the poorest folks … and they are the ones who are going to be left with nothing,” says Sheila Crowley, president of the National Low Income Housing Coalition. “It's going to show up at homeless shelters this winter.”
The housing crunch could get tighter in November, because the Federal Emergency Management Agency (FEMA) wants to move an estimated 200,000 Katrina evacuees out of hotels as soon as possible.
That increases the need for apartments, trailers and mobile homes.
Pressure is building on FEMA to alter its policies. Two programs provide rent money directly to evacuees or reimburse local governments. But many evacuees have not received the cash or have used it for other needs. And some cities refuse to spend their own money up front.
It was 1895. Wright, twenty-eight, had only recently set up his own practice, after being fired by Louis Sullivan for taking on outside commissions on the sly. [Marion] Mahony, herself, had recently been dismissed from the employ of her cousin, Chicago architect Dwight Perkins, during an economic downturn.
It can be argued that it was Mahony's distinctive renderings that created the public face that helped Wright's work command attention throughout the world. It could be speculated that Wright's work, itself, was influenced by Mahony's role in the spirited exchanges of ideas that went on in his studio, yet she is one a series of pioneering women architects and designers who have disappeared into the deep shadow of their male associates - Lill Reich in that of Mies van der Rohe, Aino Aalto in that of Alvar Aalto, and Mahony, in that of both Wright and her husband Walter Burley Griffin. Observes Jeanne Gang, part of a very different and more indelible generation of women architects, “They seem to get erased.”
rip e stewart williams desert modernist