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modernist coffee table / bucks co barn sale find


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more big pink


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justins got some nice house porn going on over at materialicio.us


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Last week, floodwaters reached the front steps of Mies van der Rohe's Farnsworth House in the second "hundred-year" flood of Illinois' Fox River since 1996.

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contractors spacepen

via vz
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WILLIAM AIKEN WALKER / rural southern cabin paintings


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moms


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President Bush commemorated Hurricane Katrina's devastating blow Wednesday with a somber moment of silence. Across town, in a symbol of a federal-city divide that persists two years after the killer storm, New Orleans Mayor Ray Nagin marked the levee-breach moment with bell-ringing.

"We're still paying attention. We understand," Bush said in remarks afterward.

The president and his wife, Laura, were spending Wednesday's anniversary in New Orleans and Bay St. Louis, Miss., determined to celebrate those he said have "dedicated their lives to the renewal" of the region. But with New Orleans and the Gulf Coast far from their former selves after two years, some here think it's the president's dedication that should be in the spotlight.

The front page of The Times-Picayune advertised a scathing editorial above the masthead: "Treat us fairly, Mr. President." It chided the Bush administration for giving Republican-dominated Mississippi a share of federal money disproportionate to the lesser impact the storm had there than in largely Democratic Louisiana. "We ought to get no less help from our govenrment than any other vicitims of this diaster," it said.

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rip hilly kristal


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On the second anniversary of Hurricane Katrina, anger over the stalled rebuilding was palpable Wednesday throughout the city where the mourning for the dead and feeling of loss doesn't seem to subside.

Hurricane Katrina made landfall south of New Orleans at 6:10 a.m. Aug. 29, 2005, as a strong Category 3 hurricane that flooded 80 percent of the city and killed more than 1,600 people in Louisiana and Mississippi. It was the worst natural disaster in the history of the United States.

On Wednesday, protesters planned to march from the obliterated Lower 9th Ward to Congo Square, where slaves were once allowed to celebrate their culture. Accompanied by brass bands, they will again try to spread their message that the government has failed to help people return.

"People are angry and they want to send a message to politicians that they want them to do more and do it faster," said the Rev. Marshall Truehill, a Baptist pastor and community activist. "Nobody's going to be partying."

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In the two years since Hurricane Katrina, what has the rebuilding effort produced? No grand designs. No inspired vision for the future of New Orleans. There have been only a handful of earnest, grass-roots proposals to preserve what’s left of the historic fabric.

Amid this atmosphere of malaise, two recently announced projects for downtown New Orleans stand out as the first truly creative attempts to foster the city’s resurrection. The first, an extravagant proposal for a new New Orleans National Jazz Center and park by Morphosis, is the most significant work of architecture proposed in the city since the Superdome. The second, a six-mile-long park and mixed-use development along the Mississippi, designed by TEN Arquitectos, Hargreaves Associates and Chan Krieger Sieniewicz, would undo decades of misguided building on the riverfront.

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la vida de vagabundos americanos

via jzoller
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the james rose center

about jr
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The Lower Ninth Battles Back

The word "will" comes up constantly in the Lower Ninth Ward now; We Will Rebuild is spray-painted onto empty houses; "it will happen," one organizer told me. Will itself may achieve the ambitious objective of bringing this destroyed neighborhood back to life, and for many New Orleanians a ferocious determination seems the only alternative to being overwhelmed and becalmed. But the fate of the neighborhood is still up in the air, from the question of whether enough people can and will make it back to the nagging questions of how viable a city and an ecology they will be part of. The majority of houses in this isolated neighborhood are still empty, though about a tenth of the residents are back, some already living in rehabilitated houses, some camped in stark white FEMA trailers outside, some living elsewhere while getting their houses ready. If you measured the Lower Ninth Ward by will, solidarity and dedication, from both residents and far-flung volunteers and nonprofits, it would be among the best neighborhoods in the United States. If you measured it by infrastructure and probabilities, it looks pretty grim. There are more devastated neighborhoods in New Orleans and neighboring St. Bernard Parish, let alone Mississippi and the Delta, but the Lower Ninth got hit hard by Katrina. Its uncertain fate has come to be an indicator for the future of New Orleans and the fate of its African-American majority.

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the uncola


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It is empty of both normal matter - such as galaxies and stars - and the mysterious "dark matter" that cannot be seen directly with telescopes.

The "hole" is located in the direction of the Eridanus constellation and has been identified in data from a survey of the sky made at radio wavelengths.

The discovery will be reported in a paper in the Astrophysical Journal.

Previous sky surveys that have traced the large-scale structure of the nearby Universe have long shown, for example, how the clustering of galaxies is strung into vast filaments and sheets that are separated by great gaps.

But the void discovered by a University of Minnesota team is about 1,000 times the volume of what would be expected in typical cosmic gaps.
via vz
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NO house in France better reflects the magical promise of 20th-century architecture than the Maison de Verre. Tucked behind the solemn porte-cochere of a traditional French residence on Rue Saint-Guillaume, a quiet street in a wealthy Left Bank neighborhood, the 1932 house designed by Pierre Chareau challenges our assumptions about the nature of Modernism. For architects it represents the road not taken: a lyrical machine whose theatricality is the antithesis of the dry functionalist aesthetic that reigned through much of the 20th century.

Its status as a cult object was enhanced by the house’s relative inaccessibility. For decades it was seen only by a handful of scholars and by patients of a gynecologist whose offices took up the first floor. Later it was mostly used as occasional guest quarters for friends of the doctor’s family, who had long since settled into a traditional 18th-century apartment across the courtyard.

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Wright’s low-slung, earth-hugging houses, spread out horizontally, were usually covered by wide, overhanging roofs. The focus inside was a generous living area in a large masonry core that encompassed a large fireplace wall and a small kitchen. A wing of bedrooms and baths was laid out along an extended axis.

To open up interior space and provide light, Wright outlawed most interior partitions, created built-ins and multitasking furniture, put in broad bands of glass windows that functioned as exterior walls rather than as mere apertures, developed ingenious lighting fixtures and designed large areas of carpeting patterned to resonate with the house’s floor plan. In his 1932 autobiography, he wrote, “The most desirable work of art in modern times is a beautiful living room, or let’s say, a beautiful room to live in.”

For one of his most famous houses, designed for Frederick Robie of Chicago in 1908, he created a large, open living area (shown in a photograph) in which the dining room is reduced to a table surrounded by a set of high-backed chairs. The chairs themselves created an enclosure that gave diners a sense of intimacy within the larger surroundings. A storage unit with vertical and horizontal cabinets was built into a nearby wall, the whole replacing space-hogging conventional furniture.

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Australian Convict photos from the 20's

via jzoller
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Frank Stella, to the envy of many, is that rarest of artists: one who has known little of failure. His initial, post-collegiate efforts—the “Black Paintings”—met with almost immediate commercial success and critical acclaim. And since this auspicious start, his stature and influence have only increased over his nearly 50-year career. No serious museum of contemporary art can be without a Stella in its collection, and his works routinely fetch seven figures at auction.

While Stella (b. 1936; Malden, Mass.) is best known as a painter of flat (and, famously, shaped) canvases, he began introducing relief into his work as early as the 1970’s—and by the 1990’s, sculpture became, and remains, a major part of his output. And as Stella himself puts it, “It’s hard not to think about architecture when you’ve gone from painting to relief to sculpture.”

Indeed, architecture has been a serious focus of his now for nearly 20 years—and his achievements in this area, at least in the eyes of curators at the world’s most prestigious museum, merited a solo exhibition: “Frank Stella: Painting into Architecture,” which recently ran at New York’s the Metropolitan Museum of Art for three months. (A companion show, “Frank Stella on the Roof,” is on view through Oct. 28, 2007.)

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In an essay titled The Plight of the Prosperous,” published in 1950 in this magazine, Lewis Mumford dismissed the living accommodations of upscale New Yorkers as little better than slums. “I sometimes wonder what self-hypnosis has led the well-to-do citizens of New York, for the last seventy-five years, to accept the quarters that are offered them with the idea that they are doing well by themselves,” he wrote. The typical Upper East Side apartment, he said, was dark, airless, and badly laid out. Mumford was mostly right, but, by the time he was writing, design and construction standards were heading downhill so fast that the prewar buildings he was sneering at had come to evoke the grand living of a bygone era.

Today, if you want such luxuries as high ceilings and a dining room, an old building is pretty much the only place to find them. Forget Richard Meier and Jean Nouvel and their sleek glass condominiums: for connoisseurs of Manhattan apartments, the real celebrity architects have always been Rosario Candela, J. E. R. Carpenter, and Emery Roth, who designed the best buildings put up between the wars. That period—when Roth built the San Remo, on Central Park West, while Candela produced the sombre citadels of 740 Park Avenue and 834, 960, and 1040 Fifth Avenue—ended up being the glory years. Such buildings still represent the apogee of New York residential design. Brokers often mention Candela in their ads, because people will pay a premium to live in one of his buildings.

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Can't Get Used To Losing You
Andy Williams/English Beat

Words and Music by Doc Pomus and Mort Schuman


midi sound


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DO Research (from justins links page - blogger pulls prefab and modern images from odd sources)


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Politics, the political and design

Design, mostly, is a service industry, serving the status quo. It serves to replicate the given reality of our existence in which a ‘politics of the same’ — the only formal politics we have — is enacted. Obviously, this doesn’t happen in consciously overt ways, but rather through the inherent ontologically designing nature of design’s politically unexamined practices and the directional consequences of all that design brings into being. Or, put another way, ‘everything we design goes on designing’. What we are saying here then is that this designing is ever ideological, and this understanding of design, i.e., revealing the designed as continual process rather than just as realised product, is ever political.

It follows that if we want another kind of future than the one offered by the unsustainable status quo, then we all have to change direction, redirect our practices and all that they bring into being — this so we may become another way. Such change can only happen if design is not just acknowledged as political but also becomes politically engaged as an ethically redirective domain of human endeavour.

We cannot go back. While the overt political ideologies of the past have good and bad lessons to teach, they lack the conceptual and intellectual means to deliver sustainable futures. Likewise, democracy as we now know it — as just another marketed commodity choice based upon appeals to self interest rather than the collective good — is not going to deliver such futures. The massive changes needed to secure sustainable futures — such as major reductions in the negative impacts of economic activity, limits on resource utilisation and the initiation of socially just levels of equity — are not the kind of things that politicians are going to put in front of voters.

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Just a few years ago, preservationists worried that the town's collection of modernist houses, one of Connecticut's historical treasures, was in danger of destruction.

The houses' very design - smaller, one-story structures built with natural materials that flow into the landscape - put them at risk of being torn down to make way for the larger McMansions that have become so popular.

But the death in 2005 of Philip Johnson, one of the most famous of the modernist architects, and the opening earlier this year of his world-famous Glass House in New Canaan for public tours, seems to be turning the tide in favor of the town's notable modernist homes, according to local history experts and preservationists.

"People are coming looking for these houses, so the tear-downs have slowed down," said Janet Lindstrom, executive director of the New Canaan Historical Society. "They seem to be much more respected. Many of them are in the process of being refurbished and it could be that maybe five years ago, they would have been torn down and lost to us forever."

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conchords hq


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But her focus remains on how a business that once catered to the wealthy elite has gone mass-market and the effects that democratization has had on the way ordinary people shop today, as conspicuous consumption and wretched excess have spread around the world. Labels, once discreetly stitched into couture clothes, have become logos adorning everything from baseball hats to supersized gold chains. Perfumes, once dreamed up by designers with an idea about a particular scent, are now concocted from briefs written by marketing executives brandishing polls and surveys and sales figures.

With globalization, Paris and New York are no longer exclusive luxury meccas. Ms. Thomas notes that a gigantic 690,000-square-foot luxury mall called Crocus City (featuring 180 boutiques, including Armani, Pucci and Versace) is flourishing outside Moscow, and that a group of high-end boutiques will be part of a luxury complex called Legation Quarter, scheduled to open in Tiananmen Square later this year.

“Approximately 40 percent of all Japanese own a Vuitton product” today, she says, and one recent poll showed that by 2004 the average American woman was buying more than four handbags a year. With more people visiting Caesars Palace’s glitzy Forum Shops each year than Disney World, Las Vegas has made shopping synonymous with gambling and entertainment, even as outlet malls have brought designer clothing and accessories within the reach (and budget) of many suburbanites.

High-profile luxury brands like Louis Vuitton, Hermès and Cartier were founded in the 18th or 19th centuries by artisans dedicated to creating beautiful, finely made wares for the royal court in France and later, with the fall of the monarchy, for European aristocrats and prominent American families. Luxury remained, writes Ms. Thomas, “a domain of the wealthy and the famous” until “the Youthquake of the 1960s” pulled down social barriers and overthrew elitism. It would remain out of style “until a new and financially powerful demographic — the unmarried female executive — emerged in the 1980s.”

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the portland pullman (just needs paint)

via erin/steve
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Sinatra, Streisand, Rosemary Clooney and Tony Bennett — even Fred Astaire — have all recorded their songs: The husband-and-wife team of Marilyn and Alan Bergman has been writing irresistible tunes together for 50 years.

Their songs include "Nice & Easy," "In the Heat of the Night" (recorded by Ray Charles), "That Face," "You Must Believe in Spring," "The Way We Were" and "What Are You Doing the Rest of Your Life?"; they've written the lyrics for music featured in films as diverse as Tootsie and the original Thomas Crown Affair.

Alan Bergman has recorded an album of their songs with the Berlin Radio Orchestra; it's called Lyrically.

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warhol japanese tdk ad


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Braniff Airways "End of The Plain Plane"


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Orchestra of Our Time, Theatre Mobile for Satie's "Socrate"


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Calder Le Cirque


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1 dead in the attic


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interesting kuspit essay on youth culture but ultimately begs the point and terminally implodes in the final paragraphs :

I am arguing, along with theorists who view creativity in terms of evolution, that there is no significant creativity without a foundation in tradition, which symbolizes all that is memorable, mature, and of demonstrable value in a society, implying that tradition can never lose meaning and will always reward reflection; and iconoclasm that questions the finality and values of tradition and challenges traditional modes of understanding, but that remains valueless unless it achieves its own finality by becoming part of and holding its own in tradition, thus gaining lasting meaning and proving its continuing value to society.

I happen to think that avant-garde art has not unequivocally done so, however representative it is of modern society, with its cult of youth, indeed, its fetishization of youth, and can never convincingly do so, because to be avant-garde means to be incorrigibly adolescent in attitude and thus unable to relate to and respect tradition, which does not mean to blindly conform to it. Adolescence can express itself but not reflect on itself, which is why avant-garde art cannot become seriously traditional, that is, a civilizing force.



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rip queen of mean


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I feel enough time has passed that I can make a rather shocking confession. Who it would shock I am not sure. I've been living a Beware of the Blog lie for the past several months. Back on April 29th I posted the most elaborate item ever written about the psychedelic hippie (or hippy) flick You Are What You Eat (1968). If you missed it, you can still read it here. Now despite having given the history of this weird and often headache-inducing film, offering my opinions about its best and worst parts (and its absolutely fantastic soundtrack LP that you can listen to here), I need to come clean.

I never saw the movie.

As I stated in the original piece, You Are What You Eat is rather obscure - and nearly impossible to find. I owned the great soundtrack featuring The Electric Flag, Tiny Tim, Peter Yarrow, Rosko, The Band, and of course John Simon's My Name Is Jack, and had always wondered about the movie. I figured many other WFMU listeners did too.

I confess this now because my local Cinematheque had a (bootleg DVD) screening of the picture this past week. I was one of only five people in the audience - and the soundtrack remains superior. If you follow the link to that old article it has now been revised - as you might expect. I wonder if anyone noticed I was talking out of my ass back in April? It also makes me wonder how many film critics out there review movies without even bothering to watch them (Leonard Maltin - a measly two stars for Taxi Driver!?).

Can you ever trust me again?

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#232 - The Tijuana Brass Sound (Box Set) (mp3s)

The day is titled "The Tijuana Brass Sound", with an emphasis on "sound". Some of the songs may be direct covers or adaptations of Herb Alpert and the TB Sound and others just have that T-Brass magic.

I believe all of the songs featured are out of print but I could be wrong in some cases. I left out notable songs by Bob Moore, Henry Mancini, Herb's early cuts as Dore Albert and Perrey & Kingsley (because the music is available on CD), and a whole ton of boring copycat versions of Herb and the Brass' hits. Tracks by Johnny Mandel, Claude Bolling, Killer Watts and The Unocal Song came from sites online, but I'm not sure where (I completely forget), so thanks to the site/blog owners for sharing these songs, they helped to make this collection to share with others. Thanks to Pea Hix for Optiganally Yours and Derrick Bostrom for The Going Thing.

The majority of cuts are from vinyl I've picked up in various thrifts, shops and gutters over the years. Listen to that Tijuana Brass Pop, Crackle and Hiss! Embrace it. And then there are songs I have no clue how they landed at my pad, and why, and from whom, and at this point... I just stop questioning and keep listening as drowning ones self in hours upon hours of that brass sound, well, I'm not going nuts if that's what you are thinking. I'm actually loving it and I find myself extremely happy listening to this music.

There are so many songs out there that a 20+ CD box set could be compiled. Here my friends are 100 tracks to burn on 4 discs to play at your next social gathering.

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Le Corbusier: Art and Architecture
A Life of Creativity
Mori Art Museum
Tokyo, Japan

Architectural giant, the founder of modernism, the greatest architect of the 20th Century - just some of the accolades that have been attached to Swiss born Frenchman Le Corbusier (1887-1965). It is little known that Le Corbusier devoted his mornings to painting and sculpture; architecture only started in the afternoons when he went to his office.

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vinalhaven in the news


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john schwarz after calder mobile no.5


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It may strike many as strange that fashion design is not already covered by copyright law. Many creative industries argue, quite persuasively, that their success requires a certain level of intellectual property protection. Without it, innovation would grind to a halt; creators will not engage in creation if they fear others will steal their work.

But fashion designs never have been protected by intellectual property law and, as it turns out, for good reason. Unlike in the music, film, or publishing industries, copying of fashion designs has never emerged as a threat to the survival of the fashion industry. Indeed, growth and creativity in the fashion industry depend on copying

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im just thinking that nows the time to change /Schwarz to a subscription (pay to play) page.

so starting next week...


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philippe rahm
doesnt seem to add up to interesting art though. looks marsscape orange. how alienating

more light and ion therapy


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giant pumpkin seeds


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In 2007, the world’s fourth-largest metropolis and Brazil’s most important city, São Paulo, became the first city outside of the communist world to put into effect a radical, near-complete ban on outdoor advertising. Known on one hand for being the country’s slick commercial capital and on the other for its extreme gang violence and crushing poverty, São Paulo’s “Lei Cidade Limpa” or Clean City Law was an unexpected success, owing largely to the singular determination of the city’s conservative mayor, Gilberto Kassab.

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One Brazilian city has cleansed its streets of all advertising and billboards. Should we [UK] do the same or would an ad-free future leave us cold?

Gilberto Kassab, the mayor of São Paulo, passed a law last year banning all advertising from the Brazilian city. The place is now being held up by activists worldwide as an example to us all: an image of an anti-Orwellian future, where The Man is no longer in control of our day to day choices. But does the planet's first "clean city" really live up to the hype? Stripped of its flyposters and neon signs, São Paulo now resembles a war zone, with empty hoardings and rusting frames replacing the soft drink adverts and the blown-up faces of Brazilian actors.

Tony de Marco, a photographer and typographer, has put up a series of images of today's São Paulo on Flickr. To me it looks like Stanley Kubrick's vision of Saigon shot in a deserted London Docklands in the 80s.


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"If you want to be apocalyptic," Dutch architect and theorist Rem Koolhaas writes in "Al Manakh," a new study of Persian Gulf cities and their beanstalk towers, "you could construe Dubai as evidence of the-end-of-architecture-and-the-city-as-we-know-them."

To be apocalyptic, you will probably not be surprised to hear, is precisely what Mike Davis wants. His own views on Dubai are included in "Evil Paradises: Dreamworlds of Neoliberalism," a timely if uneven collection he edited with Daniel Bertrand Monk, and they possess all the razor-sharp pessimism he's spent a career perfecting.

Davis' view of Dubai -- one of the seven city-states that make up the United Arab Emirates, and for the last decade the biggest construction site this side of Shanghai -- is marked by stories of greed, exploitation and enough conspicuous consumption to make a hedge fund manager blush. In classically over-the-top fashion, he characterizes Dubai as "the ultimate Green Zone," a fantasyland built on the backs of overworked and underpaid foreign workers who are violently brought into line every time they try to organize. It's a place, Davis says, that "earns its living from fear," with a skyline that is "a hallucinatory pastiche of the big, the bad and the ugly."

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50 manifestos


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But as Blakely himself is quick to note—in his quiet, professorial, and vaguely irritated way—he is exactly the right man for this job. He has authored or co-authored several urban planning texts, is chairman of urban and regional planning at the University of Sydney in Australia, and is the namesake of the Edward J. Blakely Center for Sustainable Suburban Development at the University of California, Riverside. He got his expertise in post-disaster planning in his home state of California (he grew up in San Bernardino), where he was involved in rebuilding after the 1989 San Francisco earthquake and the 1991 Oakland fires. He also happened to be teaching at the New School University in Manhattan in the fall of 2001 and assisted with neighborhood planning after the World Trade Center attacks.

In speeches after he started work, Blakely put forth some big-ticket ways in which New Orleans could reinvent itself and rise above selling trinkets to tourists. (“We have an economy entirely made up of T-shirts,” he said in a speech last spring.) New Orleans should strive to once again become a trade and travel gateway to Latin America, he said. He hoped that well-orchestrated investments could build the city into a major bioscience research center. He'd like to see tax credits help revive the grand old theaters of Canal Street and create a “Broadway South,” just as tax credits have made Louisiana into Hollywood South. (It's third, after California and New York, in attracting moviemaking expenditures.)

And he believes the underused Mississippi riverfront, which contains some of the highest ground in the city, could become a centerpiece of development for the new New Orleans. After attracting entries from teams that included Zaha Hadid, Frank Gehry, and Daniel Libeskind, the New Orleans Building Corp.'s “Reinventing the Crescent” competition was won last December by the team led by architects Enrique Norten and Allen Eskew, landscape architect George Hargreaves, and urban planner Alex Krieger, who together will craft a plan to bring parkland and other public uses to a six-mile stretch of wharves

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A Billion Dollars Later, New Orleans Still at Risk

After two years and more than a billion dollars spent by the Army Corps of Engineers to rebuild New Orleans’s hurricane protection system, that is how much the water level is likely to be reduced if a big 1-in-100 flood hits Leah Pratcher’s Gentilly neighborhood.

Looking over the maps that showed other possible water levels around the city, Ms. Pratcher grew increasingly furious. Her house got four feet of water after Hurricane Katrina, and still stands to get almost as much from a 1-in-100 flood.

By comparison, the wealthier neighborhood to the west, Lakeview, had its flooding risk reduced by nearly five and a half feet.

“If I got my risk reduced by five feet five inches, I’d feel pretty safe,” said Ms. Pratcher, who along with her husband, Henry, warily returned home from Baton Rouge, La. “Six inches is not going to help us out.”

New Orleans was swamped by Hurricane Katrina; now it is awash in data, studied obsessively in homes all over town. And the simple message conveyed by that data is that while parts of the city are substantially safer, others have changed little. New Orleans remains a very risky place to live.

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Space-age cubes, rooftop pods, giant caravan cities and garden sheds you can practically live in ... Steve Rose chronicles the rise of portable architecture.

Ever since Le Corbusier and the Italian futurists salivated over biplanes, steam trains, ocean liners and automobiles in the early 20th century, architecture has been in awe of moving machines. But, as much as the modernist pioneers eulogised these dynamic inventions, they never dared disobey the sacred rule that says buildings stay where they're built. Architecture is architecture. Unleash it from its static condition and you're in some hazy no- man's-land between the disciplines of building, product and vehicle design. Yet this nebulous zone is becoming an intriguing place to visit.

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The Hill Country Jacal (a Mexican term referring to a lean-to structure) is a weekend retreat located on a rock ledge above Bear Creek west of San Antonio. The simple screened cedar pole structure is oriented towards the prevailing summer breeze and creek while its stone wall shelters the living space from the northwest winter winds. The thick limestone wall houses an outdoor shower, bunk beds and composting toilet. The screened living s
good find justin!
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deconstructing deutsche bank


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What I saw, Pietrucha knew, was what we all may see soon enough as we rush along America’s 46,871 miles of Interstate highways. What I saw was Clearview, the typeface that is poised to replace Highway Gothic, the standard that has been used on signs across the country for more than a half-century. Looking at a sign in Clearview after reading one in Highway Gothic is like putting on a new pair of reading glasses: there’s a sudden lightness, a noticeable crispness to the letters.

The Federal Highway Administration granted Clearview interim approval in 2004, meaning that individual states are free to begin using it in all their road signs. More than 20 states have already adopted the typeface, replacing existing signs one by one as old ones wear out. Some places have been quicker to make the switch — much of Route I-80 in western Pennsylvania is marked by signs in Clearview, as are the roads around Dallas-Fort Worth International Airport — but it will very likely take decades for the rest of the country to finish the roadside makeover. It is a slow, almost imperceptible process. But eventually the entire country could be looking at Clearview.

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3.5" width jute webbing on wood stretchers


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gee's bend rugs on sale at abc carpets


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A storm is brewing in New Orleans, and it has nothing—and everything—to do with wind and water. Community organizations, homeowners, and at least one member of the City Council say the city is using federal funding to sweep away historic, flooded, but repairable housing as ruthlessly as did Katrina. Yet city representatives assert they're simply trying to facilitate the recovery and protect the health and safety of residents.

These old homes stood up to the wrath of the hurricane, and now the city is trying to take them down," says Karen Gadbois, founder of Squandered Heritage, a Web site that tracks the loss of historic properties to demolition. "Many of the properties on the list do appear extremely damaged, but others have people living in them, and many are in the process of being remediated or renovated. There are homeowners who are desperately trying to have their properties removed from the list."

City Councilperson Stacy Head, whose district includes the recently demolished Gallo Theater and some Katrina-flooded areas, says the entire demolition process is "incredibly broken." Says Head, "Houses that should be demolished and are unquestionably an imminent danger ?c are not being torn down. Yet other houses that certainly can be restored, that are part of this city's fabric and its economic value, are on the list for demolition."

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Sly Stone vanished into rumor in the 1980s, remembered only by the great songs ("I Want to Take You Higher," "Dance to the Music") he left behind. What's become of the funky leader of the Family Stone since he forsook his Woodstock-era utopianism for darkness, drugs, and isolation? After a few sightings—most notoriously at the 2006 Grammys—the author tracked the last of the rock recluses to a Bay Area biker shop, to scope out where Stone's been, where he's headed, and what's behind those shades.

live performance videos from the north sea jazz festival july '07

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Pictures of Nothing


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The only Museum of it's kind in the world, "Electric Ladyland - the First Museum of Fluorescent Art" houses a large room-sized Fluorescent Environment that the visitor enters, becomes a part of the piece of Art, and then experiences "Participatory Art."

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In The Accident of Art, Virilio and Lotringer argue that a direct relation exists between war trauma and art. Why has art failed to reinvent itself in the face of technology, unlike performing art? Why has art simply retreated into painting, or surrendered to digital technology? Accidents, Virilio claims, can free us from speed's inertia. As technological catastrophes, accidents are inventions in their own right.

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renaldo and the loaf

An English duo active in the late seventies and most of the eighties, Renaldo and the Loaf consisted of a pathologist (David Janssen or "Ted The Loaf") and an architect (Brian Poole or "Renaldo Malpractice") who made music often considered strange.

By their own assertion, they achieved their unique sound in part by striving to get unnatural synthesizer-like sounds using only what instruments they had available (acoustic ones.) To that end they routinely used muffled and de-tuned instruments, and often to striking effect, tape loops / manipulation. The two released four full length albums, one collection, various songs on compilation albums, and several self-produced demos. They were "discovered" by The Residents when Brian dropped off a tape at Ralph Records headquarters in San Francisco, during a visit to the US. After being signed to Ralph, they collaborated with The Residents on Title in Limbo.
via vz
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dirty frank

And maybe he’s right. He did indeed live though an interesting time in Chicago’s history, evidenced by the recent surge of literature tracing the era. Not only "Loving Frank" and "Death in a Prairie House" open those doors—Erik Larson’s "The Devil in the White City," of course, is the definitive take on 1890s Chicago, and Karen Abbott’s "Sin in the Second City," about the Everleigh Club, the brothel of brothels, is causing quite a stir this year.

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The [canal] flushing is necessary because, while most of Amsterdam’s 2,800 houseboats have running water, electricity and gas heat, few are connected to sewerage systems and continue to spill their waste into the canals.

The houseboats’ lack of toilet training is their dirty little secret, one that sits uncomfortably with a new generation of wealthier, more demanding owners who are leading a gentrification of the houseboat scene. In the process, they are displacing the less affluent boat people, many of whom are relics of the 1960s and 1970s era of flower power now struggling to pay the upkeep on their boats.

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today in concrete :



George Caria feels quite safe in his new offices at 149 N. Stone Ave., where the city of Tucson has restored a former bank building to its 1950s concrete-bunker glory.

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There is no doubt that modernist architecture can be hard to love, and hard to defend. Few people miss the sink estates, the monolithic offices on podiums that mercilessly broke up the ancient street plans of our city centres, the rain-stained concrete or the brutal multi-storey car parks.


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Mill House Marco Gorini of Strato Cucine

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mexico 6 x 40' container house in progress

links to more pics / so far pretty fugly. hope it takes a turn for the better
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group photo


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quarry resort

via bc
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sinkhole via jz


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calder and braniff


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bump


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johns newest after calder mobile


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dylan theme time radio hour


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Sherrie Levine’s After Cézanne


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nest d and d


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school house electric company


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We’ve seen shipping containers used for prefab housing before, and now here’s another function to add to the list for the reclaimed industrial wonder units: deployable digital datacenters. SUN Microsystems, a tech company committed to a forward-thinking corporate eco responsibility program, has launched Project Blackbox, a virtualized, mobile, easily-deployable datacenter that delivers a slew of resources- energy, space, and performance efficiencies- to locations as diverse as deserts, disaster zones, even Mars.

Project Blackbox applies Sun’s trademark innovation, network computing infrastructure and HPC expertise to engineer out complexity and provide a better datacenter. The container is essentially a prefab tech center that offers rapid deployment, high-density computing, flexibility, scalability, and economic stimulation at a low cost and maximum efficiency. So far Blackbox has been employed in a variety of contexts- from oil rigs for seismic modeling and windmills to underdeveloped rural areas to offsite corporate locations.

Sun has proven their commitment to both green and humanitarian-focused technology and design initiatives, from their partnership with Architecture for Humanity on the Open Architecture Network to their own corporate commitment, called Eco Responsibility. Here’s a tech company that is on the cutting edge of innovation, striving to be both forward-thinking and responsible.

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If you are an Eichler fan, and I know you are, you will certainly dig this long lost footage of the Universal International News from the 1950's. It features Joseph Eichler's X-100 steel prototype home, a mid century marvel with all the modern bells and whistles from 1956.

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say wat?


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Riot on Sunset Strip: Rock'n'Roll's Last Stand in 60s Hollywood with author Domenic Priore and special guest Michael Stuart-Ware. At Booksmith Sanfrancisco, Ca 7/6/07

Priore shows how this legendary scene (the Byrds, Doors, Buffalo Springfield, Mothers of Invention, etc...) came together, burned briefly but brilliantly, and then fell apart after the Summer of Love. Domenic Priore's remarkable new book evokes a raucous, revolutionary time in American culture. Joining Priore for this special event is Michael Stuart-Ware of LOVE, one of the Los Angeles bands profiled in the book.

priore with gaylord fields on wfmu (stream)

the book on amazon


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mimeo. custom printers located in memphis, they take online digital orders up to 10pm eastern time and FE for 8 am next day delivery (international!).


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castig

Toio, Archille Castiglioni

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1171. Modern “Kiva” Fireplace, c.1960s, white enameled sheet steel, metal trim band marked “Preway”, 41”w x 30”d x 97”h, very good condition 900-1200
nice orange one on ebay
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fugar fireplace


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The band takes center stage, the fans surge forward and the sheer power of the crowd’s excitement amplifies the sound of their favorite songs — providing enough energy, in fact, to move a train.

It could happen in the Crowd Farm, a conceptual design by two graduate students at the Massachusetts Institute of Technology that seeks to milk the mechanical movement of hundreds or thousands of assembled people to produce electrical power.

In principal, a large-scale version of the setup could harness the collective energy of commuters bustling toward subway stations, shoppers marching through mega malls or fans dancing at a rock concert. Already, the students have shown how the simple act of sitting on a stool can generate enough power to turn on four LED lights.

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Wendy O' Williams and Lemmy circa 1982 - Stand By Your Man (MP3)


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Investigators have found what may be a design flaw in the bridge that collapsed here a week ago, in the steel parts that connect girders, raising safety concerns for other bridges around the country, federal officials said on Wednesday.

The Federal Highway Administration swiftly responded by urging all states to take extra care with how much weight they place on bridges of any design when sending construction crews to work on them. Crews were doing work on the deck of the Interstate 35W bridge here when it gave way, hurling rush-hour traffic into the Mississippi River and killing at least five people.

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According to Pearl Jam's website, portions of the band's Sunday night set at Lollapalooza were missing from the AT&T Blue Room live webcast. Fans alerted the band to the missing material after the show. Reportedly absent from the webcast were segments of the band's performance of "Daughter," including the sung lines "George Bush, leave this world alone" and "George Bush find yourself another home."

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At the Santa Cruz Beach Boardwalk, the view from the wooden Giant Dipper roller coaster is sea and sand. More than 50 million people have ridden the coaster since it opened in 1924. Along with the 1911 Looff Carousel, the Giant Dipper is one of two National Historic Landmarks at the Beach Boardwalk, which celebrates its 100th anniversary this summer—a significant milestone, since the Boardwalk is one of the few remaining seaside amusement parks in the United States.

Several old oceanfront parks have closed in recent years, including the Miracle Strip Amusement Park in Panama City Beach, Fla., which closed three years ago, and South Carolina's Myrtle Beach Pavilion, which was shuttered in 2006. Coney Island's Astroland amusement park was sold to developers last year, and its fate is uncertain. And in Ocean City, Md., the Trimper family has said that this summer may be the last for Trimper's Rides, the boardwalk amusement park that opened in 1890 and is one of the oldest operating amusement parks in the world.

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brutal truth

The yellowed, poured-concrete 1,614-seat theater--with its sharp, asymmetric angles, hidden walkways, and in-your-face functionalism--was for decades Baltimore's only professional theater and is credited with reigniting Baltimore's cultural scene in the late 1960s and early '70s. But the theater has been empty now for three years, since the Hippodrome Theatre became home to Baltimore's touring Broadway productions. A few ground-level shops and offices and a subway entrance are all that remain of what once was a cornerstone of Baltimore's downtown revival. On the outside of the theater, facing Charles Street, hangs a large banner announcing the advent of a new developer: David S. Brown Enterprises Ltd.

David S. Brown doesn't have definite plans for the structure. But when it became clear that the developer was considering converting the Mechanic into a "big box" store with a 10-story residential project, the city's Commission for Historical and Architectural Preservation (CHAP) recommended the theater for historical landmark status. On Aug. 14, the commission holds a public hearing at the city Department of Planning. If the recommendation is approved by the commission, and later by the Planning Board and City Council, the Mechanic will be granted landmark status. After that, any developer who wants to change the building structurally will have to adhere to the guidelines of that landmark designation, which mandates that changes respect the Mechanic's architectural integrity.

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The Prefab Fad - Prefabrication is everywhere in American home-building. But that doesn't mean your next house is going to be a stylish, Modernist box. (Slate)

Architects have been fascinated by prefabrication for a long time. I once saw a school in Costa Rica that had been designed by Gustave Eiffel in the late 19th century. The two-story metal building had been entirely fabricated in France, shipped to San Jose, and assembled in place. The cast-iron and pressed-metal structure was Classical in style, with decorative pilasters—and hundreds of bolt heads. (The Eiffel company still makes prefab buildings, bridges, and offshore drilling rigs.) The first house I ever designed, a summer cottage for my parents in Vermont, was a prefab, made out of interlocking tongue-and-groove cedar logs. The Pan-Abode Company precut the logs and, together with all the lumber for the floor and roof, shipped them from British Columbia in a boxcar. It took a friend and me two weeks to put it all together. It was like playing with oversized Lincoln Logs. Solid western red cedar is a durable material, as evidenced by this current photo, taken almost 35 years after the house was built.t

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The design of Re-Reads Bookstore was donated by Alpine Tx. architect Tom Greenwood. Linked are his comments on the project.


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our future: earthships


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diddy wah


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rip nellie lutcher


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tucson bachelor pad house


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tramp talk


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got mad and left


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chess videos


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opa locka


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(cummon, everybody) "Nobody Owns Katonah"


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Dr. Strangelove Finds Home In Cold War Relic

Burrowed 50 feet into a mountain near Washington, D.C., a once secret, nuclear-blast-proof bunker has been transformed into the Library of Congress’s new National Audio-Visual Conservation Center. The facility, seen here during construction, opened today (top). A team of designers and engineers from BAR Architects and SmithGroup added a three-story window all along the bunker’s main elevation to help infuse interior spaces with daylight (middle). Public spaces, including the building’s lobby, are located closest to the window wall (above). Openings cut into the former bunker’s concrete, blast-proof walls allow daylight to penetrate deeper into the building (right).

The nonprofit Packard Humanities Institute purchased the decommissioned bank bunker at Mount Pony in Culpeper, Va., for $5.6 million in 1998 and then funded its $155 million transformation, donating the facility to Congress last week—the largest gift ever made to the legislative branch. The 415,000-square-foot complex now provides space for preserving 6 million items from the library’s Motion Picture, Broadcasting and Recorded Sound Division. These items were previously scattered throughout seven locations nationwide.

BAR’s Earl Wilson says that one of the key design challenges was ensuring that librarians and conservationists have access to daylight. Although 80 percent of the structure is below grade, the designers located “people spaces” near a curving, three-story-tall window along the building’s rear elevation, opposite the main entry. Openings punched into the 16- to 18-inch-thick concrete, blast-proof interior walls help channel natural light into the inner rooms.

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drinking ditch water


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bmw house


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Niemeyer emerged, from obscurity and a lazy education, as one of the most original and talented of all Modern movement architects, with a highly informed and almost intuitive understanding of the possibilities of reinforced concrete construction. In his native Brazil, steel was far too rare and expensive for use in the majority of buildings, while concrete was not only cheap, but it could be stretched to unimagined limits while being poured and moulded by relatively unskilled labour. In concrete construction, Niemeyer could see a way of shaping an architecture that would not only be modern, but would also echo the Brazilian landscape he loved, and which he drew, increasingly, in the guise of curved female forms.

His chance to shine came in 1936 when Gustavo Capanema, the idealistic Brazilian minister for education, commissioned Lucio Costa to design the country's first Modern building, a headquarters for the health and education ministries in central Rio. Costa and Capanema decided to seek the advice of Le Corbusier, the greatest of all Modern architects. The famous Swiss-French visionary and architect flew to Rio. "In the Graf Zeppelin," says Niemeyer, referring to the magnificent 237-metre German airship that, between 1928 and 1937, made 143 impeccable transatlantic flights. "I went to meet him," he adds.

Le Corbusier descended from the air, "a mighty god visiting his pygmy worshippers," says Niemeyer. Or so it seemed. The result of Corbu's trip proved to be unexpected. He made two designs for Capanema's ministry: one idealistic, for an unobtainable site by the ocean, the other a low-rise building that somehow failed to capture the idea of the new Brazil and the new Brazilian. "We wanted to do something very special," says Niemeyer, "perhaps to show that we were something more than primitive Indians dancing colourfully for visiting Europeans and Northern Americans."

Working for nothing, and reliant on his family - his father was a graphic artist, his grandfather a Supreme Court judge - Niemeyer transformed the Corbusier scheme into the serene high-rise building that adorns central Rio today. A National Monument, it has since been renamed Capanema Palace. Le Corbusier had been deeply impressed by Niemeyer's burgeoning talent. Although rigid by Niemeyer's later standards, the palace abounds with curves inside; its exteriors are decorated with romantic wall tiles, depicting scallops and sea horses, and shaded by deep sun-louvres. Immensely photogenic and a superb fusion of art, engineering, landscaping and architecture, this confident new building was ecstatically received in 1943.

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SIESTA KEY - Joe King could not restore his beloved Twitchell house to the way Sarasota School Architects designed it, nor could he keep the home in the same spot.

So he did the next best thing.

He documented that the historic house stood steps from Big Pass on Siesta Key. He photographed it inside and out, created detailed drawings of the building that is among the first in the Sarasota School of Architecture and the first by architectural great Paul Rudolph.

King and a work crew carefully took it apart, sorting through different crowbars for the ones that would not crack the cypress, salvaging Ocala block that had not cracked under 66 years of weathering.

Then he shipped what could be salvaged to Bradenton.

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old lismore hosiery building (on ludlow) host to new para building tumor (click through comment link for earlier post w/ original store front images). bye bye LES


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If you want to enjoy the unmistakable ambience of a real New York diner, head to Wyoming. The Moondance Diner, whose iconic, crescent-shaped sign has long beckoned hungry pedestrians on the western edge of SoHo, is heading to the small town of La Barge, Wyo.

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The objective: re-create a 1967 Camaro SS entirely from the catalogues and crates of Dynacorn Classic Bodies Inc.

chop cut rebuild on the speed network


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venice beach container house project


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Coke, adding to all those slogans, must now be the only soft drink in the world with its own shrine: a tabernacle for the faithful, constructed by its creator. I can’t compare the New World of Coca-Cola — as this 92,000-square-foot, $97 million museum calls itself — with the old (which opened in 1990 and closed in April, a month before this resurrection). But if you want to have a Coke and a smile, and you don’t mind being engulfed by an enormous commercial (at $15 for adults), this museum offers its own puzzles and pleasures.

It stands in Atlanta’s once-blighted downtown, on a 22-acre plot that the company purchased in the early 1990s. Coke donated nine of those acres for construction of the Georgia Aquarium, which opened next door in late 2005. Then, in October, the company announced it would donate 2.5 acres to the City of Atlanta for a civil- and human-rights museum. Nearby CNN offers tours of its headquarters. Media, liberty, fish and Coke. Maybe only fish spoils the composite image.

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MARSEILLES, FRANCE — It was called "Unité d'Habitation," but this massive apartment block overlooking the lavender-strewn hills of Provence and the glinting Mediterranean does not prompt a unity of opinion, even sixty years after it first opened — least of all amongst its own inhabitants.

Upon the 1952 opening of this rough-textured concrete high rise slab — home to 1,600 residents — the never-shy Marseillaises dubbed it "La Maison du Fada" —Provençal dialect for "Crazy House," or even better, "Cuckoo Coop."

There were reasons for these sentiments, as Unité d'Habitation was bigger than any other single apartment block in France. In a tour-de-force of architectural ingenuity, Le Corbusier designed no less than 24 different unit types, accommodating everyone from single seniors to families with 8 children in a demonstration project that was duplicated in five other European cities, including Firminy to the north and Berlin.

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With technical assistance from the Getty Conservation Institute and funded in part by a $2.5-million, five-year matching grant from the Getty Foundation, "SurveyL.A.: Los Angeles Historical Resources Survey Project" is an ambitious effort to identify, catalog and ultimately protect not just its physical "built history" but to provide a sharper portrait of Los Angeles and how it came to be.

Of course, L.A. has history — a distinct if not variegated one. But its "City of the Future" moniker has, over time, done more ill than good in bolstering a civic sense of self, leaving Los Angeles ambivalent about its connection to the past and its complex evolution. "There's been a growing sense that the city is going to change and with that a growing realization that there is importance in historic preservation," says Ken Bernstein, manager of the city's Office of Historic Preservation. "It's part of a natural maturing of the city — or coming of age of the city. And it's become important to catalog what makes Los Angeles Los Angeles."

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He was the poet of the skyscraper, the coiner of the phrase "form follows function," the man his draftsman Frank Lloyd Wright called "beloved master." The late, great Chicago architect Louis Sullivan soared to the heights of his profession at the turn of the last century, but died penniless and without work. Last year, as Chicago celebrated the 150th anniversary of his birth, three of his buildings in the city were destroyed or severely damaged by fire.

So there is something profoundly satisfying, even healing, about the just-completed restoration and reinvention of the last building Sullivan designed before his death in 1924, the Krause Music Store, 4611 N. Lincoln Ave. It's a beloved little building with an over-the-top facade of pale green terra cotta -- and a dark past, its new owners believe, that has finally been exorcised with the help of some unorthodox rituals.

A few years after the building opened in 1922, its namesake owner killed himself in his second-floor apartment. For decades afterward, the architectural gem muddled through life as a funeral home. Bodies were embalmed in the basement, then hoisted up to the first floor chapel by a special casket elevator.

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To follow the Tiger Stadium debate (or the drawn-out fights over the old Madison-Lenox Hotel in 2005 and the vanished Hudson's store in the '90s), one might think that preservation is an ugly and divisive process that pits building huggers against cold-hearted developers and city officials.

In reality, preservation is bankable, realistic, widely accepted -- and key to the revival of Detroit.

Preservation of older buildings accounts for almost all of the revival in Detroit's Midtown and a good deal of the downtown revival.

The trend toward downtown loft living? That's almost entirely focused on renovating older office buildings for modern residential use.

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Nearly two years after Katrina, New Orleans is still floundering. Enter Edward J. Blakely, the veteran planner named as the city’s executive director of recovery management in January. It’s the job of a lifetime, but one fraught with political peril and hindered by entrenched ways of doing business that predate the disaster. Nevertheless, Blakely moved quickly after his appointment, unveiling a recovery plan two months later that concentrates on developing 17 economic clusters around the city.

The blunt 69-year-old seems uniquely qualified for this rather thankless job. Currently on a leave of absence from his position as chair of Urban and Regional Planning at the University of Sydney to lead a 17-member team in New Orleans, Blakely guided recovery efforts in Oakland following the 1989 earthquake and later ran for mayor, narrowly losing to Jerry Brown. Recently, executive editor Martin C. Pedersen spoke to the native Californian about the future of the Big Easy, his role in shaping it, and the pitfalls of business as usual.

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