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New Orleans has never been known for its strong environmental conscience. Until five years ago, the city measured the success of each Mardi Gras by the number of tons of trash generated, and for many, recycling meant reusing the plastic cups caught at parades. In some neighborhoods, curbside recycling programs struggled due to lack of participation. Today, two and a half years after Katrina, residents and social and environmental activists are sweeping away old notions, but some say too much is being lost in the process.
marcel breuer's wolfson trailer house
copper moonshine stills
hat tip to justin
vintage woodworks
wm. a. kilian hardware philly pa
Brad Pitt's goal for "Make It Right" is to join the history of the Lower 9th Ward with creative new architectural solutions mindful of environmental and personal safety concerns in order to encourage both the evolution of aesthetic distinctiveness and the conscientious awareness of natural surroundings.
To that end, MIR assembled a team of fourteen local, national and international world-renowned architecture firms specializing in innovative, ecologically responsible design.
i just hope when it blow wind blows again that screening doesnt get pulled off
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howard hall farm
new barn stuff thread:
barn light electric
“Design and the Elastic Mind,” an exhilarating new show opening on Sunday at the Museum of Modern Art, makes the case that through the mechanism of design, scientific advances of the last decade have at least opened the way to unexpected visual pleasures.
As revolutionary in its own way as MoMA’s “Machine Art” exhibition of 1934, which introduced Modern design to a generation of Americans, the exhibition is packed with individual works of sublime beauty. Like that earlier show, it is shaped by an unwavering faith in the transformative powers of technology.
Yet the exhibition’s overarching theme, the ability to switch fluidly from the scale of the atom to the scale of entire cities, may sound a death knell for the tired ideological divides of the last century, between modernity and history, technology and man, individual and collective. It should be required viewing for anyone who believes that our civilization is heading back toward the Dark Ages.
Any aficionado of early Mad comics published during the first half of the 1950s, when Mad was still a riotous comic book and not yet a formatted magazine, will recognize the brilliantly perverse parody of a Life magazine cover featuring a portrait of a hideous girl next to the headline “Beautiful Girl of the Month Reads Mad.” The artist who concocted this misshapen, bug-eyed, fang-toothed, pimply-faced, spaghetti-haired, pig-nosed monstrosity was Basil Wolverton (1909-78), a Mad mainstay who specialized in things ugly. He created Lena the Hyena, a character who appeared in Al Capp’s “L’il Abner” and was known as “the ugliest woman in Lower Slobbovia.” And he was the mastermind behind “Powerhouse Pepper,” a mock-heroic melodrama, as well as covers for GJDRKZLXCBWQ Comics: A Gallery of Gooney Gags and DC Comics’ Mad-like Plop! Always recognizable for unbridled grotesquerie, his art ran the gamut from political satire (“Candid Close-Ups: Hitler”) to goofy science fiction (“Rocket Rider”) to biblical illustrations (for a decade he wrote and illustrated the Bible story, serialized in The Plain Truth magazine, for the Worldwide Church of God). His epic in this last genre was a gory interpretation of Armageddon, complete with horrific atomic aftermaths. He did, however, also produce posters for Topps, the trading card company. While his penchant for extreme physical exaggeration may not have been to everyone’s taste, through Mad he exercised incalculable influence on the history of comics and the perceptions of impressionable preteens, like me. “Gross” was and remains a generational code.images official site
via vz / special thanks to s doughton for putting a name to this special iconic weirdo for me back in the 80's
50' friday at the mavericks
kembra phahler and oliver mosset '08 whitney biennial
alt housing photo archive
via zoller
floorplan plates at fishs eddy
via vz
mermaids at wreck bar
mobile hotel with speaking english
viia zoller
From certain vantage points, it looks like a relic from an ancient civilization, maybe an exposed portion of a stepped pyramid or some kind of Mayan monument. Partially buried in a steep hillside in the rural Vila Real district of northern Portugal, the Casa Tóló presents itself as a Jimmy Stewart kind of character: self-effacing at first, but then increasingly bold. Instead of a front facade, it offers merely a concrete deck, jutting out over the edge of a 33-degree slope with a view of mountains in the distance. To learn more, you must descend a set of stairs recessed in the deck, an act of faith since so little of the architecture has been revealed so far. As you move forward, you realize the house is a path, both literally and figuratively, taking you on a walk through the woods and unfolding in section as much as in plan.
most of my old posts with links for casa malaparte are fucked up so im going to make a new post with working links.
Owners of The Carpenters' former home aren't feeling on top of the world about the legions of fans who keep stopping by to pay tribute.
The five-bedroom tract house, where siblings Karen and Richard Carpenter lived and penned some of their greatest hits, was featured on the cover of their 1973 hit album "Now & Then." It was also where an anorexic Karen Carpenter collapsed in 1983 before dying.
Owners Manuel and Blanca Melendez Parra have apparently grown weary of the parade of fans paying homage.
The couple have submitted plans to officials in Downey, a city about 15 miles south of downtown Los Angeles, to raze the 39-year-old main house, the Los Angeles Times reported Saturday. The Parras have already torn down an adjoining house and have begun construction on a larger home.
ballad of michael james brody
signs signs everywhere signs
Of all the hangars in all the towns in all the world, they bulldozed this one.
But the facade of Hollywood's most famous hangar—if such a thing exists—was saved in December, when a hotel bought the 1928 structure that appeared in the final scene of Casablanca.
On Jan. 29, the hangar, which almost completely demolished last month to make way for development, was moved to another site at California's Van Nuys Airport.
Coney's Island's iconic Parachute Jump is getting a new lease on light.
Less than dazzled by a lighting system installed on the 262-foot boardwalk landmark two years ago, the city yesterday began soliciting proposals from companies interested in creating a brighter, more dramatic illumination of Brooklyn's version of the Eiffel Tower.
The project is being pushed by Borough President Marty Markowitz, who says the old lighting system needs some "blinging up" and hopes to revive the classic thrill ride.
"Hey, if the Giants can beat the Patriots, there's no reason we can't ride the Parachute Jump in this new century," he said.
Markowitz, according to sources, considered the system installed in 2006 by renowned lighting artist Leni Schwendinger too "artsy," failing to capture Coney Island's flash.
The new $1.5 million project also includes refurbishing the bottom panel of the Parachute Jump, which was moved to Coney Island shortly after the 1939 World's Fair in Queens.
The ride ceased operations in 1968. It was declared a city landmark in 1989 and is part of a revamped Steeplechase Plaza that the city is hoping to create.
Charles Denson, a Coney Island historian, called the lighting project "symbolic to Coney Island's survival."
a couple of nola stories from tony fitzpatrick
via vz
the stray shopping cart program
via lorna land
The sprawling installation Denkmal 11, Museum of Modern Art, 11 West 53 Street, New York, 2008 by the young Belgian artist Jan De Cock (b. 1976) bends in on itself like a guy studying the lint in his belly button. It's a self-reflexive, mirroring sort of artwork, which, as its title suggests, takes art and the art museum that houses it for its subject—almost as if it were a documentary film directed by, say, Jean-Luc Godard in one of his less linear moods. And, in fact, avant-garde cinema has exerted a formative influence on De Cock. In an interview with curator Roxana Marcoci on the MOMA website, he claims: " In time we will come to consider Godard's 260-minute Histoire(s) du cinéma . . . to be more important in the formulation of twentieth-century culture than Picasso's Les Demoiselles d'Avignon," the latter being, of course, one of MOMA's key holdings. Despite his avowal of film, De Cock chooses to work in photography and sculpture.
Still, the installation does resemble a sort of fractured storyboard. A series of black picture frames of varying sizes hold photographs—some individual, some in diptychs, others in groups—that take us through most areas of the museum: the conservation labs, library, theater, and the collection itself. This presentation, the frames and matte windows cropping many of the photos, cleverly mimics the geometric apertures, such as the interior windows, of the museum's architecture. De Cock also takes a filmic approach to photography, employing tight close-ups, multiple perspectives on the same subject, shots from several angles, and montage. Together, these photos amount to a sort of archival trove that exposes different aspects of the museum over the time the show takes to digest. " Duration factors significantly in my work," he says, a comment reinforced by the times of day printed like wall texts next to each of his " modules," or sets of pictures and sculptural objects.
Frank Lloyd Wright, the suave, romantic playboy, at 85 years old, has one last mission—to seduce that faithless woman of a certain age, New York City. She has been on his list for a long time. This time, though, he will do it his way. Everything is meticulously planned … down to the Plaza Hotel’s Suite # 223, which Wright will completely make over; for Christian Dior’s previous “inferior desecration” of the room simply will not do.
“Pour to start with the beginning, c’est night of spring without the moon in the small borough, without stars, and black of bible, in the streets with the round paving stones, quiet and in uneven wood, drink the in love ones and rabbits which imperceptibly boitillent jusqu’à it [ …]”
[mp3 via edk] [wp] [Ag]
(”Under Milk Wood” translated l’anglais by Jacques B Brunius)
“Dylan Thomas wanted to write a part for the inhabitants of the village where it finished his days, Laugharne (Country of Galle), which "interfere the plays intelligence of Ulysses de Joyce and the country lyricism of the villagers". "Under Milk Wood" ("With Lacteous Wood") described one day of spring in a fishing port, life and dreams of the villagers, figures bouffones and poetic.
Two narrative votes throughout the part lead you by the streets, penetrate the interiors, introduce and reveal the characters whom one will initially intend to dream, to wake up, then to discharge their daily tasks, according to the moments and places' of the day, to attend their loves, their quarrels, their ordinary made eccentricities. The villagers know each other all, covet themselves, scorn themselves, jalousent themselves, like, the gossip go good train, even deaths take share there. Not less than one about sixty characters that l?autor crunches with the ell of his destructor poetic genius, his comic liveliness, and the compassion which it tests for the models of its composition.
Dylan Thomas wanted to write a sharp?uvre and bouffonne, admissible by all. Poet with the innate genius, it engraves the language to the extreme, enriches it by metaphors, adjectives which it invents, of systems of assonance, interlacing the literary kinds unceasingly where are juxtaposed lyricism, dialogues, récitatifs, songs, in order to obtain this astonishing vocal partition which makes him add in subtitle of To lacteous Wood "a part for voice". C’est also its last part. It gave of it reading at the time of its last voyage to the United States. Little time after its death in 1953, the part was published and a version for the radio was recorded by the BBC in 1954 with Richard Burton reading the voice number un.” (National Theatre of Brittany & Commercial Xavier).
html test : now is the time for all good men to come to the aid of their country
house porn illustrated
what if nyc...
seattle denny's nominated for landmark status
The Maharishi Maheshi Yogi, who died on Tuesday, probably aged 91, had a profound influence on the Beatles’ late career, and repackaged ancient Hindu methods of transcendental meditation; TM, as it was known, was aimed at enabling western disciples to achieve a blissful oneness with the infinite in the still depths of the self - at the cost of minimum inconvenience
building 521
my friend jason's fire~dome
January 19 through April 13, 2008 Michener Art Museum in Doylestown
Although more widely recognized for her early Precisionist paintings, Elsie Driggs (1898-1992) created plant life paintings, animal paintings, watercolors of figures in urban settings, as well as murals based on folktales. This exhibition will present over 50 works from throughout Driggs' life, including collages, mixed media constructions, and oil paintings inspired by memories of her student days in Italy and the dynamism of New York during the seventies and eighties. This exhibit features work from the Whitney Museum of American Art in New York City, the Montclair Museum of Art in New Jersey, Citibank, the Baltimore Museum of Art, the Columbus Museum of Art in Ohio, the Corcoran Gallery and Phillips Collection in Washington, D.C., and the Metropolitan Museum of Art in New York City. Organized by the Michener Art Museum, the exhibition is accompanied by a major publication that is being authored by the Michener's Curator of Collections Constance Kimmerle and copublished by the University of Pennsylvania Press and the Michener Art Museum.
just caught ny doll
recomended for netflix viewing
the lincoln square and san juan hill area of nyc
A new drilling contract in Utah threatens Robert Smithson’s Spiral Jetty, an emergency email from the artist’s widow, Nancy Holt, informs journalists. A number of pipes and pumps will be laid beneath the water and shore, as well as roads built for oil tank trucks, and cranes for other development needs, all of which promise to severely alter the surrounding environment including Spiral Jetty.
more gore
chevy rondine at barett jackson sold sold sold 1.6m