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uncanny v

uncanny valley

via sm and lm
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i dont know why, but paddy johnson from art fag city posted in her LINKS LINKS LINKS department tom moodys old post on ME ME ME. (thank you both)


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Between Earth and Heaven: The Architecture of John Lautner,” an exhibition at the Hammer Museum here, makes a strong case that Lautner’s role in forging that architectural legacy has been curiously underestimated. Organized by Frank Escher and Nicholas Olsberg, it presents about 120 plans, sections and renderings that counter his longstanding image as an architect who succumbed to Hollywood gaudiness and glamour. What we glean instead is a keen structural knowledge wedded to an environmental sensitivity — a seamless bond of nature, space and humankind.
wiki info/links
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NOT LOUD ENOUGH!!!

After playing for almost an hour and a half, Gibby Haynes got mad at the sound guy who was on the side of the stage - something about not turning up the monitors. I don't know his name, but the sound guy was one of the Bowery Presents regulars. Gibby walked over and punched him and/or threw a bottle at him. Next thing you know security escorts Gibby off the stage mid-song. Nobody really knew what was going on. The band continued to play for at least one more song, and then left in a proper manner with lots of applause and high fives to the front row. Everyone started going crazy (in a good and drunken way), demanding an encore. It's not often you hear the crowd actually scream for a band to come back. We're all so spoiled. We just assume they always will. Of course there was the confusion about the way Gibby made his exit, and that was probably why people were chanting "Gibby" even louder and longer than usual.
that was genesis?
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dogtown boy jay adams update


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blogging over main stream media: tom moody vs the ill informed (or corrupt) new york times and it's ripple effect on the blogesphere and general art world consciousness


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In the late 1960s, when the merger of art and technology became a touchstone for both countercultural mind-liberation and New Frontier futurism, Buckminster Fuller served as a central, if gnomic, philosopher of the moment. The first issue of Stewart Brand's Whole Earth Catalog in 1968 features a semi-mystical autobiographical fragment by Fuller and his poem-cum-manifesto "God is a Verb"; Gene Youngblood's seminal 1970 study Expanded Cinema includes a lengthy introduction by Fuller, in which he praises the "forward, omni-humanity educating function of man's total communication system"; and the premier issue of early video art's central journal Radical Software published a "pirated transcription" of an interview videotaped by the Raindance Corporation. "We hear people talk about technology as something very threatening," Fuller says in the stream-of-language transcript, "but we are technology, the universe is technology...it's simply a matter of understanding these things." Fuller's own book Operating Manual for Spaceship Earth became an underground best-seller after its publication in 1969. Multimedia collectives like USCO and Ant Farm cited "Bucky" as inspiration; members of the latter group even went so far as to abduct Fuller when he came to speak at the University of Houston, picking him up from the airport under false pretense and taking him instead to see a touring MoMA exhibit entitled The Machine at the End of the Mechanical Age.

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bare hill barn conversion blog


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nowottney sighting: cherry blossoms


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l'ecole du butthole surfers


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mixturtle

via zoller
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sil

A beacon of light that has guided ships into New York Harbor for 41 years, Ambrose Light has shined its last strobe.

Dismantling of the faltering light tower, located 12 miles off the Staten Island coast, will begin Monday after the Coast Guard decided it is not cost-effective to rebuild it.

After Bahamian oil tanker Axel Spirit rammed into the 76-foot steel tower November 3 -- the third allision between a ship and the light tower since 1996 -- damaging its legs, the light has been unreliable. It was recently replaced with new parts after the first two incidents. A Coast Guard spokeswoman said the structure is likely headed for a scrap metal yard.

"It is not cost-effective to rebuild the light every time it is struck," said Chief Warrant Officer Darren Pauly, a Coast Guard Sector New York Aids to Navigation officer. Ambrose Light is no longer needed since light-emitting diodes [LEDs] on large buoys "provide the same purpose and are easier to maintain," he said.

The Coast Guard also plans to be extend Ambrose Channel to make it wider and more navigable for larger, commercial ships. The Sandy Hook Pilots Association station will also be moved out five miles, allowing for "safer way of doing business," said Ed Sweeney, marine superintendent for the St. George-based association.
thx lisa!
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Originally from New Orleans, Jim Ford lost interest in his academic pursuits and, in 1966, drifted out to California. He was passing through L.A., on his way to the Haight-Ashbury district in San Francisco, when he met two session musicians, Pat and Lolly Vegas. The Native American rockers — who later formed the commercially successful Redbone — had worked on the Shindig television show at the time, and had already recorded their Pat and Lolly Vegas at the Haunted House album for Mercury. After hearing his songwriting talent first-hand, the Vegas brothers brought Ford to the attention of Del-Fi Records' honcho Bob Keane, known around the L.A. music scene for his "open door policy." Keane released a couple of Ford's singles on Del-Fi's Mustang label, both of which sank without a trace. Del-Fi/Bronco recording artist Viola Wills also recorded one of his songs. Along with Pat and Lolly Vegas, Ford wrote the P.J. Proby hit "Niki Hoeky" (it peaked at number 23 on Billboard's pop charts in January 1967), which Ford's former girlfriend Bobbie Gentry also sang on one of her later albums.
inspired by lms sunday devotional
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Photos from the Columbia Records 30th Street Studio Don Hunstein was Columbia Records’ in-house photographer for 30 years, and he snapped photos of Bob Dylan, Johnny Cash, Billie Holiday, Muhammad Ali, and Charles Mingus, to name a few. The Morrison Hotel Gallery's Soho loft (116 Prince Street, NYC) is now hosting a new exhibit of his photos, "In Session at the Columbia Records 30th Street Studio." Grammy-winning producer, writer and record executive Michael Cuscuna has also met and worked with many of the artists featured in the Morrison exhibit.

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For hundreds, maybe thousands of years, people have been trying to figure out how primitive people could build huge structures such as Stonehenge and the pyramids out of stone blocks weighing thousands of pounds. Scientists have been stumped. Then along comes a normal guy - a retired construction worker - and he says well, I would do it like this. And he does. This guy uses the simplest tools known to man and shows how simple and easy it would have been to create Stonehenge . This is a really great video clip. Amazing how this guy could figure out something that has confounded scholars for centuries. And not only figures it out, but demonstrates it! This guy could build a replica of Stonehenge single-handedly, while a committee of 20 or 30 Civil Engineering professors from leading universities would be debating how it might be done.
via adman from a bulk email receipt
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justin was slimed this week by KB so i started looking around. the best examples are sited on the last link of this post at the tesla motor club message board. they did a great job of pinning down the bull shit and the aka's - key words: electric car

I'd ignore what Kerry Bradshaw AKA Kent Beuchert AKA thebike AKA Tom C Gray has to say. There might be some truth buried somewhere in the bile but, unsurprisingly, there's usually lots of crap as well. Google him and see what I mean.

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Above comments by “tom c gray” and “kerry bradshaw” are actually from the same person. Usually he comments under the name Kent Beuchert and he is the author of literally thousands of cranky anti-electric car comments across these here internets. Google is your friend.


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Kerry beauhrt is a paid hack of the oil companies that frequently puts up false data in support of failed energy policy.

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The Kent Beuchert Affair: Bias and Corporate Lobbying on a Science Blog Energy Blog sponsored by Shell?
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Here's a whole thread about Kent Beuchert AKA Kerry Bradshaw AKA Tom C Gray AKA thebike (etc.) over at the TeslaMotorsClub. http://www.teslamotorsclub.com/off-topic/672-ken-kent-kerry-beauchrt-beuchert-beuchrt-biker-rider-krider.html It's apparent from his thousands of posts that Kent hates the idea of an electric car unless it includes a "range extender" like the Volt. Actually, he's a regular commenter at www.gm-volt.com He has "electric car" in his google alerts and seems to monitor this quite religiously as his comments are often the first to appear after "electric car" is published somewhare on the net. I personally suspect he isn't so much a shill as just very very lonely and bitter.

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usg finishing drywall systems primer


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Issey Miyake Stores Terrazzo is generally considered to be one rank below real stone, but by embedding colorful shards of glass or stainless steel chips in it, Kuramata created a bright, fun new material. He decorated the entire Issey Miyake boutique in the Matsuya Department Store in Ginza, in terrazzo using it for the floor, walls and furniture, the result being a single coherent back ground that caused the merchandise to stand out as objets. The following year, 1984, he produced the walls of the Issey Miyake New York boutique using five millimeter thick terrazzo made from fragments of smashed Coca-Cola bottles that were lit from behind to create an exciting new concept, heightening its popularity even further.

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flavin


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None of these subjects present a convincing depiction of religious devotion. Instead, they seem aware of the artificiality of their prayer, of the photographer and the impending image. As hired models they were undoubtedly aware of their own status as a potential advertisement. But whereas most photos end with the relationships of subject to photographer and viewer to subject, these subjects have been stamped with an additional voice. The translucent logo 123RF, unwaveringly placed in the exact center of every composition, becomes so tangible after its repetition that the subjects seem almost aware of its presence. The logo’s placement activates an inexplicable sense of One-ness in the otherwise disconnected and insincere subjects. Their prayers suddenly become convincing as communication with the deity 123RF, the almighty regulator of information.

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larry fink

hillary barack keystone the democrats


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Documents of the Paris Commune - Ephemera from the collection in the Bibliotheque nationale de france, translated from the French by Mitchell Abidor.


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Observation and conceptualization are not two separable aspects of one process: As Burn wrote in 1968 in »Altered Photographs«, through conceptualization, perception can be differentiated into several levels of observation with different stages of abstraction - or, perception never occurred in any way except through the formation of patterns of perception (see Section III.3) and of a »grid« comprising different »levels or stratifications«: »...it's the grid which structures our perceiving.«10 In his »Introduction« to the first issue of »Art-Language« in 1969, Terry Atkinson presented the model case of a text that is presented in the same way that a drawing on paper would be in a glass frame.11 With the text work »Print (2 sections A & B)« (1966)12, the text presented in such a manner posed its own questions regarding its status at its place of presentation: Does its two-dimensional form of presentation - the white sheet of paper - make it a work of art or does the work as text draw consequences from Marcel Duchamp's Ready-Mades? Not only are the medium differentiae of painting, sculpture, drawing problematic for the determination of the status of art, but so are other general morphological criteria.13 Questions concerning the determination of art based on uniqueness, and above all on skill or craftsmanship and visual appeal, have been replaced in object art by questions concerning the condition under which objects are chosen: These objects need not be unique, the conditions under which they are chosen need not be art-specific. In object art, semantic criteria of selection (for example, the selection of unique objects or of reproduced objects because they are relics or consumer goods), as well as the method and place of presentation, play at least as great a role as visual appearance does. Since questions concerning the definition of art and the selection of exhibitable objects according to morphological criteria became problematic, artistic work can no longer be limited to an object area that is only comprehensible in phenomenal terms. If an artist no longer takes the established »framework«14 - one that ties the function of art to the presentation of objects at exhibitions - for granted, then he can see his work as consisting in the search for an alternative »framework« for art to function in or as art. This search can begin with an analysis of the basic social and economic conditions of the »institution of art«15 , including art criticism, the art trade, and the organization of museums.

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diderot

André Le Breton, a bookseller and printer, applied to Diderot with a project for the publication of a translation of Ephraim Chambers' Cyclopaedia, or Universal Dictionary of Arts and Sciences into French; first undertaken by the Englishman John Mills, and followed by the German, Gottfried Sellius. Diderot accepted the proposal, during this translation his creative mind and astute vision the work became transformed. Instead of a mere reproduction of the Cyclopaedia, he persuaded Le Breton to enter upon a new work, which would collect all the active writers, ideas, and knowledge that were moving the cultivated class of the Republic of Letters to its depths; however they were comparatively ineffective by due to their lack of dispersion. His enthusiasm for the project was transmitted to the publishers; they collected a sufficient capital for a more vast enterprise than they had first planned. Jean le Rond d'Alembert was persuaded to become Diderot's colleague; the requisite permission was procured from the government. In 1750 an elaborate prospectus announced the project to a delighted public; and in 1751 the first volume was published. This work was very unorthodox and had many forward thinking ideas for the time. Diderot stated within this work, "An encyclopedia ought to make good the failure to execute such a project hitherto, and should encompass not only the fields already covered by the academies, but each and every branch of human knowledge." Upon encompassing every branch of knowledge this will give, "the power to change men's common way of thinking." This idea was profound and intriguing, as it was one of the first works during the Enlightenment. Diderot wanted to give all people the ability to further their knowledge and, in a sense, allow every person to have any knowledge they sought of the world. The work sought to bring together all knowledge of the time and condense this information for all to use. Using not only the expertise of scholars and Academies in their respective fields but that of the common man in their proficiencies in their trades. These people would amalgamate and work under a society to perform such a project. They would work alone in order to shed societal conformities, and build a multitude of information on a desired subject with varying view points, methods, or philosophies. He emphasized the vast abundance of knowledge held within each subject with intricacies and details to provide the greatest amount of knowledge to be gained from the subject. All people would benefit from these insights into different subjects as a means of betterment; bettering society as a whole and individuals alike. This message under the Ancien Régime would severely dilute their ability to control the people. Knowledge and power, two key items the upper-class held over the lower-class were in jeopardy as knowledge would be more accessible giving way to more power amongst the lower-class. An encyclopedia would give the layman an ability to reason and use knowledge to better themselves; allowing for upward mobility and increased intellectual abundance amongst the lower class. A growth of knowledge amongst this segment of society would provide power to this group and a yearning to question the government. The numerated subjects in the folios were not just for the good of the people and society, but were for the promotion of the state as well. The state did not see any benefit in the works, instead viewing them as a contempt to contrive power and authority from the state.
a 17 vol diderot encyc can be viewed by clicking the above illustration
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...for one, when people say ironic, they often mean that something is being used rhetorically--like the presence of the expressive brushstroke in the show---rather than its simplest terms, the opposite of literal---though that statement is itself ironic...Irony has also been too easily cornered into insipid, unremitting cynicism, a willful displacing of affect in return for absolute neutrality---afforded by class---and arrogant negativity---afforded by over-education----breeding a kind of shared cultural code: I know, that you know, that I know..etc...What are missing are engaged forms of productive irony, like Flaubert or Bernhard, or Polke, or the function of irony in Johns...this irony directed at barbarism or at the vulgarities that really threaten to derail liberal values. We are perhaps a bit to comfortable with the fruits of negative liberty, just as we are with the demand that we disclose or express ourselves...

[...]

In the last decade, commercial spaces have arguably done more to support what can even loosely be called 'difficult' work than non-profit spaces...that dichotomy, qualitatively, probably doesn't even really exist anymore...that being said, the proper contextualization of work only takes place in non-profit spaces I think...but both of these notions belie a profound historical shift...you know, Kahnweiler, Picasso's dealer, tried to argue that museums should neither show nor collect contemporary art, that the market should sort it out and let history determine things...is it old-Left nostalgia to hold on to this romantic, pre-lapsarian notion of the alternative space?

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Costa Mesa architect John Linnert has especially enjoyed taking his daughter to the orthodontist over the years because he’s admired the Mariners Medical Arts Center, designed by Richard Neutra in 1963. But at the beginning of July, Linnert took his daughter to an appointment and learned that the three-building Newport Beach complex, designed to allay patients' fears with calming courtyards, water elements, and landscaping visible from treatment rooms, was slated for demolition.

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Francis McConnell is a field supervisor for the Philadelphia Water Department, but lately he is acting more like an undercover police officer.

Several hours a day, five days a week, he stakes out junkyards. Pretending to read a newspaper, Mr. McConnell sits near the entrances and writes down descriptions of passing pickup trucks and shirtless men pushing shopping carts.

His mission is to figure out who is stealing the city’s manhole covers and its storm drain and street grates, increasingly valuable commodities on the scrap market. More than 2,500 covers and grates have disappeared in the past year, up from an annual average of about 100.

Thieves have so thoroughly stripped some neighborhoods on the city’s north and southwest sides that some blocks look like slalom courses, dotted with orange cones to warn drivers and pedestrians of gaping holes, some nearly 30 feet deep.

Two adolescents were injured in recent months after falling into uncovered holes, motorists and cyclists are increasingly anxious about damaging tires, and the city is spending hundreds of thousands of dollars — $300,000 at last count — to replace the missing covers.

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8x8


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5" random orbital sander hero of floor refinishing story


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In case you haven't noticed, retro is hot right now. And Triumph's new Scrambler, the latest entry in the rapidly expanding retro-bike class, is a throwback to the days of Steve McQueen--when cool was more than a memory, attitude wasn't for sale, and high-mounted side pipes offered all the good vibrations the Beach Boys could evoke.

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1960 triumph tr3


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SPIEGEL: In doing so, are you taking up a concept, in a modern way, that American architect Louis Sullivan defined with the phrase "form follows function?"

Koolhaas: Some of our buildings fulfill this basic concept completely. Ironically, this functionalist idea is so forgotten, so unknown today that it seems completely new once again. Modernity is ultimately shaped by the idea of enlightenment, of progress. As unsteady as these concepts may seem to us today, it would be absurd to abandon them, because it hasn't been until today that we, as Europeans, are in a position to share them with the world. This, in turn, is what makes up the credibility of European architecture in an age of globalization: That we are able to execute our formulas in a less formulaic way than others, and that we can pay closer attention to the circumstances under which other people live.

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mulberry st c1900

via zoller
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All of these aspects of Noguchi's career will be explored in an exhibition opening Friday at the Yorkshire Sculpture Park, near Wakefield in England. The stars of the show are a hundred or so of the paper and bamboo Akari light sculptures that he began making in the early 1950s, and that became his best-known work. Lovely to look at and surprisingly robust, the Akari lights not only fuse Noguchi's Japanese and American influences, but art and design, craftsmanship and industry. They were also the catalyst for economic regeneration of a declining Japanese industry and, last but not least, their dramatically shaped mulberry-bark paper shades emit a very beautiful light.

The Akari project came about by chance, after Noguchi went back to Japan in 1950. By then his father was dead, and the Japanese welcomed him as a famous American artist. He visited the city of Gifu, where the traditional candlelit paper lantern industry was declining dramatically as more and more Japanese homes introduced electricity. The mayor asked Noguchi how to revive it.

Noguchi's solution was to modernize the old paper lanterns. Settling in an ancient teahouse with his then-wife, the Japanese movie star Yoshiko Yamaguchi, he designed a series of lamps powered by electricity, rather than candles. For the shades, he used the silky Mino paper that had been made in a nearby village from locally grown mulberry bark since the eighth century, but replaced the recently adopted wire frames with traditional bamboo. The design process was traditional, too. Noguchi began by making a wooden mold in the shape of the finished shade and wound fine strands of bamboo around it. Strips of Mino paper were glued to the bamboo, and the mold removed once the glue had dried. A slender metal structure was designed to hold the bulb and support the shade, both at the top and the bottom, where it seemed to float above the floor on spindly legs.

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VANDENBERG


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Mayor Bloomberg wants to give more New Yorkers a chance to dance.

City Hall is looking to eliminate - or at least loosen - the cumbersome cabaret license so more bars and businesses can allow patrons to let loose, the Daily News has learned.

"We either want to eliminate the license or establish a different license so that it would be less onerous for people to engage in dancing," said a source close to the mayor.

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time is tight (live)


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soulful strut


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the gfos jb's stuff


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totally tubular hand rails


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rip bruce conner break away


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LG LRB-P1031 counter depth fridge

Dimensions
Overall Width 23.4 in.
Overall Height 67.3 in.
Overall Depth 24.6 in.
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art wars: geometry as conceptual art


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etro paisley fabric


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ed roth rat fink decals

via mr bc
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25155

Opening the turquoise cover of this book by architect Giller and his granddaughter, Sarah, is like stepping into the world of the Jetsons. All of his resorts, nightclubs, office buildings, and family houses celebrated innovative technology (air-conditioning!), new materials (Formica!), and the dramatic shapes and roof forms that came to exemplify the style known as Miami Modern, or "MiMo."

The sheer output of Giller's eponymous firm was remarkable. In 1946 he announced the opening of his Miami offices and attracted upwards of 50 clients. By the end of 1968 he and his associates had executed plans for more than 85 separate commissions in the U.S., and Central and South America.

All of those projects were inspired by the abundant sunshine and vibrant colors of South Florida and the Caribbean, and each of them exudes theatricality. It's easy to imagine how impressed visitors must have felt when they drove up to the glowing windows of his Copa City Night Club in Miami Beach, or descended the floating staircase to the lobby of his Thunderbird Motel in Sunny Isles. I only wish I'd had the chance to experience the late architect's famed Diplomat Hotel before its demolition. Distinguished by a massive concrete canopy at the entrance and a bold line of circles punched through the cantilevered roof, the Diplomat was the commission he often called his masterpiece.
mo mimo
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fish sheds fish sheds roly poly...


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bill owens suburbia


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cilff may the modern ranch house


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This summer, internationally renowned artist Chris Burden will exhibit a new sculpture at Rockefeller Center in New York — WHAT MY DAD GAVE ME, a dramatic, 65-foot-tall skyscraper made entirely of toy construction parts. Standing more than six stories tall at the Fifth Avenue entrance to the Channel Gardens, WHAT MY DAD GAVE ME will pay homage to the historic skyscrapers that populate New York and give the city its iconic architectural presence. WHAT MY DAD GAVE ME will be on view, free and open to the public, from June through July 2008. The exhibition is presented by the Public Art Fund and hosted by Tishman Speyer, co-owners of Rockefeller Center.

WHAT MY DAD GAVE ME will be by far the most complex artwork that Chris Burden has ever made, comprised of approximately one million stainless steel parts that are replicas of Erector set pieces, the popular 20th-century children's building toy. Over the past decade, the artist has been using these specially stamped stainless steel metal parts based precisely upon those of the original Erector set to create complex and elegant sculptures of bridges. Intricately engineered to support and bear enormous weight, Burden's colossal toy constructions showcase the versatility, simplicity, and strength of their unassuming parts, combining technical sophistication with a child-like enthusiasm: building for building's sake.

In 1912, an inventor named A.C. Gilbert created the first Erector set, inspired by the steel framework of skyscrapers that he saw under construction in New York City, then at the height of a building boom. The Erector Mysto Type I—the first set Gilbert made—was a collection of small metal girders, which could be assembled with miniature nuts and bolts. Burden's fascination with this original—and now rare—building kit led him to create his own replica parts, fashioned in stainless steel and electro-plated to produce a polished nickel finish in order to make them weather—and rust—resistant.

Despite being constructed with toys, WHAT MY DAD GAVE ME will take on the dimensions of a full-scale building. Burden anticipates that its construction will require approximately one million parts total, and that the sculpture will weigh over seven tons when complete. Models and collectibles have long been important in Burden's work, reflecting his fascination with humankind's industrial ingenuity and creativity, investigating relationships between power and technology, nature and society, and enlightenment and destruction.
thanks lisa!
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Action/Abstraction,” at the Jewish Museum, is more a perambulatory essay than an art exhibition, though it incorporates superb exhibits: classic paintings by the rival godheads of Abstract Expressionism, Jackson Pollock and Willem de Kooning, and fine works by other members (notably Barnett Newman, Mark Rothko, and Clyfford Still), important followers (Joan Mitchell, Helen Frankenthaler), and rebellious successors (Jasper Johns, Frank Stella) of American art’s greatest generation. Arshile Gorky’s prophetic “The Liver Is the Cock’s Comb” (1944), from the Albright-Knox, in Buffalo, alone is worth the visit. It is a desperately vivacious, songful tumult, seemingly executed with bundled nerve ends. Ragged zones of hot color, like open wounds, interact with tight, buzzing linear glyphs—fragments of organic life—that bespeak the artist’s lingering debt to Surrealism, all in concert with intuitions of a new, expansive kind of pictorial space. Something epochal is afoot: a dovetailing of raw personal emotion and disinterested aesthetic experiment, Dionysus and Apollo. Those opposed qualities became the magnetic poles of Abstract Expressionism (which was named in 1946 by the New Yorker art critic Robert Coates) and also the virtual battle stations of the movement’s great, mutually hostile critics, Harold Rosenberg (1906-78), who interpreted the new art rather exclusively in terms of existential drama, and Clement Greenberg (1909-94), who exalted formal invention as an end in itself. Rosenberg gravitated toward de Kooning, Greenberg toward Pollock. They squared off over Newman’s smooth expanses of color inflected with vertical bands or lines—spiritual hierophancy to Rosenberg, aesthetic engineering to Greenberg.

The Jewish Museum’s chief curator, Norman L. Kleeblatt, has focussed “Action/Abstraction” on the writers, interspersing paintings and sculpture with abundant texts, photographs, and memorabilia. Film clips display the men’s differently impressive rhetorical panache: Greenberg is incisive and imperious, Rosenberg droll and oracular. (Parallel shots witness Pollock dripping and de Kooning stroking.) Born to Jewish immigrants in New York, both critics were public intellectuals in the heroic mold of Partisan Review and other small but scarcely humble organs of cosmopolitan thought. Buoyed by America’s ascendancy among nations after the Second World War, they projected the confidence of New York as the new world capital of progressive culture. Each seemed to covet a throne of high-cultural authority which proved, in the end, not to exist. Their quarrels have been outlasted by the art that was their pretext. The resilient mergers of feeling and form in Pollock’s galvanic fields, de Kooning’s dismembered figuration, Rothko’s transcendent color, and, in sculpture, David Smith’s stately animation mutely chastise lopsided partialities of any stripe. But the notion of bracketing the artistic and the critical audacities of the watershed postwar era is so good it’s a wonder that no museum has tackled it before. The result suggests, to me, the pleasant conceit of considering Rosenberg and Greenberg themselves as types of Abstract Expressionists, in discursive prose: Rosenberg lyrically impulsive, like de Kooning; and Greenberg as starkly decisive as Newman. Both aspired, à la Pollock, to perfect unconventional modes of argument that would knock any would-be antagonist cold.

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RS 20k house


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all arch daily wood tags


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at 95 sf the living lab


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the barns of bucks county pa

The Pennsylvania Barn: Its Origin, Evolution, and Distribution in North America


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casa negro remodel


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another black farm house / osb interior


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the barn journal


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fake raven


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The glass exterior of Phillis Wheatley Elementary School in Treme was replaced with a plastic substitute in dull shades of blue and green decades ago. Rust collects on once-gleaming steel trusses, and dented air conditioning units leak condensation from the elevated, cube-like structure onto the littered schoolyard, which has been shuttered since Hurricane Katrina.

No one would argue that the eye-catching building could use some work. But as the clock ticks toward the August release of a final School Facility Master Plan for Orleans Parish, a debate has begun on exactly what kind of work is needed for the landmark Modernist building.

Wheatley is one of four mid-century architectural landmarks that could be demolished, according to the latest draft of the master plan released in January by the Orleans Parish School Board and state-run Recovery School District.

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Laurie Blazek (left) was thrilled when a team of researchers told her Frank Lloyd Wright had designed her modest, three-bedroom house on William Street in River Forest. Though the house has a ground-hugging profile, geometric art glass windows and other characteristic features of Wright’s Prairie Style, she always thought it was shaped by a lesser architect—someone from Wright’s circle, not the master himself.

“I never in a million years thought I would be lucky enough to live in a Wright home,” said Blazek. “Ever since I bought this house, my mother said I spent too much money. Now she’s less critical.”

Just down the block, a comparable Prairie Style home is for sale, but the real estate agent, Margaret McSheehy, is cautious about its authorship. “Research is currently being conducted to determine if this home was designed by Frank Lloyd Wright,” says the Internet listing for the property, a stucco-faced three-bedroom priced at $699,900.

Did he or didn’t he?

That’s the question hovering around 29 houses in Chicago’s suburbs—one each in Glen Ellyn and Wilmette, two in Berwyn, and 25 in River Forest, including 24 of the 26 houses in the 700 block of William Street—now that the researchers are going public with their claim that they’ve found “undiscovered works” by the man widely considered to be America’s greatest architect.

“We stumbled on this and said, ‘My God,’” said the leader of the team, William Allin Storrer of Frankfort, Mich., author of two respected books, “The Frank Lloyd Wright Companion” and “The Architecture of Frank Lloyd Wright: A Complete Catalog.”

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buildings small barns sheds and shelters


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12 x 12 pixel toaster printer


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With "Jackson Pollock: How Installation Can Affect Modern Art," Newhouse tracks and illustrates the five legendary Pollock exhibitions at the Betty Parsons Gallery (1948, '49, '49, '50, '51) with particular reference to the dimensions of the artist's barn/studio in Springs, N.Y. The modest scale of the Parsons space favored the direct transplant of wall-size works from the studio. The 1950 exhibition, in which Pollock was assisted in the hanging by Tony Smith, forced an intimacy to which there was a stunning audience response. "The effectiveness of the exhibition," Newhouse reports, "has never been surpassed." For Alan Kaprow, "the effect was of an overwhelming environment ... assaulting the visitor in waves of attacking and retreating pulsations." The paradox of large-scale New York School painting was clarified: enveloping size forcing intimate viewing. For Pollock's work, as for Rothko's, the distance between viewer and painting determined its effect, a point repeatedly brought home by Newhouse in her comments on subsequent Pollock exhibitions. During the '50s, the uninhabited "installation view" became an indispensable photographic record, and Newhouse has assembled a revealing compendium of gallery and museum installations of Pollock exhibitions. Pollock's subsequent exhibitions at the Sidney Janis Gallery (1952, '55), lacking wall-sized works, were mounted with a more designed sense of presentation. The 1955 exhibition included the famous display of White Cockatoo (1948) on the ceiling, with Pollock's approval.

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ad r


ad reinhardt "1," from a unique group relating to "Ten Screenprints,"
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A campaign to save the storied Miami Marine Stadium will get its first test on Tuesday, when the city's historic preservation board will consider a proposal to designate the long-neglected but architecturally dazzling structure as a historic landmark.

The effort has received a boost from the city's preservation officer, Ellen Uguccioni, who in a report to the board called the 1964 stadium ''a tour de force of modern design'' and concluded it is eligible for designation.

But the save-the-stadium effort must still overcome a significant hurdle, Uguccioni said: Generally, buildings must be 50 years old before they are eligible for historic status. Because the stadium is only 44 years old, proponents of designation must demonstrate it is ''of exceptional importance,'' she wrote.

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cementfirebox

prefab firebox
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fallen angel

A glazed terra cotta relief by the Renaissance sculptor Andrea della Robbia came loose overnight from its perch above a doorway at the Metropolitan Museum of Art and crashed to the stone floor below, seriously damaging it, museum officials said Tuesday.

The shattered 15th-century sculpture, a 62-by-32-inch blue-and-white lunette depicting St. Michael the Archangel in a traditional pose, holding a sword and the scales of justice, was found early Tuesday morning by a guard on regular rounds.

Harold Holzer, a spokesman for the museum, said the sculpture, which had been on display over the doorway in the European Sculpture and Decorative Arts Galleries since 1996, may have done a back flip in the air as it fell, causing it to land relatively flat on its reverse side and sparing it “catastrophic damage.”

Officials said that a preliminary examination of the sculpture indicated that it could be repaired. Mr. Holzer said that large pieces, including the archangel’s face, were intact and that, late in the day, the conclusion was that the piece was “eminently restorable.”
damage control: “eminently restorable.”


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jacob riis how the other half lives


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schwarz-truck, a 1995 ford f150 with two 17 gallon tanks is more than happy to suck down over one hundred and five dollars worth of 78 in a single feeding this summer. IF THEY'D LET YOU! i was fueling up for a road trip last week that would require all but one quarter of one tank when the mandatory nj pump jockey quit half way through filling the second tank and handed me back my card requiring me to take issue and give some serious attitude. there were no signs indicating any limits by whom ever is in the business of making limitations on things. and since i had been using a self imposed $20 fill-up limit (recently raised to $30) and always used cash i had no prior personal knowledge of sale limits. it was only when the pump cut off at $75 on the return trip fill-up that i put 17 and 17 together. "its the banks" the maine quickie gas lady confirmed. i paid cash for the balance of the fill on both occasions. man, if it aint one thing... its two things.


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kites are fun the documentary-ette

via zoller
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rip edith macefield

The Ballard woman who captured hearts and admirers around the world when she stubbornly turned down $1 million to sell her home to make way for a commercial development died Sunday of pancreatic cancer. She was 86. "I don't want to move. I don't need the money. Money doesn't mean anything," she told the Seattle P-I in October. She continued living in the little old house in the 1400 block of Northwest 46th Street even after concrete walls rose around her, coming within a few feet of her kitchen window. Cranes towered over her roof. Macefield turned up the television or her favorite opera music a little louder and stayed put.

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uncle henrys building materials and more


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