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Rising in the east at sunset, the New Year's Eve full moon will reach its highest point at midnight, noted Jack Horkheimer, director of the Miami Space-Transit Planetarium and host of PBS television's long-running show Star Gazer.
"Full moons around winter solstice rise their highest for the entire year," Horkheimer added.
"Even if you are downtown in a large city, if it is clear at the stroke of midnight the moon will be very visible if you look up."
In any location, the high, silvery orb will seem like a floodlight cast on the landscape, added Horkheimer, who is organizing a national moon-howling contest around this year's blue moon.
"This is especially true where the ground is covered with a blanket of snow. There is nothing quite so spectacular as a snow-covered scene under a December full moon at midnight."
tavern on the green (nyc since 1934) closing 12/31/09 - to auction fixtures off
In Memory of Maryanne Amacher
via BT
roky erickson maxwells hoboken nj
The Umbrella House is about to get its umbrella back.thx ree
Vincent and Julie Ciulla, owners of the 1953 house in Lido Shores, have announced that they are breaking ground on a project that will restore the “umbrella” to the Paul Rudolph-designed house.
Rudolph built the house on speculation to attract attention to the Lido Shores development of Phil Hiss. It did just that, largely because of the superstructure that shaded both the house and the pool deck. Housing and architecture magazines ran articles on the house, and it remains one of Rudolph’s best-known works of the Sarasota school of architecture.
harry everett smith audio interview 1965
(via HES facebook group)
via things mag
The harsh, almost geological angularity of the parking garage shears through Lapidus’s easy informality, yet with its open structure and its canted and V-shaped columns there is a faint echo of playful MiMo. The developer, Robert Wennett, has used Miami Beach’s parking shortage to smuggle in a layer of retail for which he otherwise would have struggled to get permission. Boutiques and bookshops at ground level establish a pattern of (upmarket) retail for (the now mid-market) Lincoln, while four condos on a new street at the side help with profits, leaving Wennett’s own penthouse and a restaurant to occupy the top floor. There is even a shop halfway up the ramps, isolated and intriguing.via things mag
As you ascend through the structure, its concrete planes fold themselves beneath you, each level exposing a yet more compelling vantage-point on the surrounding city. At one point a complex tangle of steel by artist Monika Sosnowska turns out also to be a safety feature, stopping kids getting struck beneath the ramp. By the time you reach the top, the city, the sea and the sky twinkle before you in a filmic panorama.
The idea is to create a series of layers that extend the public realm up into the building, to attract events, parties and life into the structure. Both architects and developer see the structure as an experiment in a new kind of downtown transport architecture, a building as exciting to enter as to emerge from, blinking into the Miami sun. This may be optimistic, but it’s a good story.
belgian greenhouse-house (justin)
international greenhouse co
digitally fabricated book shelves
via justin
WSB's the junky's christmas
ugly christmas sweater party dot com
duve pro tm tape rose brand theatrical supply
via vz
visual acoustics: the modernism of julius schulman
wprb towe on thursday - bach till 11 am
Robt. Williams lecture oakland museum 1/11
ed roth interviewing von dutch
rip arnold stang
via adman
the hound on andrew loog oldham
CLOUD PAPERS
FOR PHILIP TAAFFE
Peter Lamborn Wilson
Berlusconi Attack Spurs Souvenir Sales
via vz
nyc hotel alley
Arbeit Macht Frei sign stolen
on the road with charles kuralt 17 dvd set
edgar oliver the hermit & other poems
sidan finns
via skinny
The unusually intact collection of 600 mid-20th century garden-style apartment buildings, schools and places of worship that make up Miami Beach's North Shore district -- South Beach's funky, forgotten little brother -- now has something of its own to boast about.
It's been accepted for inclusion in the National Register of Historic Places, an honor that city officials and North Shore boosters hope will sharpen the district's profile, allowing it to step out from its better-known sibling's long shadow.
The district's inclusion also cements recognition of the once-derided architectural style that has popularly come to be known as Miami Modern, or MiMo -- the breezy, geometric designs that predominate throughout North Shore.
rare and historic house plans
a justin find
the return of banjo boy billy reddon
the hound on bowie '64-6
"House of Cars" at the National Building Museum proves that the parking garage can be an urban asset, even a beautiful structure to behold. This fascinating exhibition traces the history of the prosaic building type, from horse stables used for auto storage to a pool-topped car shed at the Nelson-Atkins Museum of Art in Kansas City, Mo.
The concept for the show was brought to the museum by Shannon Sanders McDonald, author of the 2007 book "The Parking Garage: Design and Evolution of a Modern Urban Form." Curator Sarah Leavitt worked with exhibit designer Patrick Rogan to expand Ms. McDonald's ideas through an animated installation of photos, architectural models, drawings, artworks and film clips.
casa barone
justin found this one
pops - a life
ancient kauri wood
antique wooden bowling alley lanes
more from old wood workshop / via vz
Xeros Residence – Phoenix by Blank Studio
justin found this one
Sony Legacy To Release 70-CD Miles Davis Box Set
Nothing lasts forever. Not even the most recognizable of automotive designs, on sale off and on since 1938.
At the Los Angeles Auto Show, Volkswagen announced the end of production for the current New Beetle. The VW display at LA showed "Final Edition" coupe and convertible models. The aptly named New Beetles go on sale this spring, and then production is over.
(A planned community is a pseudo-community, a nominally social space in which everyone is an obedient, well-oiled robot, a nominal human being programmed by instrumental reason. At least in public; in private the robot may come apart -- regress to a shabby humanity -- although the Bauhaus, like the feminists whose motto is "the private is the political," wanted to collapse the difference -- erase the boundary -- between the public and the private. This is partly why today the private eagerly becomes public, and why they are readily confused, as "reality television" and so-called social networking -- much of it seems anti-social -- show. They standardize the psychosocial just as the Bauhaus standardized art, each reducing content, be it human or esthetic, to a pro forma ritual.)
Ludwig von Bertalanffy, the developer of General System Theory, argued that the modern "crisis" was caused by the conflict between an open system organic model of human behavior and a closed system robot model of human behavior -- and by implication the lifeworld -- and in the Bauhaus the robot system has won the battle, at least on the battlefield of art. But technology was well on its way to conquering the lifeworld before it conquered art, suggesting that the Bauhaus was fitting art into technology rather than using technology to make art. The Bauhaus described itself as a "unity" of "art and technology," but I would say it confirmed technology’s triumph over art rather than art’s triumphant appropriation of technology. The Bauhaus endorsed and adapted to technology, not vice versa.
And a not very sophisticated -- indeed, a rather skin-deep -- technology at that: the Bauhaus copied -- mimicked -- the streamlined, simplifying look associated with technological efficiency, stripping art down to its objective, "pure" essentials -- geometry and material taking pride of place among them -- thus desubjectifying it. They wanted the modernizing look of technology, not its substance, which is more complicated than they could imagine. Their esthetic fundamentalism can hardly be called technologically ingenious, unless one is ignorant enough to misconstrue their "de-regularizing" arrangements of the modules of the grid as brilliant engineering. It adds an air of quasi-flexibility and pseudo-intricacy to the otherwise rigid grid, deceiving us into believing that freedom, change and unlimited movement are possible within its unchanging structure, emblematic of inflexible authoritarian society ("friendly fascism?"). The grid’s modules are like cells in a prison, and while the prisoners are allowed to exercise -- flex their muscles and move about restlessly, as though expressing themselves spontaneously -- in the prison’s yard, they remain confined within its claustrophobic boundaries and depressing sameness. The module is a cog in the grid machine, and the cog can’t escape its "system."
This desubjectification of art -- correlate with its over-objectification -- is exactly where the Bauhaus and the Nazis make common cause. Both regarded Expressionism and Surrealism as "degenerate." Both sought to exterminate "low," "fuzzy," "surreal" subjective expression and replace it with "high-minded," "crisp," "real" objective art (pure, self-sufficient form not obscured by evocative decorative ornament for the Bauhaus) -- self-righteously "perfect" art bespeaking an industrial idealism. Both wanted to create ideal societies. Both were ruthlessly utopian and inbred -- the Bauhaus wanted an inbred art, the Nazis wanted an inbred society -- forms and Aryans incestuously breeding in eugenic pursuit of an imagined pure, perfectly formed breed of art and human being. Both expected technology to do the eugenic work, as though technology would guarantee the ideal and absolutely pure and was ideal and pure in itself. The Bauhaus ideal of pure, well-managed art and the Nazi ideal of pure, well-managed Aryan society were curiously correlate however ostensibly at odds. After all, the Nazis were great advocates of industrialism, and also had a totalitarian ideology. Just as the Bauhaus wanted a one-dimensional art -- totalized and stereotyped art as exclusively geometrical, with whatever pseudo-expressive variations bringing the geometry to quasi-life, like a robot going through the motions of dancing -- so the Nazis wanted a one-dimensional society, that is, a society in which there was only one kind of "authentic" human being.
bring back the old sun maid rasins babe!
charlie brown christmas tree
heinrich-siegfried bormann - visual analysis of a piece of music
from a color-theory class with vasily kandinsky - october 21, 1930
hulu list...
What’s notable about the present attack on "conceptual" art by Dutton and many, many others is that it is a symmetrical, distorted reflection of the very critique of "traditional" art that led artists to adopt diverse "conceptual" strategies in the first place. A great many of these (e.g. process art, abject art, performance art) attracted the zeal of their purveyors in the ‘60s, ‘70s and ‘80s because they seemed to promise some kind of critique of the art market. Traditional art forms like painting and sculpture were -- and still are, in some circles -- considered to be corrupt, because the objects they produce lend themselves to being sold, owned and traded. Barbara Rose expressed this silly conception in a particularly hyperbolic passage from the Partisan Review: "For some time now I have felt that the radicalism of Minimal and Conceptual art is fundamentally political, that its implicit aim is to discredit thoroughly the forms and institutions of dominant bourgeois culture."
The fact that such strategies devolved inexorably into their own sort of market-friendly style just proves a point. On both sides, "traditional" and "conceptual," the perceived ill of the other is actually just the displaced face of the market itself, with its tendency to transmogrify and vulgarize everything. Which should provide a lesson for critics about the kind of promises they make for art: There are no formal or esthetic solutions to the political and economic dilemmas that art faces -- only political and economic solutions. Consequently, the only critical temperament that makes any real sense is an eclectic one that doesn’t build up one or the other side into the answer for problems that they both share.
From 1967 to 1969, Tommy and Dick Smothers challenged the censors at CBS and the political establishment who tried to tame their wildly popular — and politically left-leaning — show, The Smothers Brothers Comedy Hour. The brothers lost their show, but later won a battle in court. TV critic David Bianculli joins host Terry Gross to talk about the legendary comedy duo who tackled political issues and censorship.
Based on extensive interviews with the Smothers Brothers and other key players, Bianculli describes the siblings' lives both onscreen and behind the scenes in a new book, Dangerously Funny: The Uncensored Story of the Smothers Brothers Comedy Hour.
used theatrical drapes
via vz