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henry flynt
"This fantastic, hovering blob will be Archigram's revenge for its many earlier disappointments, for competition-winning schemes that were never realised. [...] And to me it is Archigram at its best. [...] At last we will have a building worthy of their true spirit, albeit 35 years too late. Of course part of Archigram's potency was its ability to initiate by going beyond what was possible, and some might argue that its ideas and messages were not intended to be built. But I believe the fact that this will be built, after so long, gives credibility to Archigram's mid '60s predictions. The amorphous quality of the form, internally and externally, manages to escape the language of a building type, which was one of the major points of Archigram in the twentieth century." Will Alsop*
"Two European scholarship students of the MAK-Schindler Artists and Architects in Residence Program in Los Angeles initially intended to develop a prototype of a "case study house" for the present in their course of their six-months stay. During their investigations of the case study program, the buildings and the circumstances of their development, Roland Oberhofer and Nicolas Février became aware of the changes that Los Angeles had undergone since they were built. Today's problems are not so much related to the necessity of producing additional residential buildings but rather to urban planning approaches such as the issue of public space for the inhabitants of the metropolis."
otis ball super_karaoke_fun_time_band
ariel bender
hot property
preservation age before beauty
RIP clark byers
smile :)
saul steinbergs assistant
the bottle dump
LINOLEUM
artoleum by forbo flooring of the netherlands
marmorette by armstrong
narndur by tarkett sommer
bungalow manifesto linoleum page
secondhand rose rare and vintage linoleum
spherical granules mars
tom moody on appropriation art
FutureHouse via jetset modern
atomic ranch launch
Simmons Hall dormitory at MIT
..."Holl said his design was inspired by a bath sponge."
"Thomas Pynchon's novel, Gravity's Rainbow, declares an ambition to make physics become metaphysics; Douglas Huebler's work relates to Pynchon's in a vital respect, which is that Huebler seems to want to make the "sociological" achieve an analogous transcendence. By this I mean that Huebler wants to make ways of documenting events stand for a larger paradigm, one that can contain enough of the conditions of experience in the real world to stand as a sort of model for ordinary language itself. In Huebler, sociology—events in the real world—becomes a sort of phenomenological linguistics—language in the real world. This happens via a procedure which in Huebler's recent work, of which Duration Piece #7, 1973, is a useful example, employs a metonymical structure to present an event in the real world, and, by doing so, illustrates the incompleteness—reflexiveness—of ordinary perceptual experience in a way that is newly clear. Huebler's work is about the "deconstruction" of the familiar."
A bearded hippy wearing only his underpants emerges from what appears to be a subterranean concrete bunker. He's followed by a shaggy man in overalls, a topless woman with long hair, and another, and another, like clowns from a Volkswagen. A voiceover informs us that these people are leaving behind an "indescribably large house...with all the possible comforts, and with all the pieces of modern furniture on the market...built following all ancient and modern styles, forming a homogenous and pleasant whole."
The movie, Ceremony, is one of five films (together called Fundamental Acts) that the Italian avant-garde architecture collective Superstudio planned in the early 1970s to communicate their radical vision of an ideal world: one devoid of architecture. This vision is chronicled in
Superstudio: Life Without Objects, an ambitious retrospective of the firm's conceptual work from 1966 to 1978 currently spread across several New York galleries.