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But how to freshly document the life of a man who was his own Boswell, whose books and articles slavishly documented his own every tic, whoop and hallucination? A journalist who announced his arrival in American letters by riding with the Hells Angels and in the end choreographed a memorial from the grave that made the Burning Man bacchanal seem chaste?
Few writers have commodified narcissism so completely — his participatory style of journalism became its own genre and gives the film its title — but still we are invited to sit in the dark of the theater and have a flashback about his flashbacks. When the film opens on July 4, why will people, as Thompson would say, buy the ticket, take the ride?
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Architecture of Change - Sustainability and Humanity in the Built Environment
Wright Where You’d Least Expect It
In a remarkable effort, an Alabama city purchased, restored, and preserved a dilapidated Frank Lloyd Wright house, then opened it to the public.
installing insulation the proper way
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The Landmark Preservation Commission had a hearing Tuesday to determine whether Silver Towers/University Village, a concrete complex designed by I. M. Pei in 1966 as part of a Robert Moses urban renewal program, should be designated a historic landmark.
A formal vote will be held at a later date, but already, the discussion about whether to protect the buildings — located between Bleecker and Houston Streets east of LaGuardia Place — has been heated.
Some fans of Jane Jacobs’s philosophy of urban spaces find the buildings hideous. Others see the towers as important examples of postwar modernism.
No PR firm would have dreamt up the word "brutalism". The term was derived from Le Corbusier's "Breton brut"- French for "raw concrete", the movement's preferred material - rather than anything to do with brutality, with which it has sadly become better associated. In the popular imagination, brutalism is synonymous with harsh, hostile, ugly architecture (or death metal). Two key examples of the movement are currently under threat, Birmingham Central Library and Robin Hood Gardens, and both have sparked furious debate.
Birmingham Central Library, opened in 1974 and designed by John Madin, is apparently the busiest library in Europe, though Prince Charles judged its hulking inverted ziggurat more suited to incinerating books than storing them. The building was slated for demolition as part of a £1bn plan to regenerate the city centre (and build a brand new library) but now English Heritage has recommended it be listed, arguing that it has "defined an era of Birmingham's history". There seem to be plenty in the city who would rather leave that era undefined, but others have defended it as a successful, high-quality design, including my colleague Jonathan Glancey.
It's a similar story with Robin Hood Gardens, in Poplar, East London. One of the original "streets in the sky" housing developments, completed in 1972, this relentless mid-rise estate displayed the worst of public housing design: crime, grime, and societal and material decay. But it was designed by Alison and Peter Smithson, arguably Britain's most celebrated modernist architects. When discussions over its future arose, the architectural magazine Building Design launched a campaign to save it led by heavyweights such as Richard Rogers and Zaha Hadid. As Simon Jenkins pointed out, nobody who actually lives there has joined this campaign. Why not please everybody and convert it into a National Museum of Bad Architecture?
Art has concerned philosophers from the beginning. In The Republic, Plato denounced art as mere imitation. For Hegel, too, art was subordinate to philosophy; in 1828 he wrote that art "in its highest vocation, is and remains for us a thing of the past." More recently, philosophy professor Arthur C. Danto announced "the end of art" in 1984.
But Danto didn't mean that artists were no longer making art; rather, he was referring to the end of art history. Throughout much of this history, artists--from Hellenistic sculptors in ancient Greece to academic realist painters of nineteenth-century France--sought to realistically depict the natural world. But with the advent of Modernism, realism devolved in a rapid denouement--brush strokes became visible and bold, color was expressive rather than authentic and the figure became increasingly sketchy and crude until nothing remained but pure abstraction. By the 1980s, however, this linear progression came to an abrupt end as the art world entered a new, pluralistic era. This era was not defined by a dominant school or movement but was characterized by its lack thereof.
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huffington on mainstream media