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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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