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Whenever a structure wins the accolade of “Britain’s most hated building”, or crowds bay beside a demolition as at a public architectural execution, the victims will be brutalist buildings.
Brutalism is one of Britain’s two contributions to modern architecture. The other is “high tech”, the engineering aesthetic of metal and glass that has, in effect, become the style of the City , the emblem of modernity. Brutalism, an aesthetic based on bulky cliffs of concrete, remains locked up in its filthy, rain-stained bunker, dismissed as modernism’s idiot relative, reviled, unpopular, a manifestation of everything that went wrong with architecture. One of its finest British proponents was Rodney Gordon, who has died aged 75.
Gordon remained unknown beyond architecture circles. His brief, flashy career largely happened in the office of Owen Luder in the 1960s, meaning his name was rarely associated with a building. In that time the office designed a handful of astonishing, sculptural buildings, nearly all of which have been, or are being, destroyed. The finest was the Tricorn Centre in Portsmouth, a terrific essay in sci-fi concrete that was left to rot by an unsympathetic council and chain stores that would rather have been somewhere else, somewhere with a bit less . . . character. Opened in 1966, its fiercely modelled form embraced a shopping centre, a nightclub and apartments. By the 1980s its apartments had never been fully occupied because of problems with damp and malfunctioning services, the nightclub had degenerated into a shabby casino and the top of the multistorey car park had become the south coast’s most popular spot for suicides after Beachy Head. It was demolished in 2004.
this dynamic new office space serves as a green remodeling example, having been fashioned from 90% reclaimed materials - the highest percentage in the country. the office space design integrates the Rebuilding Center's office space with the design and philosophy of its warehouses. ORANGE began by creating the stunning array of reused windows that surround the building, and has taken its problem-solving genius inside this truly amazing space.via mb
ART adores a vacuum. That’s why styles, genres and mediums left for dead by one generation are often revived by subsequent ones. In the 1960s and ’70s public sculpture was contemporary art’s foremost fatality — deader than painting actually. The corpse generally took the form of corporate, pseudo-Minimalist plop art. It was ignored by the general public and despised by the art world. At the time many of the most talented emerging sculptors were making anything but sculpture. Ephemeral installations, earthworks and permanent site-specific works were in vogue, and soon the very phrase “public sculpture” had been replaced by public art, an amorphous new category in which art could be almost anything: LED signs, billboards, slide or video projections, guerrilla actions, suites of waterfalls. But over the past 15 years public sculpture — that is, static, often figurative objects of varying sizes in outdoor public spaces — has become one of contemporary art’s more exciting areas of endeavor and certainly its most dramatically improved one.
21 (PLUS) ACRE PARADISE IN THE WOODS OF VENUS, FLORIDA FOR SALE BY OWNER
buynow price $3,000.00!
You are bidding on an orginal 1955 Packard Custom Clipper 4dr Sedan. There is no reserve!!! This car must go!!! The car has 35880 original miles, powered by a 352 V8 with 4 barrel carb and a freshly rebuilt Ultramatic Transmission. The Car Runs and Drives as is! The car comes complete with all parts, just awaiting restoration. Equipment included (All items are in working order unless noted): Power Brakes, Power Steering, Power Windows (Pass. Front does not work), Power Antenna, Radio (Does not work), Power Drivers Seat (Needs Repair, Half of seat works), Optional Torsion Level Ride System. Here is a list of work done and or parts replaced. New Windshield, New Brakes, Brake Hoses (Steel Lines), Rebuilt Master Cylinder and Power Brake Unit, Overhauled Radiator, Rebuilt Water Pump, Valve Job on Engine Heads, Overhauled and Seal Coated Gas Tank and a New Fuel Pump. Details: The back of the rear seat needs to be reupholstered, the entire front seat and the bottom of the rear seat are in excelent condition, the front seat is still wraped in plastic. There is some minor rust on the right rear bottom quarter panel and lower left side tail lamp, otherwise the rest of the car is solid. The Carburator needs to be rebuilt.
The prevailing attitude is that dragstrips and other racetracks were driven away primarily as a result of urban development. As I began to show last month, it just ain't so. In my search for the locations of former SoCal strips, I was astounded to find, in approximately nine out of ten cases, that the settings were still bare, vacant land or-as in the case of Ramona-the former track is still right there, with weeds growing through it. In fact, this seems to be the case nationwide. In a monthly series in the magazine's Straight Scoop column, Car Craft has been running photos sent in by readers of still-existing but abandoned dragstrips in all parts of the country, and that's been going on for more than three years. Think about it. Most strips were built in pretty remote areas-for obvious reasons-in the first place. In most cases, this is the last acreage to be developed
pacific northwest regional architecture blog
shelter institute projects
wfmu logo contest (congratulations to the winner - 1st page, upper left.) excellent choice!
The politics and the photographers who shaped those images under the auspices of the federal Farm Security Administration come to life in “Documenting the Face of America: Roy Stryker and the F.S.A./O.W.I. Photographers,” an hourlong documentary on most PBS stations Monday night. The film shows how Mr. Stryker turned a small government agency’s New Deal project to document poverty into a visual anthology of thousands of images of American life in the 1930s and early ’40s that helped shape modern documentary photography; more than 160,000 are now at the Library of Congress.
Before television or the Internet, when many Americans lacked even a radio, the photographs told stories that would have remained elusive to those out of eyeball range. Ms. Lange and Mr. Rothstein, along with celebrated figures like Walker Evans and Gordon Parks, used their cameras to preserve scenes of winding bread lines, dirty-faced families in front of their ramshackle farmhouses or in jalopies with their possessions piled high, as well as the stark “colored” signs of segregated public facilities and somber black children picking cotton.
Roots of Communal Revival 1962-1966
One of the great flowerings of communitarianism in America came with the era of the hippies in the 1960s and early 1970s. The rural hippie communes were media attention-grabbers, full of photo opportunities, wild anecdotes, and the weirdest-looking people most Americans had ever seen. Press coverage was massive from about 1969 through 1972, and a string of popular books soon emerged, most of them travelogues of the authors' visits to communes. A fair body of scholarship eventually developed as well.
One standard theme in all of that coverage and scholarship, however, was oddly misguided. In case after case, observers of the new communalism seeking to explain the origins of the communes concluded that they were products of the decay of urban hippie life in the Haight-Ashbury, the East Village, and other enclaves. The hip urban centers, so the thesis ran, might have briefly been joyous centers of peace and love and expanded consciousness, but they soon devolved into cesspools of hard drugs, street crime, and official repression of dissident lifestyles. The hippies at that point fled for the friendly precincts of the countryside, where they built communes as new places for working out the hip vision.
Examples of this explanation of the origins of hippie communalism abound in both popular and scholarly writings. Maren Lockwood Carden, for example, writing in 1976, says matter-of- factly that the hippies' "first communes were created within the urban areas in which they already lived," and that beginning in 1966 "and especially during 1967 and 1968, such community-oriented hippies left the city." Helen Constas and Kenneth Westhues purport to trace the history of the counterculture "from its charismatic beginnings in the old urban bohemias to its current locale in rural communes," concluding that "communes signify the routinization of hippiedom."
Actually, however, the new communes began to appear before there was a clearly recognizable overall hippie culture, much less a decaying one; they represented a new outcropping of the much larger venerable American tradition of alternative culture, a part of which has involved communal living. Catalyzed by shifts in American culture in the late 1950s and early 1960s, the hip communes were not, in the beginning, products of hippiedom, but crucibles that played a major role in shaping and defining hip culture. In other words, the urban hippies did not create the first hip communes; it would be closer to the truth to say that the earliest communes helped create the hippies. While communes were indeed founded by hippies who fled the cities, they were johnnies- come-lately to the hip communal scene. When did the hippies first appear?
the sea ranch
In case you had not heard before, this short is called "The Party". Robert Fortier is the hapless dude at this late-60s party. This short was directed by Robert Altman years before he did "M.A.S.H." (which was years before he directed "Nashville"). This short, set to the TJB's Bittersweet Samba, was created as the middle of a 3-part series for RA's personal guests.
rip jerry "more bass" wexler
2 new songs posted by quintron from his new album too thirsty 4 love