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How Iannis Xenakis turned his back on architecture for classical music

poeme electronique

via strange harvest
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push back for knee jerk corbu haters


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ive been ignoring this news item (because i cant stand venturi). but its hard to resist a good house moving story with a tugboat, barge and the varrazano bridge in the background.


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The museum’s most famous asset is its 9,335-square-foot scale model of New York City, originally built for the 1964 World’s Fair. The Panorama of the City of New York has 895,000 structures, replicating every street, bridge and skyscraper in the five boroughs.

It is the physical and sentimental centerpiece of the museum, located on the old fairgrounds in Flushing Meadows Corona Park, next to the Unisphere, the enormous stainless-steel globe that was also built for the fair and has become an unofficial symbol of Queens.

Now, the museum is beginning an Adopt-a-Building program.

Starting Monday, you can “own” an apartment in the tiny world of the model — say, the one you live in — for $50. A single-family house will cost $250.

And for $10,000, developers can have their brand-new glass-tower condo buildings added to the panorama — no matter how many units are languishing on the market. “Buyers” will even be awarded their own deeds.

Until now, the panorama has represented a snapshot of New York, frozen in time. In 1992, workers updated 60,000 structures to reflect the city’s constant churn of construction and demolition, but it has been untouched since then.

In this miniature world, the World Trade Center still stands, for instance, and the luxury towers now lining the Long Island City and Williamsburg waterfronts are nowhere to be seen.

Now, the panorama will evolve gradually along with the city — at least, for those who pay.
who gets the old buildings they replace?


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czech book cover design 20's - 30's


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10th st co-op galleries

park place gallery


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we get blue highway network on basic cable / whottie who who!!! / set your dvr to OCC

Growing up in the Ozark Mountain of Missouri I attended New Hope Baptist Church and New Salem Methodist Church which were both within three miles of our farm in Polk County. These great old country churches gave me a foundation to build a life upon and a lifelong love of the sound that I remember so well of the singing echoing from these historic buildings. The old country churches of my youth were all aged wood and gave a resonance of the human voice that could never be duplicated in a modern recording studio. Back in 1992 I started looking for an old country church to produce a television show to feature the authentic sound of music inside those old wooden buildings. In 1993 my lifelong friend and fellow gospel music lover, Bobby Joe Bilyeu (pronounced BLUE) found the perfect church. It is located in the Heart of the Ozarks just 8 miles outside of Springfield, Missouri. As noted earlier, I grew up on a farm just 13 miles from Springfield, but in the other direction so I had never heard of this church. It is the historic Cave Springs Church in the community of Cave Springs, Missouri. It was built in the mid 1860's and had been empty for many years when we found it. We were able to take our production crew in and clean it out, repair and paint the inside and paint the outside. It is a beautiful old church and from the first group that we brought in to sing, back in 1994, the sound of that old wood was just spectacular. People all over the country watched our "Old Country Church" shows and our "Gospel Sampler" shows that were produced in the old church and just loved it. It has been our most popular show of all the shows we have produced through the years, along with "Reno's Old Time Music Festival" and my "Stan Hitchcock's Heart to Heart" shows.

Reno and I, along with our wonderful production crew just returned to Nashville from our trip to Cave Springs, Missouri where we produced ten (10) new "Old Country Church" shows with some of the greatest [WHITE] gospel groups in America. I couldn't wait to get back and give you, our BlueHighways TV fans and supporters, the chance to hear the raw, unedited samples of the new shows.

Stan

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oafe


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langston hughes ask your mama


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illy push button house

thx drat
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master plan


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hollis frampton interview


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80 michigan breakwater / lock images


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This lantern slides measures 3.25 in by 3.25 in.

Hand titled on paper label - Corbusier. . Paris. Jeanneret. Maison la Rute?

This old lantern slide is one from a collection of photographic slides showing modern architecture. Many of the slides have paper labels reading - Courtauld Institute of Art, a few read Barteltt school of Architecture and Architectural Association. Some are only titled. Some show buildings and interiors by famous architects such as Frank Lloyd Wright, Le Corbusier, Charles Renee Macintosh, Schinkel, F.R.S Yorke and others in England, France Australia, America, Italy and more. Some are dated 1930s / 1940s, others have written - No Neg.
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ORIGINAL PHOTOGRAPHS OF THE MESS RESIDENCE OF WINNETKA DESIGNED AND BUILT BY WALTER BURLEY GRIFFIN, IT WAS FEATURED IN THE "WESTERN ARCHITECT MAGAZINE AUGUST 1913. THIS AUCTION INCLUDES 46 PHOTOS. 4 EXTERIOR PHOTOS UNDER CONSTRUCTION, 1 PHOTO OF A SURVEYING CREW WHICH MAY INCLUDE GRIFFIN IN THE PHOTO.5 INTERIOR VIEWS INCLUDING THE FAMOUSE FIREPLACE. THE BALANCE ARE VARIOUS VIEWS OF THE HOME AND GROUNDS OVER THE FOLLOWING YEARS. SOME HAVE MATURE LANDSCAPING.ALSO INCLUDED IS THE PAGE FROM THE MAGAZINE. ALL PHOTOS ARE ORIGINALS.


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But to use an analogy that this poker player would understand, Mr. Gagosian is all in. He showed up at the Yves Saint Laurent auction in Paris last month, accompanying the Russian billionaire Roman A. Abramovich. Mr. Gagosian is still on the cocktail circuit, and he’s still hosting parties in his town house on the Upper East Side, which has a lap pool and lots of sleek furniture. The gatherings — a mix of millionaires, celebrities and art stars — are carefully engineered marketing opportunities, though they don’t seem that way to attendees.

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Four years ago at Davos, the famous world economic forum, then-Prime Minister Tony Blair appeared on a panel with Bill Gates, Bill Clinton and the rock star Bono. After the panel, a journalist wandering the stage came across some papers scattered near Blair's seat. The papers were covered in doodles: circles and triangles, boxes and arrows.

"Your standard meeting doodles," says David Greenberg, professor of journalism at Rutgers University.

So this journalist brought his prize to a graphologist who, after careful study, drew some pretty disturbing conclusions. According to experts quoted in the Independent and The Times, the prime minister was clearly "struggling to maintain control in a confusing world" and "is not rooted." Worse, Blair was apparently, "not a natural leader, but more of a spiritual person, like a vicar."

Two other major British newspapers, which had also somehow gotten access to the doodles, came to similar conclusions.

A couple days later, No. 10 Downing Street finally weighed in. It had done a full and thorough investigation and had an important announcement to make:

The doodles were not made by Blair; they were made by Bill Gates. Gates had left them in the next seat over.

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andy warhol's tv


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goldsmith >>>Oh fuck, let them, let them! Oh geez let them who cares! We have nothing to lose. I mean who cares. Like I said there should be many more of those. Who gives a shit! None of it matters. It's like punk rock. It's like punk rock. Who gives a shit, we'll burn tomorrow. We're not in it for--there is no future plan for it other then for it just to grow and become much better. Now somebody could just come in and say, "I want to take the site and have my staff go through and permission everything. We'll contact people. We'll pay people. We'll permission. We'll do the whole thing. Come on board we'll get the whole thing legit. We'll give you a salary and you'll keep directing it." At that point I don't know. But as that stands now it's a little bit of a joke.

Google scanning books? There's ulterior motives there man. It's sort of cool, but it's sort of not. I mean they're not doing it to benefit humanity. They're not practicing utopian politics. And I think the publishers have every right to be suspicious. You know, this is a huge corporation; they've got something else in mind. And again it's that other scale of economy that doesn't have anything to do with us really. And believe they ain't going to be scanning books that were produced in editions of one hundred that make absolutely no sense--guarantee! They ain't going to be scanning little books of Lyn Hejinian language poetry--I guarantee it.

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vito acconci 1973 with willoughby sharp

more
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One of the strangest stories in modern architecture is that of Le Corbusier’s obsession with a villa (modernistically named E 1027) by the Irish designer Eileen Gray at Cap Martin in the south of France.

Gray was a hugely talented but little-known designer whose reputation today far outstrips the one that she had during her career. (As if to underline how far, last month an armchair by Gray fetched an astonishing €22m [$28bn] at the Paris auction of Yves Saint Laurent’s collection.) Le Corbusier was the most famous and influential architect of the century. Yet Le Corbusier was so drawn to Gray’s villa that, after staying there, he returned to the site to build himself a cabanon, a retreat or hut of the most elemental kind.

A replica of that hut now stands in the loft of the Royal Institute of British Architects, the Art Deco Florence Hall. But it is a strange object. Reproducing the interior only, it appears as a blind black box, its creators – the Italian furniture manufacturer Cassina – having apparently decided that the log cabin non-aesthetic of its exterior was somehow unnecessary.

This seems odd to me, as it embodies such an obvious, if subconscious, memory of Le Corbusier’s Swiss roots. Entering the tiny space feels a little like walking into a fun-fair ghost house and, indeed, it reveals a space haunted by the contradictory dreams of modernism.

Le Corbusier, imaginer of a world of towers in parkland, of elevated walkways and endless freeways, of the destruction of central Paris to create boulevards of terrifying but monumental banality, and inspirer of the worst high-rise housing in the world, built his primitive hut in 1952.

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the warhol econcomy

andy died in 1987 and took this socio/ecco/cultural model with him


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TV and its role in popularizing modernism in America (this is a huge overstatement)


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What does it mean to destroy a building? How do we read a damaged version of Le Corbusier's Villa Savoye at Poissy? For architecture historian Andrew Herscher, destruction is a type of language, a "form of design" that is "at least as significant as any of the elements from which buildings are constructed for living, for the living." [1] But let us take this further. If a building calls attention to itself when it has ceased to exist, is there a middle ground, an intermediate representational stage that not only forecasts a language of destruction, but that also evokes the purely conceptual urgings that inspired the design of the building in the first place?
detroit


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