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rip sky saxon 1949-2009 but thats under dispute and besides age is irrelevant


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ham radio

via things
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For the moment, at least, Times Square is once again a spectacularly crazy place—crazy enough on a recent afternoon to make a seasoned police officer shake his head with a bemused grin and mutter, “Just when you thought you’d seen everything …” People were sitting on lawn chairs in the middle of Broadway. If, as the anthropologist Mary Douglas asserted, dirt is matter out of place, then this crowd of pedestrians occupying vehicular lanes represented an invigorating sort of filth, a thrilling overthrow of order.

So far, this revolution is thrown together with nothing but orange cones and cheap patio furniture. The fearless Transportation commissioner, Janette Sadik-Khan, decided that it’s better to take back turf for foot traffic first and worry about piazza-tizing it later. The absence of design results in a triumph of urbanism. Suddenly, the power relationship between people in and out of cars has changed. Now drivers pass through the area at the sufferance of pedestrians, rather than the other way around. Cars don’t honk as they nose crankily into a crosswalk; they wait politely to cross the new mall, giving drivers a moment to reflect on the wisdom of taking a different route.

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ferile kid from neg
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take a giant step


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rip rainbow room


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I beg you do not forget playfulness. – Alvar Aalto

The Finnish approach to architecture is a sobering yet exhilarating antidote to a world gone mad for excessive and absurdly expensive design. Aalto fit his buildings to the scale of the human body and the natural world around them. Budget-restricted architects trying to breathe inspired life into their work need only to study the great Finnish master. Instead of travertine, he created stairs of brick or wood. For the graceful, big curve of his Helsinki studio space, first completed in 1955, he used insulation paper because of its interesting ribbed pattern, then applied thin, vertical ribs of wood and painted it all white. Inexpensive, and stunning. The studio now houses the Alvar Aalto Foundation, which organizes the International Alvar Aalto Symposium that takes place in the city of Jyvaskyla every three years.

Aalto devoted much of his energy to capturing natural light, cutting rows of round skylights in lobbies or cafeterias. In universities and the compelling National Pensions Institute in downtown Helsinki, he used thick structural columns with vertical rows of curved ceramic piping. Aalto was playing, albeit seriously, all the time.

Harry and Maire Gullichsen were among the wealthiest people in Finland when they commissioned Aalto to design their Villa Mairea during the Depression, but there are rattan mats on the floors rather than Persian carpets. There are flagstones on the ground and columns resting on small boulders at the front entrance. I am amazed by balustrades and arbours made of spruce saplings. In a home filled with Picassos and Fernand Legers and Alexander Calders, there are bookcases on the study walls made of birch plywood – nothing fancy, just engaging and warm.

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Wood Stove Sizing
One measure of a stove's size is its heat output measured in BTUs. Various wood stoves
have ratings of 35,000 to over 100,000 BTUs. The BTU rating of the wood stove you buy
should be sized to the number of square feet you're heating.

A rule of thumb for figuring this out is 35 BTUs for every square foot of heated space. For
example: A 1,200 sq. ft. ranch would require a stove rated around 42,000 BTUs.
(35 x 1,200 = 42,000)

If your home has more than one story, plan on heating only the floor where the stove is
located. Although heat rises, it doesn't rise fast enough to comfortably heat upstairs
bedrooms and the bath. Consider supplementing the heat in these rooms with small
space heaters.

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023


6 Photographs of the Keithsburg Railroad Bridge under Construction in 1886. Each measures 8.25'' by 4''. Angled upward at ends.
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buildbauten


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asphalt spot


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house 127


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endangered: new englands 3 decker homes


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I've just finished reading Peter Blecha's new book Sonic Boom, The History of Northwest Rock, from "Louie Louie" to "Smells Like Teen Spirit" and I'm jonesing to dig through my attic to find all my old "Garage Punk Unknowns", "Back From The Grave", "Teenage Shutdowns" and other similar comps. The book, which focuses almost entirely on the inception of rock through the mid 60s, does a great job of describing the complicated scene that brought about greats like The Sonics (whose incredible first record, Boom, is the source of the book title), The Wailers, The Ventures, Paul Revere and the Raiders and, most famously, the Kingsmen. And, perfect for FMU fans, all of the obscure, short lived bands and the hits that never were are documented in passionate detail.

Peter Blecha attacks history from numerous angles. He covers the racial impact of rock and roll. He's got insider information on the publicists and marketers who made the deals that made the hits. He's got behind the scene anecdotes from the bands. For instance, in one of many sections on the Kingsmen's famous recording of "Louie, Louie", Blecha reveals that during the first take, the band's manager physically forced the recording engineer out of the studio. During the second and final take, The Kingsmen did not even know that they were recording a final take, they just thought they were running through the song for practice. And after hearing the playback, which The Kingsmen thought was absolute crap, the manager demanded that the band pay studio fees - when the band couldn't pay, one of their moms fronted the fifty bucks! A good investment on her part, I must say.

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Sadly, the wisdom of these two works has not rubbed off on the rebuilding of the World Trade Center site in New York. There, more than seven years after the Twin Towers were destroyed, the public and private bodies involved in the site are still wrangling over fundamental aspects of the reconstruction. Two of the mighty towers planned for the site are in danger of being shrunk to a mere 25 storeys. The astoundingly expensive National September 11 Memorial & Museum has had its projected completion put back so that it is now due to be finished, just in time for the tenth anniversary of 9/11, in 2011.

The Freedom Tower, the emblem of the rebuilding, is now rising towards its symbolically significant height of 1,776 feet (to recall the year of independence), and it is due for completion in 2014, but it has lost its resonant name. It was recently announced that it would be called One World Trade Center for marketing reasons. 'We will ensure that the building is presented in the best possible way,' said the chairman of the Port Authority, which is building it, evidently believing that commercial tenants would rather not rent space in a symbol. The news has provoked outrage: 'Freedom is out of fashion at Ground Zero,' said the New York Post.

The reconstruction of Ground Zero,in other words,once intended as a defiant riposte to terrorists, as a demonstration of the invincible might of American freedom, has turned into something else. It is now a demonstration of the baroque manoeuvres in which New York specialises when it comes to large-scale construction schemes. It shows what can happen when political, commercial and architectural egos tangle.


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gillians found photos #16 : 4x 3rd row pov murry the k show at the brooklyn fox theater featuring the shangralas


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The office of Harley Earl, X-Vice President of Design at General Motors


via vz
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skateboard scraps make a sculptural seat


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jugguz
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old seedy gotham


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Soon after the fatal train collision that killed engineer John Luther Jones (he was nicknamed “Casey” because he was from the town of “Cayce”, Kentucky) on april 30, 1900, heroic tales of his death started to be told across the South. When he was living, Jones already had a growing reputation among railroad folks for his trademark whistle (every engineer at this time could make his own whistle) and for his aptitude at being always on time. After his death, he became a real heroic figure and the song about him helped to carry his memory over the years. Like “Frankie and Albert” , the story of the Casey Jones ballad goes back and forth between the folk and popular music worlds. It originally started with Wallace Saunders, a black engine wiper who worked on a railroad shop in Canton. Saunders was known for his ability to make songs about people and singing or whistling them as he was working. The song he made up about Casey Jones, derived from an older african-american “Blues ballad” called “Jimmy Jones”. It had a very catchy tune and people along the railroad line started to sing it. Illinois Central Engineer William Leighton loved the song so much that he told about it to his two brothers Frank and Bert, who were vaudeville performers. The Leighton brothers re-arranged the song with a chorus they added and sang it in theatres around the country. Finally two other vaudeville performers Lawrence Seibert, singer and Eddie Newton, composer, took the credit for the song and published it in 1909 under the title “Casey Jones , the brave engineer”. From then it became a very popular piece and althought it described a tragedy, the song had a humorous feel and a catchy melody that pleased everyone. Recordings were made of the “vaudeville” Casey Jones” and this version enterred as well the oral folk tradition where it could be mixed with older songs. Many parodies and other songs were also made, using the “Casey Jones” melody.
from old weird america a french tribute blog dedicated to harry smith and his musical anthology
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second homes for leisure living

via justin
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the da vinci detective on smithsonian channel

ldv art watch
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Take Ivy” has always been extremely rare in the United States, a treasure of fashion insiders that can fetch more than $1,000 on eBay and in vintage-book stores. But scanned images from the book have been turning up online in recent months. Ricocheting around the network of sartorially obsessed Web sites and blogs (like acontinuouslean.com and thetrad .blogspot.com), it has aroused renewed interest for its apparent prescience of preppy style. (In the United States, the word preppy came into popular use only in 1970, thanks to the best-selling book and top-grossing movie “Love Story”; and the full flowering of preppy style would not arrive until 1980 with the best-selling “Official Preppy Handbook.”)

But “Take Ivy” was not prescient; it was totally timely, having been commissioned by Kensuke Ishizu, who was the founder of Van Jacket, an Ivy Leagueobsessed clothing line that was a sensation among Japanese teenagers and young men in the early 1960s. Mr. Ishizu was a kind of Ralph Lauren avant la lettre.

“You could have called it a Van look,” recalled Daiki Suzuki, the designer and founder of Engineered Garments (channeling vintage workwear) and the designer of the revamped Woolrich Woolen Mills line (channeling 1950s New England). He remembers “Take Ivy” from his childhood in Japan and how the Ivy look, as it is generally called there, became basic in the ’70s and ’80s, as the craze for American things like Levi’s and Red Wing boots accelerated. In 1989, Mr. Suzuki moved to the United States to work for a large Japanese store scouting for new American designers and obscure brands to import, like White’s Boots from Washington, Russell Moccasin from Wisconsin and Duluth Pack backpacks from Minnesota.

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