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oak hills (portland or) double gable rummer built home

justin found this one.
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sonambient


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Pier 57: Chelsea's New Underwater Adventure Unveiled! (adaptive reuse of shipping containers employed)

via drat
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The "Seinfeld" co-creator and "Curb Your Enthusiasm" creator-star says the cast will appear together in the finale of the upcoming seventh season of the HBO comedy series.

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howard kalan interviewed on michael shelly show wfmu


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She's Dead..
Wrapped in Plastic.



via ree
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Wikipedia has been engulfed in a furious debate involving psychologists who are angry that the 10 original Rorschach plates are reproduced online, along with common responses for each.

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Nearly every summer, tensions flare among Maine's lobster fishermen over who has the right to place traps in specified areas. The origins of the industry's unofficial territorial system go back to about 1890, said University of Maine professor James Acheson, who has written two books on the subject.

Mostly, those territorial rights stay within local fishing families or among long-timers in the same harbors.

When fishermen feel their turf is being encroached upon, they send signals to the offending lobsterman by leaving a note in a bottle in the trap, by tying a knot in the buoy rope or by cutting out the door to the trap so lobsters can escape. Sometimes they resort to cutting trap lines - resulting in lost traps, which can cost $80 to $100 each.

Lobstermen have been known to ram their boats into each other and occasionally show a gun. Once in Portland Harbor, a boat crew jumped onto another boat and struggled with another crew before they were tossed overboard.

On occasion, lobstermen fire warning shots, and Acheson remembers a lobsterman once firing bullets through another boat's windshield in Penobscot Bay. On Matinicus a few years ago, two fishermen were charged after one of them fired a shotgun at the other.

For the most part, Maine fishermen respect their established territories, Acheson said.


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stream live euro internet radio by genre or country (classical)


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clamp leg tables


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Silbo Gomero (English: Gomeran Whistle), also known as "El Silbo", is a whistled language spoken by inhabitants of La Gomera in the Canary Islands to communicate across the deep ravines and narrow valleys (gullies) that radiate through the island [1]. A speaker of Silbo Gomero is sometimes referred to in Spanish as "un silbador".

[...]


Guanches (also: Guanchis or Guanchetos), now extinct as a distinct people,[1] were the first known inhabitants of the Canary Islands, having migrated to the archipelago sometime between 1000 BCE and 100 BCE or perhaps earlier. Their culture as such has since disappeared, although traces of it can still be found, an example being the "whistle" Silbo language of La Gomera Island.


via justin
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basilw

If you were a preteenager in the 1950s and had precocious friends or a with-it dad, it’s a good bet you knew the cartoons of Basil Wolverton, the Michelangelo of Mad magazine, even if you didn’t know his name.

Like rock ’n’ roll and beatniks, Mad was a freakish spawn of the A-bomb era. It was like an emanation from some dark, Dada side of Disney; a stink bomb planted in the suburban Eden; and a preview of the underground-comics era to come. Wolverton, who is the subject of a career survey at Barbara Gladstone Gallery in Chelsea this summer, was Mad’s early signature artist, the one who embodied its sick-and-proud humor.
via vz
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monica


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i dont understand the croc hating


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Cheap Trick's latest album is available on 8-Track tape. Related, noise, noise, noise on The Poor Man's Eight Track Tape, the history of the 8-track tape and 8-track Heaven, which offers helpful repair tips. Some great 8-track pics available in the Analog Rules galleries.

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Cosanti in Paradise Valley, Arizona is the residence and sculpture studio of Paolo Soleri and his staff. Soleri (later joined by his students) began work on the experimental buildings in the mid 1950’s. Designated as an Arizona Historic Site, Cosanti presents a unique bio-climatic architectural environment. Its structures feature many imaginative design elements, reflecting innovative construction techniques.
via vz
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The New Monumentality”, an exhibition of films at the Henry Moore Institute in Leeds, is about architecture and everyday life – or, rather, the disjunction between the two. The three artists involved, Gerard Byrne, Dominique Gonzalez-Foerster and Dorit Margreiter, wrestle with the ways that the strangest of buildings have to be lived in. Byrne and Margreiter do so in the context of a building that stands just around the corner from the gallery – the University of Leeds campus, designed and built by Chamberlin, Powell & Bon between 1958 and 1968.

Local rumour has it that the complex served as a set for the 1970s science-fiction TV series Blake’s 7. This should come as no surprise. There is a divide, in the perception of these buildings, between the future they seem to suggest – a Space Age society with egalitarian buildings that make no reference to anything so prosaic as local materials – and the past they are more often seen to represent. That is, the other 1960s: not the decade reminisced over by ageing soixante-huitards, but the era of towers and slabs, walkways and motorways, which is only now, very slowly, starting to come back into favour.

Unexpectedly, given its tweedy reputation, Britain was briefly at the forefront of modernism. Throughout the 1960s and early 1970s, foreign directors came to the UK to film this new world, usually projecting it into the immediate future. In the earliest example, the 1966 film of Ray Bradbury’s Fahrenheit 451, François Truffaut shot a book-burning in front of the towers of the Alton Estate, Roehampton. Alton was once described by an American journalist as “the finest low-cost housing estate in the world”. In the film, it represented a frightening future where old media – books – are outlawed.

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communing w/ victor navaski


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Recorded at the Ponderosa Stomp at Damrosch Park in Lincoln Center, a rockabilly show like no other! New Orleans wild man Joe Clay, Sun Records legend Carl Mann and the out-of-this-world Collins Kids backed by Deke Dickerson and the Eccofonics. File under: In-freaking-credible!

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Julius Shulman, the legendary photographer who helped make California Modernist architecture famous around the world, died on July 15 at the age of 98. Shulman produced images of buildings — by pioneering architects like Richard Neutra, John Lautner and Pierre Koenig — that defined the postwar architecture of Southern California, among other places. The gregarious and seemingly tireless photographer continued to work until shortly before his death; in a 2007 interview in T Design, Shulman sang the praises of Arne Jacobsen’s classic Egg chair; the renowned architect sent him two as a thank-you gift after a photo shoot in the 1950s.

- the nyt



His career dovetailed neatly with the rise of residential modern architecture as a consumable art form -- a product to be ogled, and dreamed about, as surely as any model in the pages of a fashion magazine. He ought to be recognized as the man who made Dwell magazine and Design Within Reach possible. And maybe even the world-famous, globe-trotting class of designers known as starchitects.

Shulman's vision of modern, stylish domesticity was in many respects an airbrushed one. It's hard to believe anybody actually ever lived the way the carefully posed models in his photographs seemed to, carrying a tray out onto a poolside terrace, or sitting in perfectly pressed suits and dresses on the edge of a Mies van der Rohe chaise longue, city lights twinkling in the distance.

But his images were impossible to resist as a kind of mythmaking, even for the most tough-minded observers of life in Los Angeles. To look for any length of time at a Shulman picture of a great modern L.A. house is to get a little drunk on the idea of paradise as an Edenic combination of spare architecture and lush landscape.

- the la times

Schulman, born in Brooklyn on October 10, 1910, died just two months shy of his 99th birthday, and—with the exception of a short-lived retirement during the rise of Postmodernism (which he detested)—had been continuously working around the world until the beginning of this year, when his health had begun to decline. In his later years he collaborated with German photographer Juergen Nogai.

- the architects newspaper

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Of all English institutions, the one to count on would surely be the pub. Shelter to Chaucer’s pilgrims, home to Falstaff and Hal, throne of felicity to Dr. Johnson, the pub — that smoky, yeasty den of jollity — is the womb of Englishness, if anywhere is. Yet in the midst of this national identity crisis, the pub, the mainstay of English life, a staff driven down into the sump of history, old as the Saxons, is suddenly dying and evolving at equal rates. Closing at something like a rate of more than three a day, pubs have become scarce enough that for the first time since the Domesday Book, more than half the villages in England no longer have one. It’s a rare pub that still thrives, or even limps on, by being what it was meant to be: a drinking establishment. The old idea of a pub as a place for a “session,” a lengthy, restful, increasingly tipsy evening of swigging, is all but defunct.

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diddo wetsuits

thx robin
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perma pave (filtering pavers)
geo hay

thx vz
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A fan of Mel Brooks and Martin Short, [Dan] Graham is a devotee of punk rock (he played a key role in the formation of the band Sonic Youth) and country music, and an avid follower of pop culture and sports (he’s a Mets fan). With the possible exception of his pavilions, however, Graham’s art production has pretty much eluded the commodity-friendly consistency that is so often summoned to develop an artist brand.

Referring to his tendency to combine his diverse interests to arrive at something new, he claimed, "Everything I do is a hybrid. . . . Basically I get bored with what I’m doing and also I don’t want to do trademark work."

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