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ADA LOUISE HUXTABLE for WSJ

New York

The Guggenheim Museum has chosen to honor the 50th anniversary of its (you should pardon the word) iconic building by Frank Lloyd Wright with a monumental exhibition that pays tribute to the architect’s life work and fills the spiral ramp from top to bottom, or bottom to top, depending on how you choose to see it. Curiously, the only meaningful gesture the installation makes to its dramatic setting is the view of the gorgeous curtain Wright designed for the Hillside Theater at Taliesin in 1952, glowing colorfully across the spiral, and the presentation of the Guggenheim Museum itself as the climax of the show. The display neither challenges nor exploits the building’s unique spatial possibilities. It would fit just as well into any set of conventional galleries.

This is not from any lack of thoughtful consideration of the material and its presentation. But what “Frank Lloyd Wright: From Within Outward,” a collaborative effort of the Solomon R. Guggenheim Foundation and the Frank Lloyd Wright Foundation, really pays tribute to is the completeness, depth and beauty of the Frank Lloyd Wright archives—assiduously collected, protected and now meticulously maintained at Taliesin West, Wright’s home and studio in the Arizona desert—and, not least, to the long-term, dedicated stewardship of Bruce Brooks Pfeiffer, director of the archives.

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Paradise does not exactly come to mind when strolling past the neat rows of unornamented concrete apartments that make up La Cité des États-Unis, or City of the United States — one of France’s first modernist social housing complexes, in Lyon’s unpretentious Eighth Arrondissement.

A few graffiti tags mark the six-story walls. Couscous and kebab restaurants are sleepy in the midafternoon lull. Groups of young men hang out on the sidewalk and flirt with women, as elderly French couples and young immigrant families go about their business.

But the 1,410-unit housing complex was considered a utopian model when it was built, largely in the 1920s and early ’30s, offering such enlightened amenities as private bathrooms, running water and garbage collection. Now, three-quarters of a century later, it is the first stop on a new tour — called Utopies Réalisées, or Achieved Utopias — of efforts by modern architecture to devise ideal places to live.

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The winning submission in a competition to re-develop the Point Square as a new civic and public space for Dublin city was announced today.

LiD Architecture’s concept for the public space was chosen by the Royal Institute of Architects in Ireland (RIAI) on behalf of the competition promoters, Point Village Limited. The central idea of LiD Architecture’s winning submission is to use shipping containers as cheap and basic building blocks that can be configured creatively to suit whatever event is being housed in the docklands space, which is known as ‘The Parlour’.

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archie campbell / hee haw

One of Campbell's 'signature' routines was to tell stories in "Spoonerism" form, with the first letters of words in some phrases intentionally switched for comic effect. The best-known of these stories was "RinderCella," his re-telling of the fairy tale "Cinderella," about the girl who "slopped her dripper" (dropped her slipper). Campbell once told the "RinderCella" story on an episode of the game show Juvenile Jury. At the conclusion of the story, host Jack Barry said "That's one of the funniest stories Carchie Ampbell tells." All of Campbell's spoonerism routines borrowed heavily from comedy routines performed by Colonel Stoopnagle on the radio show Stoopnagle and Budd in the 1930s.

Campbell also performed a routine with various partners generally known as "That's Bad/That's Good." Campbell would state a troublesome occurrence; when the partner would sympathize by saying, "Oh that's bad," Campbell would quickly counter, "No, that's good!", and then state a good result from the previous occurrence. When the partner would say, "Oh that's good!", Campbell would immediately counter with "No, that's bad!" and tell the new result . . . and so on.
pee little tiggs.


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z boys official unofficial website


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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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