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metal and wood cube tables at canvas
early coca-cola recipe gone viral
via adman fb
they're called grawlixes mother fuckers
This month, eight families from the Lafitte public housing development trundled their belongings into brand-new apartments in an instant neighborhood dubbed Faubourg Lafitte, erected on the site of the demolished brick complex in the 6th Ward.previous post
flora grubb gardens going vertical
more vertical gardens
Silver Lake’s Reservoir Of Black Balls Makes National Geographic
the current this old house build alerted me to this odd practice.
via reference library
you winsome your lose some.
so-cal e-rod
Au revoir Janette Laverrière
use value
G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926
via hyperion fb
roseto pa house and garage $159.9k 5,076 sf
pics
1949 Buick Roadmaster Sedanette
feldenkrais method
kubrick boxes
via vz
When Ken Bradshaw caught the largest wave ever surfed, in 1998, he was riding on pure, single-minded passion. But that same quality—plus a deep antipathy to hype—has put him at odds with the increasingly crowded, commercialized world of big-wave surfing. On Oahu’s famed North Shore, the author learns about the 58-year-old maverick’s record-breaking encounter with 85 feet of “Condition Black” water, the battles he still fights, and his unlikely friendship with the publicity-loving Mark Foo, who was killed on a wave he “stole” from Bradshaw.
Prints from Basil Besler's
Hortus Eystettensis [1613]
via antiques road show / wikipedia entry
teen a go go / fort worth tx '60s teen scene documentary
live edge table, metal legs
In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes, and at buildings not as objects but as advertisements and destinations. In the experience economy, experience itself has become the product: we're no longer consuming objects but sensations, even lifestyles. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do.
Klingmann argues that architecture can use the concepts and methods of branding-not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation. Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village. Klingmann looks at different kinds of brandscaping today, from Disneyland, Las Vegas, and Times Square-prototypes and case studies in branding-to Prada's superstar-architect-designed shopping epicenters and the banalities of Niketown.In the twent