Schwarz
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Site: A flag-shaped, 7,000-square-foot double lot in Berkeley, California, with a two-to-one slope and several constraints: zoning setbacks; a 10-foot-wide access route to the buildable portion of the site; a stand of ordinance-protected live oaks; and a reusable foundation from the site's original 1950s house. 2:1 House, Iwamoto Scott Architecture
house at 7 middagh street
At our local private school's holiday fair, a vendor sold bags labeled Prada and Coach that were clearly counterfeit. I told the principal and the head of the PTA that this was illegal and put the school at risk. They said it must be legal since so many people sell fakes. But I think this is copyright infringement, and a school should not be involved in such things. What do you think? A. Stein, Phoenix
I think if the school had the courage of its lack of convictions, it would sell stolen cars. A lot of people do that, too, so it must be legal.
To sell counterfeit products offends both law and ethics, deceiving the buyers of the fakes and exploiting the creators of the originals. The plight of Prada and Coach may not bring a tear to anyone's eye, but ethics compel us to act honorably even to the makers of inane status symbols. Besides, it would be dispiriting for the students to see their principal dragged off in handcuffs, even fancy designer handcuffs.
45º, 90º, 180º/City
zlad!
Damien Hirst’s shark floating in a tank of formaldehyde, recently sold for $12 million to US billionaire hedge fund manager Steve Cohen, is disintegrating and will need extensive conservation work to prevent it from further deterioration. This is the view of conservation scientists and natural history specialists who say that the bigger a specimen, the more difficult it is to preserve long-term in formaldehyde.
our lady of the airplane propeller chapel
cheese eatin' design junkies
The feel is that of a high-end furniture and design showroom like the MoMA Design Store itself across the street, where many of these objects are for sale. Taking its cue from the retail world, the objects in the installation are tightly packed together, as if the aim was to offer consumers a wealth of choices rather than draw them into an atmosphere of contemplation. It's as if you have entered a storehouse for the irredeemably trendy.
--ouroussoff
sit on it, potsie
is the jingle dead ?
wright photos on ebay
"If a dealer gets these things, they are broken up. That's how people make their money," Holzhueter said. "For people who care about Wright, it would have been a disaster. We knew it was important to keep the photographs together."
my little corner of the world
SPRING 1964: MOST WANTED MEN AT THE WORLD'S FAIR.
Andy Warhol's Thirteen Most Wanted Men is displayed on the side of the New York State Pavilion at the 1964 Worlds Fair in Flushing Meadow.
The architect who designed the Pavilion was Philip Johnson. He invited various artists, including Robert Rauschenberg, Roy Lichtenstein, Robert Indiana, John Chamberlain and Andy Warhol to create art for the exterior of the building. (DB181/4)
However, there were objections to Warhol's work from government officials. On April 16, Philip Johnson told Warhol that he had 24 hours to replace or remove the "most wanted men" mural as the governor thought it might be insulting to his Italian constituents because most of the "wanted men" were Italians. (LD198)
Warhol blamed Robert Moses, the city's planner and president of the 1964-65 World's Fair. Warhol proceeded to silkscreen twenty-five identical portraits "of a ferociously smiling Moses" to use as a substitute for the "most wanted men". Philip Johnson rejected the idea, not wishing to offend the festival's president.
Eventually, the "most wanted men" panels remained in place but were covered with a coat of silver paint. (DB181-4)
Although Warhol's mural is often referred to as the Thirteen Most Wanted Men, he referred to it as the Ten Most Wanted Men in his book, Popism.
Napster, for example, was the target of much legislative lobbying by major record labels and eventually shut down. As authors such as David Marshall have pointed out, the Internet may be evolving into a network model, following a pattern that he identifies as “access, excess and exclusion,” where large corporations crowd independent voices into the margins. 16 So, while those avenues are closed off or marginalized, it may be that punk rock can reach a wider audience by using the mainstream as its carrier. At its best, this form of cultural capital could act as a virus or meme, infecting the mainstream and allowing greater access to the music, and perhaps even some of the fertile anarchistic genius of punk, than both the major record labels or even the insular punk community have previously allowed.
the who sell out
banana phone
ebeling house dortmund
paul rudolph umbrella house at auction
Speaking in support of the plan, Mr. Close, a Whitney board trustee, said, "The artists are the ultimate clients of the architecture."
endangered tonic
me worry ?
new hatebeak