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frank stella

west broadway, 1958

seward park, 1958

untitled, 1958


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buildhouse
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boozy


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jc hse
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scrim

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Varese Scrim


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happy valentines day


[sheet iron and straw]
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A 'Mini-Meier' Planned

A small condominium building will soon go up at 163 Charles Street, behind the new Richard Meier tower in the West Village. Call it mini-Meier.

The developer Barry Leistner bought the site, a 22-foot-wide, three-story brick building behind the newest of the three Meier towers on West Street, in December for $5.9 million. The previous owner had hired the architect Zaha Hadid to create a condo tower for the site, but then scrapped his plans and sold the property.

Now, the architect Daniel Goldner has designed an eight-story brick-and-glass building that will include an upper triplex, two 2,100-square-foot duplexes and ground floor commercial space. Mr. Leistner plans to live in the triplex and will sell the duplexes for about $2,000 a square foot.

Like the Meier building next door, Mr. Leistner promises high ceilings, floor-to-ceiling windows, radiant heat and basement wine cellars.

"It's a high-end neighborhood and it needs a high-end product," he said. "They've transformed the neighborhood and that's what happens."



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Question: How do you know when there is a real-estate bubble? What do you measure, what factors are involved and how do you calculate it?




-- Zack, Laguna Beach, Calif.


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sewing machine


This action of artistic sadomasochismo? an action pure surrealist, beyond that to make risvegliare the unconscious one omicida that it lives in all we and that often is expressed in practical the artistic one? also a message of Niki who wants dirci that the art work is born in the same moment in which it is killed, cos? as all the artistic revolutions always are been born from the ashes of that they have preceded to them. Man Ray ? an important point of reference for the Nouveaux R?alistes, gi? in 1935 it anticipates tableaux-pi?ges of Spoerri with the Collage work ou age de the hill. Made curious from the disposition of some objects it leaves you from the domestic servant on a table, blocks the objects with of the glue and frames this composition dictated from the case. In the 1920 Man Ray it executes the Enigma of Isadore Ducasse, one sewing machine wrapped completely with of the tied felt and with of the spago, anticipatrice of trentotto years the empaquetages of Christo. That Christo has seen or not the work of Man Ray, this does not have importance, all and the two artists play very on the straniamento sense and of mystery that an object assumes when it comes for entire or partially hidden alla.vista, moreover the use of the closely tied rope creates of the dynamic lines in all the work giving a sense of tension to an all communicating to us sense of anguish, sadistic constriction, overwhelming imprisonment.

... For Christo whichever type of woven being one of the devout manufatti ones? antichi of the man enclose in if a particular fascination and pu? often to assume one risen of human presence. The woven one softens and hides, and at the same time it puts in prominence the contours and the shapes that obvious were not (like every taylor very know). A empaquetage it transforms us? that? impacchettato, it renders it devout? sensuale, devout? scultoreo, devout? mysterious...

The substantial difference between Man Ray and Christo is in the fact that in the impacchettamento Christo completes an action of appropriation of the object, a conceptual operation dictated from one deep reflection. The infondato risk was not that one to reduce the gesture of the impacchettamento to one ritualizzazione, to one finalized operating praxis to the production of fine objects-feticcio to if same. The encounter and the frequentation of Yves Klein (between 1961 and 1962, little months before the dead women of Yves)? of extreme importance in the appropriativa evolution of Christo. The architecture of the air, the zones of sensibilit? pure, the Theatre of the Empty one marks one carried out in the conception of the empaquetage.

Hour? the space the element of comparison and challenge of Christo: the 27 june 1962 without some official permission a formed temporary monument from duecentoquattro benzine drums erects in rue Visconti in full load Saint Germain DES Pr?s to Paris to a nine of evening Rideau de fer stacks to you over the other for the height of approximately four meters and means, bloccando for three hours the surrounding traffic and irritateing and sconcertando the residents who reacted turning upside down improperi and secchiate of water on the guilty. Later on Christo executes the Store-fronts, display windows of reproduced storees to natural and covered largeness from sheet until three quarters of their height. These storees recall to the memory the Empty one of Klein to the gallery of Iris Clert in 1958? how if Christo had had in eredit? _ from Klein the the authorization to impacchettare the empty, the immaterial, the spiritualit? pure. From this Christo moment the worthy heir of Klein becomes a.ragione, from 1962 practically impacchettato of all, objects, persons, monuments, bridges, buildings, entire spiagge and islands, valleys, rivers and seas are furrow to you from its drop curtains. The art? conciliated with the world perch? the same world? fact art.

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history chanel > modern marvels > building a skyscraper


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short history of sound art


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hellgate bridge

lionel hellgate bridge


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runs on batteries not seeds


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what is it about architects ?


via selma
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copyrighted public space


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I've Heard About Node 1

A viab would produce structures that are not set and specific, but impermanent and malleable - merely viable - made of a uniform, recyclable substance like adobe. The automaton's output would have no innate design, boundaries, or service life. It would take whatever form was called for at the moment - a great rotting blooming stony bubble of a building that, unlike all previous forms of human habitation, would be unplanned, responsive, densely monitored, massively customized, and rock-solid, with all modern conveniences.


The closest thing to a viab today is a small, modest mud-working robot invented by Behrokh Khoshnevis, a professor of engineering at the University of Southern California. Khoshnevis' "contour crafter" works more or less like a 3-D printer, but it's meant to assemble whole buildings. Its nozzle spits wet cement while a programmable trowel smoothes the goo into place. Roche encountered Khoshnevis, and his agile imagination immediately started pushing the idea toward its limits.

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From the nineteenth century on, the house has been seen as a private refuge, and a place (for the husband) to relax after a hard day’s work. In Germany, this view went hand in hand with reformist efforts to allow all social classes to limit their households to members of the immediate family.
This article analyzes the physical manifestation of these efforts, by using both photos and plans of representative houses, and film images in which use of the spaces is shown. The analysis concentrates on the boundaries between the private house and the public street, looking at this space both historically up to 1945, and in its evolution during the postwar era.
The privatization of individual family space takes on new meaning, as “openness” of the house is limited only to the house’s interior, while the boundary between inside and out remains impermeable. A new spatial freedom thus seems only possible in spaces that can be privately controlled.
While the house turns more and more away from any interaction with the public street, the inside of the house expresses a new parity and democracy within the family. Both an increased accessibility and larger allotment of spaces to the children are indicative of a new family atmosphere. This condition helps to soften the impermeability of the house itself, even as its built appearance retains its defensive stance.


cloud-cuckoo-land

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The construction of Santiago Calatrava's $35 million townhome cubes in the sky has received a "go" from the New York City Department of Buildings.


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Forty-Two for Henry Flynt by La Monte Young performed by Peter Winkler (gong) at the Third Annual Festival of the Avant Garde in San Francisco, 1965





via kenny
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dmi case study: bringing the braun kf40 coffee-maker to market (pdf)


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malls of new york


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martin kippenberger schneewittchensarg (snow white's coffin)

One piece I've seen three times, first at Max Hetzler in 1989, then Metro Pictures when it opened in Chelsea, and now at Boesky, is Kippenberger's clear Plexiglass coffin with foam rubber pillows inside. On the outside is a round plastic plate with holes drilled in it. Ordinarily it would be imprinted with "Speak Here," but instead Kippenberger has stenciled " Hier Versprechen ," which translates "Promise Here" or in certain contexts, "Mis-speak Here." Underneath this, stenciled onto the side of the coffin in English, is "Misunderstanding Here." A typical Kippenberger joke. The empty, see-through coffin has a eerie silence now that Kippenberger has passed away. -r.goldman

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Anyone who has spent time with Pioneers of Modern Design knows what a brilliant and vexing work it is. It was based on a series of lectures Pevsner presented at Göttingen shortly before he departed for England. Pevsner is often incorrectly credited, as Stephen Games writes in his perceptive introduction to Pevsner on Art and Architecture, with first “assembling the chain of events that led from English utilitarianism to German functionalism” (xxii). But while Pioneers is not an entirely original book—many of its arguments are anticipated in Hermann Muthesius's Stilarchitektur und Baukunst, published in 1902, and in other pre-World War I writings)—it does offer, on first reading at least, a lucid account of Modern architecture's early origins. Yet the book raises far more questions than it answers. How do French and Belgian Art Nouveau lead to German functionalism? How do two currents so seemingly in opposition—the new engineering of the 19th century, with its faith in science and the machine, and the Arts and Crafts movement, which sought to deny industrialization and rampant Capitalism—both fuel the rise of Modern design? Pevsner's answer, that all were the expression of a new Zeitgeist, is reassuring to some degree, but it also insistently begs the question.

"His prose is always a splendid amalgam of careful erudition, remarkable insight, scholarly conjecture, and unfettered opinion. To read Pevsner is to enter immediately into a dialogue, at times comfortable and affirming, at others, annoying and off-putting."

Pevsner's recourse to the “spirit of the age” runs through many of his writings. It allowed him, as Games notes, “to connect national differentiation in mid-thirteenth-century architecture with the experience of Crusader knights, and to write of the late eighteenth century as a period when artists 'were no longer satisfied with being servants of the ruling class' and a new type of patron emerged, 'self-made, self-assured and cultured'” (xix). Such “loose” scholarship by today's standards was very much part of the German academic world of Pevsner's earliest years, and it became a highly elastic tool for those engaged in the Geisteswissenschaften (the humanities, or, literally, the “sciences of the spirit”) to fashion broad and sweeping visions of the past, present, and future. On the one hand, it could offer, in the hands of a historian like Jakob Burckhardt, an extraordinary panorama of an entire era like the Renaissance. But too often it led to the sort of cursory reading one finds in works like Egon Friedell's Die Kulturgeschichte der Menschheit (The Cultural History of Mankind, 3 vols., 1927-1932) or, worse, to the rabid nationalist drivel of Hitler's Mein Kampf.



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