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In 1956, several young architects from England, France, the Netherlands and Italy were charged with organizing the 10th meeting of the influential International Congress of Modern Architecture (CIAM), a formal gathering of proponents of Modernism.

Questioning some of the fundamental tenets of Modernist doctrine—among them, a strict adherence to functionalism, a preference for high-rise buildings and ideals of a socially and structurally stratified city— the organizers of the 10th CIAM created a new forum to explore ways to restore a human scale to urban design and to reexamine the role of the architect within society. Adopting the name “Team 10,” the renegade group agreed to meet regularly, each time at a different location. In their open-ended discussions, in advance of Jane Jacobs’s historic “The Death and Life of Great American Cities,” Team 10 championed the unique complexity and diversity of the city landscape, heralding a new age in urban design and planning.

Deliberately informal in tone and organization, the meetings took place in a variety of European cities and towns, from the first in 1960 in Bagnols-sur-Cèze, France, to the last in 1981 in Lisbon. Drawing on a range of resources and media that includes correspondence, transcripts, tape recordings, photographs, drawings and film, “Team 10: A Utopia of the Present,” brings alive the intellectually charged gatherings of this pioneering group.

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In McDonough's world, there would be no "trade secrets," which allow corporations to legally pollute in the name of profit. His world is a transparent one, where the Constitution still reigns, but "freedom" is not reinterpreted as the right to pollute, endanger, or destroy -- and our intentions are not measured by what is not against the law.

"Imagine an economy ... that purifies air, land, and water ...!" GreenBlue's website boldly claims. If only we'd listen to him, the growing crowd of acolytes wails, we'd have a chance of saving the planet and ourselves! We can have it all!

Though this priest is preaching hope and harmony, a prophet has appeared who is making people distinctly uncomfortable. He is preaching that the church of sustainability has gone astray by placing its faith in technology and valuing human life above all others. He believes the priests have become corrupt, and has nailed his theses to the door.

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tin lantern house moscow


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"It was heart-wrenching," Lindstedt says today. "The park sat there all closed up. They auctioned off some of the stuff, but ... the things that were left were just rotting away. It was kind of sad to see this place all decrepit and failing."

Today, a good portion of Frontier Village is a city park -- not a bad use of the land, in Lindstedt's opinion. But you can hear the cringe in Lindstedt's voice as he reports that the other half is home to a large condo complex. Worst of all? The developers had the nerve to call their development "Frontier Village."

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greenwashing


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auburn univ / rural studio : katrina response 2

The purpose of the project is to provide FEMA with research, precedent and feasibility studies as well masterplans, models, and schematic designs to establish an array of 'container housing' communities of 100 to 10,000 inhabitants.
im looking for follow up information on this project. knowing fema... (!!!)
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schwarzstudio is duking it out with the professionals on the container-bay message board at fab prefab.


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Photo Doctoring


Modern technology--like digital cameras and sophisticated editing software--makes it relatively easy to alter photos. But the art of doctoring images is nothing new. On today’s show, Willis Hartshorn, director of the International Center for Photography, and Robin Kelsey, professor of art and architecture at Harvard University, look at the long history of manipulating photographs.
on lopate
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LEGO new york

from curbed
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back yard brick oven

via zoller
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The hybrid solar lighting technology uses a rooftop-mounted 48-inch diameter collector and secondary mirror that track the sun throughout the day. The collector system focuses the sunlight into 127 optical fibers connected to hybrid light fixtures equipped with diffusion rods visually similar to fluorescent light bulbs. These rods spread light in all directions. One collector powers eight to 12 hybrid light fixtures, which can illuminate about 1,000 square feet. During times of little or no sunlight, a sensor controls the intensity of the artificial lamps to maintain a constant level of illumination.

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small wind turbines (only chop up small birds?)


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uncle floyd


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2nd floor facade paint.

meet carl...
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the domino effect:

Powerhouse 'historic' no more
Thursday, August 17, 2006
By JARRETT RENSHAW
JOURNAL STAFF WRITER
The Jersey City council yesterday officially stripped the historic designation from the Powerhouse Arts District and removed it from the oversight of the city's Historic Preservation Commission.

The changes were included in the amendments to the Powerhouse Arts District Redevelopment plan approved yesterday by the City Council. The amendments passed by a 7-2 vote, with Councilman Steve Fulop and Councilwoman Viola Richardson opposing the changes.

The changes are a result of the controversial 111 First St. settlement, which allowed New Gold Equities to bypass the district's historic protections and build high-rise residential buildings.

"This is a domino effect that we feared," said Daniel Levin, president of Civics Jersey City, who argued that the lifting of the protections will lead to other developers building high-rises in the zone.

The judge in the lengthy legal battle invalidated the Warehouse Historic District - which shielded the area's historic structures from wreckage - and forced the city to make the changes, said Jersey City Corporation Counsel Bill Matsikoudis.

He also added that the changes do not impact the artist housing included in the plan.

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that big pile of dirt in LSP


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building up from the roof


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right now, in 105,7 FM Campinas-SP, Brazil, we are re-transmiting your internet stream.
we are rádio muda, a free radio ! today was a special day! some people got together and during the intire day there were events related to zapatism, the ezln and la otra campaña. rádio muda was a part of it and got in touch with a free radio from mexico city called radio zapote, and also with el CML - centro de medios libres. they made special shows knowing that we were re-transmiting their internet streams here in Campinas-SP, Brazil! it was our "first time" in doing this kind of international transmission and dialogue! at night we sent to our internet stream the sound of a band that was playing live in front of rádio muda and people from other brazilian free radios from other cities were listening, and also from mexico! it was great. also people from new york and toronto got our transmssions and re-transmissions.
anyway, i wanted to tell you that at the end of all that, when everybody left the radio, we left the wfmu stream sintonized and we are transmiting it now (3:03AM) in 105,7FM in Campinas-SP Brazil and also in http://orelha.radiolivre.org:8000/muda, untill the next person comes to rádio muda to start his or her show !
exploring the internet and its endless possibilities is great!
thats it, saludos desde rádio muda and brazil! [please reply to pauletsz@gmail.com)

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Emmett was a masterful character actor and brilliant in a lot of ways, but he was eclectic -- he tended to take from people what he needed. One of the seminal guys, but who was not in the Mime Troupe, was Billy Murcott. Billy was this quiet, uncharismatic, very smart guy that he'd grown up with. He always had graphs and charts of different historical events up on his wall. And I think Emmett created the appropriate personality to embody the insight that Billy had. It was Billy, as I remember, who crystallized something that was in the air, the notion of Free, I think, and the articulation of autonomy. And it was radical enough and extreme enough to take us even another step farther out than the Mime Troupe. That real power was autonomy and that all ideologies had some degree of bullshit in them. And that the left, the socialist left, was no longer a model of anything. It had degenerated into a bunch of old men yapping theory and ideology. That what was required was for people to be forthright and straightforward and to take responsibility for doing what they felt ought to be done, regardless of ideology -- just do it. And that people like us were not going to be any more comfortable in a leftist nation-state than we were in a rightist nation-state. Billy wrote the first Digger Papers. The very first manifestos were written by Billy, as far as I remember. Billy was the unsung genius behind the Diggers.

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SUBURBS: Exurbanization and Gentrification: How the Two Patterns Have Been Linked Since the Beginning of Urban History


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Hurricane Katrina was the biggest natural disaster in US history - and its aftermath became the biggest management disaster in history as well. A year later, Fortune lays bare this surreal tale of incompetence, political cowardice...and rebirth.


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Special Edition of the Katrina Index: A One-Year Review of Key Indicators of Recovery in Post-Storm New Orleans - The Brookings Institute



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This is the principle that guides his most famous essay, “The Work of Art in the Age of Mechanical Reproduction,” now canonical text in art history, film studies, and related fields. In it Benjamin argues that traditionally, a painting or sculpture was endowed with something he calls “aura, deriving from a recognition of its absolute uniqueness. That is why thousands of people line up every day for a quick, obscured glimps of the Mona Lisa: not just to see it but to be it its quasi-sacred presence. In the age of technology, Benjamin perceived, this uniqueness is diluted by the ready availability of reproductions, which makes it possible to see a work of art without ever having seen the original. Furthermore, in the twentieth century’s characteristic art forms, photograph and film, there is no such thing as an original.

Surprisingly, Benjamin welcomed the idea of art without aura. He reasoned that aura was a kind of aristocratic mystery, and that its disappearance should herald a new, more democratic art: “The social significance of film, even—and especially—in its most positive form, is inconceivable without its destructive, cathartic side: the liquidation of the value of tradition in the cultural heritage.” This rhetoric, with its enthusiasm for “destruction” and “liquidation,” sounds distinctly odd coming from Benjamin. How, the reader wonders, did the great champion of Proust and Kafka end up decrying uniqueness and originality? How could the man who compared “In Search of Lost Time” to the Sistine Chapel ceiling also believe that “contemplative immersion” in a work of art was “a breeding ground for asocial behavior”?
The answer lies in Benjamin’s exceedingly awkward embrace of Marxism. Like many other intellectuals of the time, he came to feel that only Communism could save Europe from war, depression, and Fascism.

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design*sponge hawking crapola on the HG

werent we the first ones to point out this waste of commercial potential ?
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