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i love how the new yorker fucks up their text on purpose when you cut and paste it:

It must be tough to be a British architect thes days if your name isn’t Norman Foster o Richard Rogers. The most famous Britis architects since Christopher Wren are filling th world with so many sleek glass-and-stee buildings that it can be hard for thei compatriots to get noticed. All the more reaso to enjoy the rise, in recent years, of Will Alsop Alsop, now fifty-nine, is the anti-Foster. Hi buildings are startling, but also whimsical, gentle, colorful, and modest. Alsop’ playfulness makes him unusual—wit is in short supply among architects today—but his work, on closer inspection, is just as notable for the commonsensica attitudes it embodies

The building that has done most to establish Alsop as an international figure is a bizarre structure in Toronto, the Sharp Center for Design, at the Ontario College of Art & Design. It is a slab, two hundred and seventy feet long and raised nine stories into the air on huge, slanted legs. The legs—red and yellow and black and blue and purple and white—look like a bunch of gigantic colored pencils, or pick-up sticks mid-fall. The slab, which accommodates two floors of classrooms, studios, and offices, is covered in white corrugated metal and decorated with black squares. The building as a whole looks like a crossword puzzle on stilts. It seems to float above its surroundings, and locals have taken to calling it the Tabletop.

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Eager to reduce housing aid to the more than 95,000 households still displaced by Hurricanes Katrina and Rita, FEMA announced a program yesterday offering up to $4,000 for relocation expenses for families or individuals who return home or find permanent housing elsewhere by the end of February.

The offer is directed at the nearly 30,000 households receiving rental subsidies from the Federal Emergency Management Agency, as well as the more than 65,000 living free in FEMA trailers and the larger mobile home models.

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via vz
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edgar oliver speaks at the rapture cafe tues 10/23 / oil can press

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Leonard Riggio is the rich person who made Dia:Beacon possible. A demanding, emotional, self-made man — a Brooklyn cabbie’s son who built Barnes & Noble into the dominant bookseller in America — Riggio was the chairman of the Dia board during the years Dia:Beacon was being built. He believed in it with every fiber of his being. When Dia needed a piece of art to round out its permanent collection, he bought it. When cost overruns occurred, he covered them. When design decisions arose that entailed additional expenses, Riggio wrote the check. Of the $50 million it cost to create Dia:Beacon, Riggio gave at least $35 million. The second-biggest donor, the Lannan Foundation, gave $10 million. Ann Tenenbaum, the vice chairman of the board, and her husband Thomas H. Lee, the Wall Street financier, contributed $2.5 million.

But last year, Riggio abruptly, and angrily, resigned as Dia’s chairman. He did so shortly after Dia’s director, a rising star in the museum world named Michael Govan, announced his own departure, for the Los Angeles County Museum of Art (Lacma). It was Govan who found the Nabisco building and envisioned what it might one day be. And to be blunt, it was Govan who found Riggio to pay for it. Govan is the one who brought Riggio on the board, who whispered in his ear about which pieces of art to buy for the new museum, who consulted with Riggio every day about the cost overruns and the design changes and the million other decisions, large and small, that arose in the five years the two men were building Dia:Beacon. When I interviewed Riggio not long ago, he told me that he viewed himself and Govan as partners in building Dia:Beacon. “We were very close,” he said. After Govan left for Los Angeles, Riggio seethed.

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Artist Dan Graham, whose work was exhibited in Environmental Aesthetic at Storefront in 1986, in conversation with architectural historian and theorist Beatriz Colomina. Graham will show and discuss his most recent photographic work, a contemporary revisitation of his photographic documentation of New Jersey in the late Sixties.
DG interview
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making light

thx jimb
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heartbreakers at club gibus paris

chinese rock

info (i saw 'em at maxes '78)
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johny thunders ann arbour pt. 1 pt. 2

maxes nyc pt 1 pt 2 pt 3

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ny dolls 1/6 2/6 3/6 6/6

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MUSIC, architecture and art melded in a picture-perfect Modernist moment in 1957 every time abstract painter Karl Benjamin went to work. In the studio of his custom-built post-and-beam ranch that hewed closely to the airy Case Study model mastered by Pierre Koenig and Richard Neutra, Benjamin would huddle over his canvases to create vivid geometric compositions while playing and replaying Miles Davis' records on the hi-fi.

"I think I wore out two copies of 'Birth of the Cool,' " Benjamin recalls. "Miles' music spoke to me, spoke to my attitude, my outlook. In visual arts, negative area -- the space between things -- is very important, and with Miles, the space between the notes took on new meaning. This restrained lyricism moved me deeply. Of course you're not thinking about it at the time, but the music and the painting coincided." At 81, Benjamin could be seen as the venerable poster boy for the Orange County Museum of Art's new show "Birth of the Cool: California Art, Design, and Culture at Midcentury." His sensibility is writ large in the exhibition, opening today, which celebrates the Modernist aesthetic as filtered through paintings (Benjamin's included), architecture, music, graphic design, decorative arts, furniture, film and animation produced by Southern California's creative community during the '50s.

Gathering more than 150 objects, "Cool" includes work from midcentury design polymaths Ray and Charles Eames as well as photographs by Julius Shulman, whose meticulous portraits of Case Study homes (built between 1945 and 1966 under the auspices of Arts & Architecture magazine) established Southern California as a breezy outpost of International Style.

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Reinventing industrial landscapes

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house with excavation in front

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bob dylan approximately

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Paul has been treated so badly,” says a woman whose Manhattan apartment was designed by Paul Rudolph, the Kentucky-born architect. She is referring to the indifference, and worse, that has greeted much of Rudolph’s architecture in the last three decades. Even before he died, of mesothelioma, in 1997, Rudolph was forced to travel to Asia to find clients. Since his death, several of his works in the United States have been demolished, and others are being threatened with the same fate. But inside this apartment, Rudolph is receiving the kind of treatment most architects can only dream of. The owners have kept the main rooms — completed almost four decades ago — exactly as they have been.
from design times fall '07
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these catalogs are always full of modern treasures

SOLLO RAGO Modern Auction
- Saturday/Sunday, October 27/28, 2007 at 12 pm
Download Session One PDF (6.7 MB)
Download Session Two PDF (4.2 MB)
Pre-order a print catalogue
catalogues mail/go online October 12
Previews begin 10/20

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kodak bldg 50 rochester ny (photographic paper facility) imploded

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fire towers for sale!

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downtown jc stinks

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great places in america

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golden era of country music photos. any bets on the high bid?

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fall cider report

Today (october 5th), the apple cider season started. Penn Vermont Farm finished their first pressing of the year around 10:30 am. and by 11 they were hosing down the Cider House. It is before noon and I am having my first glass, not yet ice cold even though it was in the coldest part of the walk-in. It is incredible. I'm sure, the hogs will agree (see bottom photo)
from adman
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tent encampment

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