Schwarz
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post apocalyptic classics
"that guy who burns furniture" via adman
movies with department store pneumatic tube appearances
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Dieter Rams is the most important and influential designer of the post war era. As head of design at Braun, the German consumer electronics manufacturer, he revolutionised the design of domestic technology and developed a design language that married technical innovation with a strict formal and functional elegance.
Click on the image above to see a gallery of Rams' work.
Born in Wiesbaden in Germany in 1932, he first joined Braun in 1954 as an architect and interior designer but soon moved into product design. In his forty-year stretch at Braun he designed (or oversaw the design of) hundreds of products from audio equipment, coffee makers, calculators and cigarette lighters to electric shavers. For Vitsoe he designed the 606 shelving system and 620 chair.
SURFS UP!!!
SAN FRANCISCO -- Ocean swells towering up to 16 feet pounded the Northern California coastline Tuesday as the first of two storm fronts roared through the area with showers creating chaos on local roadways during the Bay Area morning commute.via adman
The National Weather Service reported its off-shore buoy system indicated swell heights near 16 feet every 15 seconds. Wave models predicted westerly swells increasing to around 20-26 feet during the day and then subsiding to around 15 feet by Wednesday afternoon.
The big waves attracted surfers to the coastline, but the southerly winds adversely affected conditions at some popular beaches.
"The waves are so big right now at (San Francisco's) Ocean Beach, they all come at once, there is no way to get out," said Aaron Hope, as he prepared to surf the waves at Fort Point in the shadow of the Golden Gate Bridge. ___________________________________________________
Mavericks surf contest organizers said they expect monster waves Tuesday.
Weniger aber besser
digmodern (books)
historic house parts
book store
Q I grew up in an unusual building, the Vermeer Studios, two side-by-side structures on 66th Street east of Park Avenue. We had 19th-century landscapes in our apartment, and I remember my father going next door to visit A. Conger Goodyear, who collected modern art, and coming back and saying “You can’t believe what that man has on his walls!” What can you tell me about the Vermeer? ...
Alice Cooper live in Detroit 1971 - Is It My Body
Here are a few video clips that will be of interest to Mick Ronson fans.
All The Young Dudes at the Agora-- wow.
via vz
Ralph Peer (May 22, 1892 – January 19, 1960) was born Ralph Sylvester Peer in Independence, Missouri. He died in Hollywood, California. Peer was a talent scout, recording engineer and record producer in the field of music in the 1920s and 1930s.
Peer spent some years working for Columbia Records, in Kansas City, Missouri until 1920 when he was hired as recording director of General Phonograph's OKeh Records label in New York. In the same year he supervised the recording of Mamie Smith's "Crazy Blues", reputed to be the first blues recording specifically aimed at the African-American market. In 1924 he supervised the first commercial recording session in New Orleans, Louisiana, recording jazz, blues, and gospel music groups there.
He is also credited with what is often called the first country music recording, Fiddlin' John Carson's "Little Old Log Cabin In The Lane"/"That Old Hen Cackled and The Rooster's Goin' To Crow". In August 1927, while talent hunting in the southern states with Victor Records he recorded both Jimmie Rodgers and the Carter Family in the same session at a makeshift studio in Bristol, Tennessee, known as the Bristol Barn Session. This momentous event could be described as the genesis of country music as we know it today. Rodgers, who later became known as the Father Of Country Music, cut "The Soldier's Sweetheart" and "Sleep, Baby, Sleep", while the Carters' first sides included "Single Girl, Married Girl".
hollywood locusts descend on jc westside
(taking up both sides of the block street parking and blocking drive ways for better part of december)
Mobile Minimalism - Flavio Galvagni of Lab Zero has a few projects that I think deserve mention here.
another justin discovery thanks dude!
Q & A with Anne Matthews, author of "If Walls Could Talk"
While working on her essay on how buildings sound, author Anne Matthews became intimately more aware of her own surroundings, of the differences in ambient noise, for example, associated with buildings in various settings. Matthews, the author of several books, teaches at Princeton University. Here she discusses the writing of "If Walls Could Talk" with Preservation's associate editor Eric Wills.
EW: Why do you think the movement to preserve sound has recently gained momentum?
AM: Because the world is getting infinitely noisier very fast. Alex van Oss is very eloquent on the subject in my story. We are literally not wired to handle the noise, and yet when we seek silence, tranquility, and natural sound, the social, cultural, and geographical barriers are higher than ever. When you want peace and quiet you really have to work for it these days. It's something that you value much more when you do find it. The preservation impulse takes over at that point. Something that's marvelous and vanishing inspires the desire to save it for the future.
The New York City Office of Emergency Management (OEM) is sponsoring a design competition to enhance the City's ability to provisionally house residents after a major coastal storm. Read the invitation letter from OEM's Commissioner.
But the Ennis, as noted, is in bad shape. It's now owned by a private conservancy, the Ennis House Foundation, that has at least succeeded in making it stable. But far more remains to be done. Ten million dollars is the estimate.
The Ennis is, as far as I'm concerned, the poster child for a problem nobody seems to be interested in solving: How do we protect our great works of architecture?
How is it, for example, that a buyer will spend $135 million for a painting by Gustav Klimt, but nobody will foot the bill to save a masterpiece of architecture? Wright's best houses are certainly, in my view, greater total works of art than all but the most remarkable of individual paintings.
The problem, I suppose, is that a plutocrat can't hang a building on the wall to impress his or her friends. The United States needs to find a way, as so many European countries have, to find a permanent solution for our great architecture.
From its first placard, the exhibition pulled no punches. There, within corridors that were his own creation, came blunt questions of the man's achievement and legacy:
"Genius? Fraud? Artist? Who is Frank Gehry?"
Such was the introduction to a recent retrospective on Mr. Gehry's long career in architecture and design. The exhibition was held inside the architect's first Ohio building - the sculpture-for-living that is the University of Toledo's Center for the Visual Arts.
Adjoined to the Toledo Museum of Art, the center opened 15 years ago next month as a home to the university's art department and the museum's reference library. Outside the 51,000-square-foot building is an agglomeration of boxy shapes and zig-zagging angles clad in gray lead-coated copper plates.
Mr. Gehry has described the building's skin as a jazz excursion, complete with visual riffs and syncopated rhythms that lift the eye up, then down, then back around. One critic called it "a collision of the Merrimack and the Monitor on the museum's grounds."
The University of Toledo’s Center for the Visual Arts adjoining the art museum has been called by one critic ‘a collision of the Merrimack and the Monitor on the museum’s grounds.’
It's just such design creativity that lifted Mr. Gehry to the pedestal of the world's most well-known living "starchitect." Yet that iconoclasm has often generated controversy for his projects in Toledo and elsewhere.
rejuvination
hueckel china of ca
hardware store display signs
unicat
via jz
the gemmary
Close Radio 111 audio works recorded for KPFK by visual and performance artists between 1976 and 1979. Includes rarities and never-before heard cuts from mostly LA / CalArts-based artists such as John Baldessari, The Kipper Kids, Martha Rosler, Jack Goldstein, Ant Farm, Hermann Nitsch, Paul McCarthy, Mike Kelley and many, many others. From the Evidence of Movement show at the Getty.
“Making art has never been a mystery to me,” Prince continues. “It’s never been something that’s very difficult.” The “umpires” of the art world could re-purpose that same statement as an indictment of Prince’s work. “I’m old enough to not worry about being judged,” Prince responds. “Most artists have made their decision about their work before it goes out of the studio. What am I going to say about something I did 30 years ago? There’s nothing to say.”