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The mystery of a huge container washed up on a beach in the Western Isles has been solved. The 27m container has been identified as a beer fermentation tank belonging to the American brewery Coorsvia vz
drinking images
One of the most anticipated yearly programming features on SPEED, the Barrett-Jackson Collector Car Event and auction, returns this January with 39 hours of LIVE coverage through six days from Scottsdale, Ariz.
Five hours of early auction coverage begin on Jan. 15 through Jan. 17 at 7 p.m. ET/4 p.m. PT. On Jan. 18 and Jan. 19, 10 hours of live coverage begins each day at 2 p.m. ET/11 a.m. PT, with another four hours slated for Jan. 20 starting at 2 p.m. ET/11 a.m. PT.
“We’ve massaged the 2008 Scottsdale Barrett-Jackson Collector Car Event air schedule,” said Rick Miner, SPEED SVP of Production & Operations. “We feel the schedule will capture what we believe will be the most compelling bidding wars for the most exciting vehicles.”
Play-by-play announcer Bob Varsha, the voice of Formula One on SPEED, will once again head the broadcast and be joined by Motor Trend magazine editor Matt Stone for analysis. Mike Joy, the voice of NASCAR on FOX and an avid car collector, will once again team with former Hot Rod magazine technical editor Steve Magnante on the auction block. Long-time motorsports reporter and Barrett-Jackson regular Rick DeBruhl will be scoping the auction grounds for event context and storylines.
The 2008 edition of Barrett-Jackson Scottsdale will be an interesting confluence of Italian style, classic design and brute American horsepower all sold at ‘no reserve.’ Headliners include a Pininfarina-designed 1963 Chevrolet Corvette concept car known as ‘Rondine’ and Ford’s 1963 Thunderbird ‘Italien.’ Pininfarina is a world famous Italian design house based in Turin, who is most notably associated with the legendary styling of Ferrari, Maserati and Alfa Romeo. Also for sale will be Carroll Shelby’s personal 1969 Shelby Mustang GT-500 and the one and only ‘Robosauras,’ a 42-foot tall, fire-breathing mechanical ‘monster’ that has devoured cars throughout the United States over that last 20 years.
Tom Moody notes the difference in critical stance Roberta Smith takes on Richard Prince’s mid-career retrospective at the Whitney in 1992 and now at the Guggenheim in 2007. Smith takes a much softer tone the second time around while Moody in a post that follows observes weakness in virtually all of the later work. I too see the weaknesses Moody points out, and rather wish I’d seen a review by a mainstream critic who felt this way, particularly because Prince’s car hoods, joke paintings and master inspired works so obviously lack the substance of his earlier rephotographed advertisements. Schjeldahl wrote negatively about the exhibition as well in the New Yorker, largely getting it right, though by the end he criticizes a deKooning rip off for not being executed well enough, which even if correct, misses the point, and sounds awfully conservative. As an intellectual exercise this kind of practice just isn’t engaging, (though I have been known to make exception for his Britney Spears deKooning portraits.)
BACK in 1981, Tom Wolfe published the archetypal work of reactionary architectural criticism, "From Bauhaus to Our House," a happy-go-lucky evisceration of modern design and the men who brought it to America. Wolfe's short romp through history struck a nerve, but one close to the funny bone. Reviewing it in the Nation, critic Michael Sorkin quipped, "What Tom Wolfe doesn't know about modern architecture could fill a book. And so, indeed, it has, albeit a slim one."
Now John Silber, former president of Boston University and failed Massachusetts gubernatorial candidate, has set himself the dubious task of assuming Wolfe's cranky mantle. It's a game effort: What Silber doesn't know about modern architecture has also filled a book, although one 46 pages slimmer than Wolfe's and absent the master's wit. Indeed, "Architecture of the Absurd: How 'Genius' Disfigured a Practical Art" is so riddled with red herrings, half-truths and gratuitously provocative exaggerations that Colin Powell might try reading it at the United Nations.
in search of a fine pepper mill
in search of fine (and coarse of course ) cheese graters: microplane
in search of a fine hand crank coffee grinder: zassenhaus
Behold PopSci staff photographer/mad scientist John Carnett's homemade microbrewery:
an elaborate device that boils, ferments, chills, and pours home-crafted ale
"I don't want to be an artist, I want to be a worker." So said Jean Prouvé, who might be surprised that, after a career dedicated to industrial production and the manufacture of functional furniture and buildings, his work has ended up in fine art auctions and displayed in chi-chi gallery windows from Paris to New York. Now on show at London's Design Museum, his furniture, houses and architectural components remain resolutely industrial, sparse and functional, yet beautiful.
architectures top ten 2007 lists
“This is a stone masonry building,” Mr. LeClerc said. “It’s marble and brick all the way through.”
The diagnostic work is largely done. Over the last several months, the engineers scaled the building from scaffolding or cherry pickers or rappelled down on ropes to examine every one of the 20,000 blocks of stone.
With hand-held devices, they mapped the building, numbering every piece of marble. They tapped the building with mallets, allowing loose pieces to fall (hence the netting that now wraps part of the exterior), and drilled core samples to study the material.
“They took off about 1,000 pounds of stone that was ready to come off,” Mr. LeClerc said.
Now, the library has to determine the best cleaning method: whether to use a laser method that zaps off the black sooty pieces or to apply poultices and then peel off the pollutants.
The main library — also known as the Humanities and Social Sciences Library — has been gradually renovating its interior over the last 30 years, most recently restoring the Lionel Pincus and Princess Firyal Map Division space, with its richly carved wood, marble and metalwork, completed in December 2005.
A team of architects led by Chan Krieger Sieniewicz, Hargreaves Associates, TEN Arquitectos, and Eskew+Dumez+Ripple, will unveil the final design in February for revitalizing a stretch of the Mississippi River in New Orleans. The broad goal of the redesign is to reduce barriers that discourage people from enjoying the river and replace decaying sections with parks and public venues that will trigger private investment.
A team of architects led by Chan Krieger Sieniewicz, Hargreaves Associates, TEN Arquitectos, and Eskew+Dumez+Ripple, will unveil the final design in February for revitalizing a stretch of the Mississippi River in New Orleans. The broad goal of the redesign is to reduce barriers that discourage people from enjoying the river and replace decaying sections with parks and public venues that will trigger private investment.
The centerpiece of the project, known as Reinventing the Crescent, is a linear park that devotes nearly 85 percent of the development zone’s 174 acres to parks and plazas, bike and walking paths and venues for river-gazing. Signatures of the design include examples of dramatic, forward-thinking architecture as well as inventive ideas for accommodating the various industrial wharfs and terminals that must be retained for cargo and transportation uses.
“Improving public access to the river is the point,” said Allen Eskew whose New Orleans-based firm is in charge of managing the project. “But the plan gives the city a riverfront design that is authentic for our time and does not just reflect the past.”
Palm Springs has become a hotspot for fans of mid-century modern architecture, inspiring restorations of the city's rare collection of Rat Pack-era buildings.
This fall, the new owners of the 1947 Del Marcos Hotel completed a renovation of the 16-room inn, designed by desert architect William F. Cody.
The hotel reopened in September after workers updated the lobby, installed new restrooms, and created a saltwater pool complete with piped-in music. "It's back to A-plus condition," says Jack Davis, the manager and partner in the company that bought the hotel last year.
The Del Marcos Hotel won a design preservation award from the Palm Springs Modern Committee in 2005. It also rehabbed the city's 1960 Wexler House, designed by Bob Alexander, whose 2,200 houses were the city's first subdivisions.
western swing on 78
via zoller
shaker condo bldg bed-stuy bkln ny
shaker catalogue
shaker cabs from crown-point
Ignoring local protests, the U.S. Department of Housing and Urban Development last week started demolishing historically valuable public housing in New Orleans.
In a city pummeled by government incompetence, the department's intransigence has become surreal. HUD was stopped days later because it had failed to seek required approval from the City Council, and Judge Herbert Cade of Orleans Parish Civil District Court halted most of the demolition until the council agrees to let them proceed.
HUD has threatened to withdraw hundreds of millions of housing reconstruction dollars and thousands of rent vouchers if the council doesn't approve its plan in a meeting on Dec. 20.
Losing the vouchers would mean that poor people entitled to live in public housing -- and no party to the controversy -- would be thrown into the street. Does the council have a choice?
More housing is needed in a city with a serious rental- housing crunch since Hurricane Katrina. Adapting the historic structures on four huge sites -- three adjacent to historic- landmark neighborhoods -- is worth doing because of their sturdy construction, sensitivity of design and quality of materials. That's why these 4,500 units were deemed worthy of listing on the National Register of Historic Places.
cargoyle by barris of la-ca
via jz
LAKE CHARLES, La. — With resignation, anger or stoicism, thousands of former New Orleanians forced out by Hurricane Katrina are settling in across the Gulf Coast, breaking their ties with the damaged city for which they still yearn.
They now cast their votes in small Louisiana towns and in big cities of neighboring states. They have found new jobs and bought new houses. They have forsaken their favorite foods and cherished pastors. But they do not for a moment miss the crime, the chaos and the bad memories they left behind in New Orleans.
This vast diaspora — largely black, often poor, sometimes struggling — stretches across the country but is concentrated in cities near the coast, like this one, or Atlanta or Baton Rouge or Houston, places where the newcomers are still reaching for accommodation.
The break came fairly recently. Sometime between the New Orleans mayor’s race in spring 2006, when thousands of displaced citizens voted absentee or drove in to cast a ballot, and the city election this fall, when thousands did not — resulting in a sharply diminished electorate and a white-majority City Council — the decision was made: there was no going back. Life in New Orleans was over.
Robert M. Kulicke, a painter, goldsmith, teacher, businessman and designer who changed the look of postwar art by modernizing frame design, died on Friday in Valley Cottage, N.Y. He was 83 and had lived in Manhattan until about 18 months ago.
Garrulous, articulate and confident, Mr. Kulicke was a man of many talents, interests and passions. He painted and regularly exhibited small, delicate still lifes of flowers, dollar bills or, often, a single pear. He helped to revive the ancient cloisonné technique of granulation and to establish a school for jewelry making. Widely knowledgeable in art history, he often supported himself and his businesses by buying and selling medieval art and Coptic textiles.
But for much of his life Mr. Kulicke was the most innovative and influential picture frame designer in the United States. His reputation rested primarily on several streamlined frames that were both widely used and imitated, especially a welded aluminum frame and a wrap-around clear Lucite “plexibox” frame.
He also designed sectional frames that could be bought and assembled, sidestepping frame shops completely. In addition, he was a superb craftsman of reproduction frames, making them for some of the greatest paintings in this country, including Leonardo da Vinci’s portrait of Ginevra de’ Benci in the National Gallery of Art in Washington and Giotto’s “Epiphany” in the Metropolitan Museum of Art.
Manhattan had long lost its crown as the world's skyscraper capital when Mohamed Atta smashed American Airlines Flight 11 into the first of the Twin Towers. Yet that dramatic, appalling moment triggered a defiant reaction. A slew of new towers is now appearing, on screens and on the ground.
Renzo Piano's diaphanously corporate New York Times Tower has just opened to rapturous reviews; Ground Zero is hosting towers by Foster, Rogers and Fumihiko Maki, and slick condo towers are springing up everywhere like minimalist fungus. But the latest proposal is by far the most surprising. French architect Jean Nouvel has proposed the most radical and striking skyscraper to trouble New York's low-drifting clouds in a generation.
The design for the tower, neighbouring the Museum of Modern Art, is a piercing, dangerous-looking spike, an anorexic contemporary version of the soaring twin spires of St Patrick's Cathedral, which dominated the city's skyline until the advent of skyscrapers in the early 20th century.
The proposal, at 53 W. 53rd St, commissioned by real estate firm Hines, comprises 75 storeys of accommodation and, at 350m, pierces the skyline at a height between the Empire State and Chrysler Buildings. It will embrace 5,000 square metres of extra accommodation for MoMA, which will expand into its lower floors, above retail provision, while the upper floors will house a seven-star hotel sharing services with the 120 or so (extremely) top-end condominiums above.
IT’S hard to pinpoint when the “starchitect” became an object of ridicule. The term is a favorite of churlish commentators, who use it to mock architects whose increasingly flamboyant buildings, in their minds, are more about fashion and money than function.
Often the attacks are a rehash of the old clichés. Cost overruns and leaky roofs are held up as evidence of yet another egomaniacal artist with little concern for the needs of us, the little people. (As a rule, if a roof leaks in a Frank Gehry building it’s headline news; if the building was designed by a hack commercial architect, the leak is ignored, at least as news.) John Silber, the former president of Boston University, has gotten into the game with “Architecture of the Absurd,” a glib little book that eviscerates contemporary architects for the extravagance of their designs.
The more serious criticism comes from those inside the profession who see a move into the mainstream as a sellout. The pact between high architects and developers, to them, is a Faustian bargain in which the architect is nothing more than a marketing tool, there to provide a cultural veneer for the big, bad developers whose only interest is in wringing as much profit as possible from their projects.