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grey water guerrillas

thx vz
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cadillac one

thx jz
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Ranch homes” - their history and distinguishing characteristics

thx justin!
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DLRoth bites

thx vz
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The Belle Isle Park Aquarium in Detroit circa 1905.


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"Last month, Front Studio architects gave a talk at the University of Pennsylvania Department of City & Regional Planning. There they outlined "Farmadelphia," their now widely known proposal for the transformation of Philadelphia, in which that city's vacant and abandoned lots are turned into a thriving agricultural zone - complete with crops grown for local consumption and soil remediation, and with an eye toward future tourism, including surreal petting zoos, hay rides, and even corn mazes."

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toolmonger


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internet pinball database


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tile stoves


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What lies beyond the failed utopias of the modernist welfare state and the free market? Gail Pickering's recent film/performance, despite its strictly internal focus on life inside a Brutalist housing estate, opens up scope for speculation.

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strange maps


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atomic toys


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sheet musings


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cartype car cut-aways


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There's a 1936 play by W.H. Auden and Christopher Isherwood called The Ascent of F6: A Tragedy In Two Acts. It relates the sorry tale of one Michael Ransom, a mountaineer attempting to beat a team of rival climbers to the summit of a mountain in the Himalayas, a formidable hunk of rock. After various ill-advised shortcuts motivated by competitiveness, Ransom reaches the peak only to discover his mother sitting there waiting for him.

Auden and Isherwood's play has become a metaphor for the two-act tragedy of popular music in our time. Pitting themselves obsessively and competitively against the musicians of the past, today's rock mountaineers attempt to scale the same peaks, only to find Father Iggy or Mother Janis sitting there at the top in a rocking chair, rocking out. Regular readers of Click Opera know that I call this phenomenon "epigone pop" or "retro necro", and it's the subject of my latest column for Spanish music magazine Playground. Since it appears there in Spanish, I'm publishing it here in English, as usual.

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harris armstrongs stuebner residence in memoriam


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agence eureka

warning: extremely graphic material
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2thewalls

loud paper

junk jet net


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trucknutz the goat

via brian turner
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Though still little-known in the U.S., Solal is one of the greatest European musicians alive today. His life at the piano ranges from lessons with his opera-singer mother in Algiers to post-war collaborations with Django Reinhardt and Sidney Bechet in Paris, to a wide variety of film work.

Solal's music is as complex as his life. Born to Algerian Jewish parents, he moved to France in 1950 when he was 23. He began playing in the underground jazz dives around St.-Germain-des-Pres, and before long, he was recording with the great jazz guitarist Django Reinhardt and ex-pat American saxophonist Don Byas. Fame came to Solal for the music he composed for Jean-Luc Godard's 1960 breakthrough film, Breathless (A Bout de Souffle).

In a new memoir, Solal describes his experiences in the American black jazz world, in the film industry and as a classical composer. His manner betrays an almost childlike sense of curiosity and playfulness. That comes from his lifelong fascination with freedom and structure, says Claude Carriere, a jazz historian and longtime programmer at Radio France.

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Every building Palladio designed, from a simple farmhouse to his grand monastic churches such as San Giorgio Maggiore in Venice, was a gem. Designed inside and out according to a sophisticated play of perfect geometry, each one remains an ideal to live up to. Handsomely crafted, imaginatively sited and bringing the best of classical Roman architecture up to date, his buildings had a profound influence on architecture worldwide.

Such was the compelling nature of their design that, after Palladio's death in 1580, British architects began to create buildings - from modest working-class terraces to magisterial country houses, along with town halls, assembly rooms, churches, inns, farmhouses and follies - that owe the essentials of their design, their proportions and much of their architectural spirit to the one-time Paduan stonecutter destined to become one of the greatest architects of all time.

What drew the Palladians, as these young British architects came to be known, to the master's work was its crystal-clear design, free of the pomp and theatrical circumstance of those architectural styles, especially the lavish baroque that came before an 18th-century revival of Palladianism. Here were classical buildings that seemed ideal for 18th-century, protestant Britain. Palladio showed how it was possible to shape a form of architecture that seemed almost timeless. Informed by mathematical logic, it was highly practical, rich in terms of its ideas, and lacked any over-elaborate decoration. No wonder the brightest British Modern movement architects of the 1930s were as in awe of Palladio as they were of Le Corbusier. They saw him, if not altogether correctly, as a kind of proto-Modern.

The work of the Palladians - spearheaded by the Anglo-Irish Earl of Burlington and Colen Campbell, a Scot - became the dominant force in British architecture. They in turn influenced the work of American architects, and by the mid-19th century, examples of Palladian design could be found around the globe, from St Petersburg to Cape Province. Even today, there are architects, notably the father and son team Quinlan and Francis Terry, who continue to work in a tradition descended from Palladio. In fact, the Terrys attract controversy precisely because they insist on pursuing a line of Palladianism, in the design of numerous country houses, as well as major urban shopping and office developments - as if the days of Palladio, or at least his ideals, were still part, parcel and pediment of everyday life.

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american clay (natural pigment wall plaster as used in the previous post)


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private idaho residence


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Longtime Astroland owners Carol and Jerry Albert, who sold most of their land to New York-based developer Thor Equities last year, donated the rocket to the nonprofit Coney Island History Project and have offered to contribute toward the estimated $15,000 cost for moving the landmark from the top of a building—money the nonprofit doesn't have.

People from car-wash owners to museum curators have contacted the Coney Island History Project about the Astroland Moon Rocket, including an amusement park in Pakistan.

"We were kind of wowed by their interest," said the history project's administrative director Tricia Vita in an e-mail. "Our dream placement for the rocket would be in a nonprofit setting where [it] would be preserved and could also be used for educational purposes."

Neither the Smithsonian National Air and Space Museum, the Brooklyn Museum, the Brooklyn Children's Museum, the New York Hall of Science, nor Floyd Bennet Field in Brooklyn was able to provide a new home for the rocket due to lack of space or logistics, she said.

Charles Denson, director of the Coney Island History Project says his group is currently in "serious negotiations" with a group that will move the rocket to a new Coney location. "It looks like it [might] be staying. It's a survivor, and it'll keep the Astroland name alive. It's a time capsule; everything inside is absolutely preserved."

If the rocket is not moved by Jan. 31, it will become the property of Thor Equities, which now owns most of Coney Island.

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