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So often, those with limited means feel they are being sequestered and forced into something substandard,” Mr. Stone said. “Why would they want to live in shipping containers if no one else does?” And then it occurred to the architects: “We should figure out how to create housing so cool that everybody would want to live in it.” What followed was more than a year of intellectual ferment, during which the group roped in various Newark officials as well as the architecture school at the New Jersey Institute of Technology. The result was “Live the Box: An International Design Competition.”

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dickie goodman didnt pay royalties


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284

POUL VOLTHER / ERIC JORGENSEN Corona lounge chair with red wool cushions on steel base.


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pyramid club ave a stories 81-85


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The High Water Recording Company was founded by David Evans in 1979, as part of Memphis State University’s College of Communication and Fine Arts. Original funding came from the NEA. Such factoids make High Water sound like one more exercise in academic blues-ology, producing more fodder for the folkways archives, destined to be alphabetized by German collectors. However, thanks to Evans’ grasp of his local scene, and his embrace of the good old commercial impulse and its ultimate format, the 45, the records he produced transcend more traditional field recordings made by Alan Lomax, Chris Strachwiz, and Evans himself on earlier outings.

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But Evans wanted to model High Water after what Sam Phillips originally did at Sun Records by making the first records by a younger generation previously unknown beyond their own home turf. Evans even began numbering the High Water catalog by picking up where Sun had left off with their last single. The first of these was “Going Down” b/w “Cotton Fields” and “Boss Man” (HW 408), by one of Ike Turner’s original sidemen, sax honker Raymond Hill and his wife Lillie. Also in that original set of four was Jessie Mae Hemphill’s “Jessie’s Boogie” b/w “Standing in My Doorway Crying” (HW 409), R.L. Burnside’s “Bad Luck City” b/w “Jumper Hanging Out on the Line” (HW 410), and Rainie Burnette’s “Coal Black Mattie” b/w “Hungry Spell” (HW 411).


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office naps


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reasons to be cheerful

via ...stupefaction...
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pink fairies roadhouse '75


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architypes pattern blah blah blah


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richters cologne cathedral window


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KJ0978


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next modern group at rago


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on negotiating furniture prices in trendy nyc boutiques


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spain container project: habitainer


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video ad w/ dimaria container home tie in


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This month’s issue (actually this was back in october '08) of Metropolis features a multifaceted look at design activists in Public-Interest Architecture. A discussion with Bryan Bell, founder of Design Corps and author of Expanding Architecture: Design as Activism is included as a sidebar in From the Notebook of Bryan Bell , but the conversation with the architect—which we present to you here— included more information on his influences, Rural Studio, why he doesn’t enter architecture competitions, and how he includes the community is his work.

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5 great 45's




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TOH goes to BKLN


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Saddam's hometown unveils statue dedicated to man who threw shoe at President Bush

via hullabaloo


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container home kc


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MBSA

note window / door panels
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mars rover still ticking


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fine wooden motor scooters by carlos alberto

thx lisa
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Texas oil fields, and the oil barons they created, have had an outsized influence on modern America. Bryan Burroughs, author of The Big Rich, tells us about the rise and fall of Texas oil fortunes.

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