Looking for a quiet retreat but not quite ready to commit to a monastic life of daily 5 am meditation? Green Gulch Farm is one of three sites owned by the San Francisco Zen Center. Nestled in a valley in the Marin Headlands, Green Gulch is about 30 minutes from San Francisco but feels much more remote.
Chicago’s Monadnock Building is an anomaly; at 16 stories, it’s the tallest masonry structure in the world, but it was completed after similarly-sized steel frame buildings like the nearby Reliance Building. Continue reading Age-Appropriate: Fitting A Business Into Chicago’s Historic Monadnock Building
Robert Stadler, Cut_paste #4, 2015; Isamu Noguchi, Gift, 1964 and Baby Figure, 1958.Photomontage: Studio Robert Stadler; courtesy Noguchi Museum
Long Island City’s Isamu Noguchi Museum is presenting their first exhibition of a contemporary designer’s work alongside Noguchi’s sculptures and designs in Solid Doubts: Robert Stadler.
Consisting of four installations showing work by the two artist/designers together, the exhibition explores the ways in which both Robert Stadler and Isamu Noguchi play with distinctions between “art” and “design,” “functional” and “aesthetic,” and “material” and “space,” among other object-based concepts.
Isamu Noguchi (1904-1988), who worked in the Queens warehouse before it was converted to museum celebrating his work and life, is best known for his furniture, such as his famous coffee table and the Akari series of paper and wire lamps.
Noguchi Museum Senior Curator Dakin Hart Hart said, “Robert Stadler works the fertile land where conceptual, aesthetic, functional, and material considerations meet. This is the same zone that Noguchi explored and labored so hard to expand during his six decades as a category-defier.
“It is hoped that each installation, and the exhibition overall, will make a case for the reification of ambivalence and assert every object’s right and responsibility to self-doubt.”
Solid Doubts opened on April 26, 2017 and runs through September 3.
Clockwise from bottom left: Robert Stadler, Pools and Pouf!, 2004 (fabricated 2017). Upholstered leather, plywood, synthetic textile. Isamu Noguchi, Akari [1N], 1968. Paper, bamboo, metal, electric components. Isamu Noguchi, Akari [VB13-S], 1986. Paper, bamboo, metal, electric components. (Nicholas Knight / Image via Noguchi Museum / Artists Rights Society)
If civilization as we know it disappears tomorrow, what will be left of our digital culture for future archaeologists to discover?
Emojis, an ephemeral phenomenon if there ever was one, have now gained some long-term stability – like the figures on an ancient Greek frieze or a Gothic gargoyle staring down from above, emojis decorate the facade of a mixed-use building in the Dutch city of Amersfoort.
Changiz Tehrani of Attika Architekten designed the building with the emoji era in mind – a symbolic reminder of when the building was built.
Cast in concrete, these emojis are made to last longer than a Snapchat message — maybe even longer than embarrassing MySpace photos lingering around in the Cloud somewhere, waiting for a future employer to stumble upon.
Photos: Attika Architekten/photographer Bart van Hoek
Via ArtNet News
Cord management, cord shmanagement… these designs celebrate the electrical infrastructure of our daily lives.
Gino Sarfatti, Model 2097 30 (1958)
Achille Castiglioni, Toio Lamp (1962)
Form Us With Love, Cord Lamp (2007)
Panto Beam, Verner Panton (1998)
Parentesi Lamp, Achille Castiglioni (1971)
These bronze candlesticks were one of Eva Zeisel’s last designs. They were created in 2007, when she was 101 years old. Zeisel passed away on Decmber 30, 2011 at the age of 105.
Photo by the author, Copyright 2013