I don’t watch American Horror Story, but I do like these posters by Mike Wrobel
These little ceramic ring holders by Milk Design are pretty sweet – they would add a nice touch of whimsy to any dresser.
I remember spending hours and hours playing GT2 racing Laguna Seca in my Rally Skyline. Polyphony is up to GT6 and it looks more amazing on the upcoming PS4.
New print release: this week we are excited to bring you The Green Green Grass by artist Claire Brewster to benefit American Forest. I love the sculptural quality of Claire’s work. There is an inherent lightness and sense of movement, which works incredibly well with this piece as it creates the illusion of fluttering wings. It was also a joy to learn more about Claire and her influences through the artist interview:
Nature is ever present even in the most urban of environments, taking over areas we neglect, yet living a separate life. Affected by our actions, yet unconscious of them. Claire takes inspiration from this environment, creating entomological installations of flora and fauna from imagined locations. Her birds, insects, and flowers transcend borders and pass freely between countries with scant regard for rules of immigration or the effects of biodiversity.
Claire has chosen to pair her print with American Forests because it seemed like a good fit with her work and desire to remind people of the beauty that exists in nature, and the importance of looking after what we’ve got and ensuring that we maintain it for the future.
This print is available in multiple sizes. It was digitally signed by the artist. The 8×10 and 11×14 prints are numbered by The Working Proof. Learn more here. Read our interview with Claire Brewster here. You can buy the print here.
Apple debuted the design of the new Mac Pro yesterday and it looks pretty serious. Though I imagine that if you have one, you would have a bunch of drives and other junk plugged into it, so it looses it’s monolithic appearance a little bit.
Beautiful bottle design for Protea wine. Too bad the Protea link is 404′d…
via The Dieline
If you skate and read Colin Kennedy’s statement about the video below, you’ll immediately understand that feeling of either heading out to start a day of skating or coming back at the end of a long day of skating. It is certainly one of the most free and enjoyable times I experience. No pressure of learning some new trick, no slams, no hassles, just a stretch of smooth ground and that’s it.
I’m going to start by stating that this is a music video with skateboarding in it and not the other way around. The concept of including skateboarding in a music video isn’t exactly ground breaking but when Balmorhea asked me to make a video for one of their tracks, I saw it as an opportunity to create my own version of what skating could look like in a music video. The band let me choose which track I’d like to make a video for and when I decided on Pyrakantha, the imagery that immediately came to mind was city lights at twilight. I asked one of my favorite skateboarders and closest friends, Danny Garcia to star in the video and take the viewer on a journey through some of my favorite parts of the city as the final moments of daylight gave way to the night. My goal was to capture that feeling of skating home at the end of a long day, a time of day when it’s not so much about the tricks you’re doing as it is about the journey itself. Hopefully as skateboarders, you can relate to this feeling. – Colin Kennedy
While their design work is not exactly my cup of tea, the analysis and writings of Denise Scott brown and Robert Venturi are some of the most influential of the last half-century. Venturi was awarded a Pritzker more than 20 years ago for their collaborative work, which Scott Brown was excluded from. The issue was big then and it has resurfaced recently. Be sure to read DSB’s interview in Architect. The Pritzker, is given to only one recipient, even though the work invariably is the work of more than one person. And especially in this case, where the two are partners, is the exclusion of one (regardless of gender) a severe injustice to the actual workings of the profession. DSB’s interview is straight and to the point – architects are turds.
When Philadelphia architect Robert Venturi, FAIA, received the Pritzker Architecture Prize in 1991, the award generated a good deal of grumbling from many in the architectural community for the person who wasn’t named: his wife and architectural partner of roughly three decades, Denise Scott Brown, FAIA. Venturi and Scott Brown met in 1960, married in 1967, and became architectural partners in 1969. They collaborated on buildings and books—including the widely influential (and controversial) urban study, Learning From Las Vegas, published in 1972. The fact that Scott Brown wasn’t also named a Pritzker recipient has been variously described as an “injustice” and a “blunder” by the architectural press. In March, the debate was reignited when Scott Brown was quoted by the Architects’ Journal as saying, “They owe me not a Pritzker Prize but a Pritzker inclusion ceremony.”
That statement ignited a flurry of debate—and inspired the Harvard University Graduate School of Design Women in Design Group to launch a petition demanding that the Pritzker Prize committee recognize Scott Brown’s contributions to the field of architecture. As of this writing, the petition contains more than 4,000 signatures, including those of architect Zaha Hadid, Hon. FAIA; Rem Koolhaas, Hon. FAIA; and Museum of Modern Art design curator Paola Antonelli. Plus Venturi himself. (In a short note attached to his signature on the petition, Venturi wrote: “Denise Scott Brown is my inspiring and equal partner.”)
Scott Brown told ARCHITECT that the attention has been “like a tidal wave.” She says that she never imagined that the comments that she gave for the Journal’s women’s architecture luncheon would generate so many headlines. Earlier this week, she took time to talk with ARCHITECT about the Pritzker, her role in the firm she ran with her husband, and the ways she has been treated as a woman architect in a profession that she has described as a “19th-century upper-middle-class men’s club.”