The Bedford Quarry House, by architect Steven Harris:
(If that’s blurry, it’s probably because it’s a screen capture.)
Overall — and I know this is very much a science fiction reader’s observation — the house reminds me of the one in City, by Clifford Simak. On the edge of a quarry that’s been allowed to start filling with water, benevolent noise provided by a waterfall.
Here’s a video with an interview featuring Mr. Harris
When we visited Vienna/Wien in 2015, it coincided with diplomatic talks about Syria, at the Hotel Imperial. These were the first talks Iran deigned to attend, so the atmosphere was quite hopeful that progress could be made.
We were in the hotel’s Café Imperial when I overheard that line from the distinguished gentleman above, presumably in one delegation or another. If you recognize the image, it’s because yes, this is the source for one of my banners.
From a long-time favorite novel, Steven Minkin’s A No Doubt Mad Idea:
“On to the library. And all through his time at the card catalog, combing the shelves, filling out the request cards, he danced a silent, flirtatious minuet of the eyes with a rosy-cheeked redhead in the biology section, pages of notes spread before her. All his life, he had had a yen for women in libraries. In a cerebral setting, the physical becomes irresistible. Also, he figured he was really more likely to meet a better or at least more compatible woman in a library than in a saloon. Ought to have singles libraries, with soups and salads, Bach and Mozart, Montaignes bound in morocco; place to sip, smoke, and seduce in a classical setting, noon to midnight. Chaucer’s Salons, call them, franchise chain.”
This is a nighttime photograph, by Nancy Matoba, of the soon-to-open Little Tokyo subway station in LA. It’s of the above-ground plaza used by the station at 1st & Alameda, the approximate location of where the Atomic Cafe was, and shows the very large mural commemorating it on a stainless steel building that has a staircase and an elevator. (Compare the mural to the elevator doors for size.) The image of the Cafe at night used for the top two-thirds of the mural was made by me; the bottom third is explanatory text. You won’t even need to go underground to the rest of the station to see it. I’m proud to join the landscape of LA, and humbled to pay tribute to the place and the Matoba family this way.
(All praise and thanks to Nancy’s daughter, Zen Sekizawa, for finding my photo online in the first place, and her tireless efforts seeing this project through with Metro. Zen first mentioned this idea to me in March, 2018, showing how the wheels of government grind slowly, and exceedingly fine.)
And the original image, from my photo portfolio site:
This video is 30 minutes long, but worth it. The text version is here. I first read it long ago, either in Co-Evolution Quarterly, or in one of the editions of the Whole Earth Catalog. I had an idea of establishing a fund at Midland to do something similar over all of campus, but like many of my ideas, nothing came of it.
At a pub called The Lincolnshire Poacher, in Nottingham, back in 2016.
I was mulling over the way architecture has hit creative vapor lock, but rhetorically insists that recently designed buildings are somehow more current than classically designed buildings, which are dismissed as “mere pastiche.” I’ve talked about this before, in response to seeing the TV program Architecture School.
To give an idea of the stasis I see, I’ve come up with what I call the Expo 67 Test:
If this building had been built or proposed as a national pavilion at Expo 67, would it have caused any aesthetic controversy at all?
(It’s the “or proposed” that’s the real key — as any student of 20th century architecture knows, there are an awful lot of unbuilt but influential projects out there.)
This article at TheAtlanticCities about yet another proposal by Zaha Hadid that fails the Expo 67 Test was the immediate spark. That ceiling, from inside the stadium, looks like nothing so much as the Olympic Stadium in Munich for the 1972 games, and that in turn was clearly based on the BRD (West German) Pavilion at Expo 67.
Jobshenge is another building that utterly fails the Expo 67 Test. It keeps being described as “futuristic,” and I suppose it is, but only with those ironic scare quotes — it would look completely at ease in a 1960s Kubrick SF movie.
The interesting thing is how the Expo 67 Test can be expanded to other arts as well:
* Would this painting look out of place in a gallery show at Expo 67?
* Would this piece of music have sounded out of place as “new music” in a concert at Expo 67?
Etc., etc., et bloody cetera.