September 8, 2010, 9:35 am
Paolo Soleri, now 91, was born in Turin and studied architecture there. He came to the US in the 1940s to work with Frank Lloyd Wright at Taliesin West. (He recounts amusingly (The Urban Ideal, 23-4) that with the little English he commanded at the time, he found himself on a bus to Tolleson, Arizona before being set right.) After a few years back in Italy, he returned to Arizona, setting up an architectural center of his own, Arcosanti. Much of its income came from handcraft projects, such as cast metal bells; but it has also been a laboratory for his architectural ideas.
He’s a visionary, who has seen certain ecological issues very clearly — notably, that the most sustainable mode of living for billions of humans on this planet of ours is to cluster together in cities, leaving as much as possible of nature to nature. Check out the wide-ranging interview with Jerry Brown (1, 2), from…
December 14, 2009, 8:17 pm
I feel like I visited most of the abandoned malls in this photo-essay when they were still operating. Or maybe not. It’s hard to say. I suppose that’s the point.
December 8, 2009, 3:36 pm
In this era of bottom lines, Simon Sadler asks if we might not consider the other end of things.
Many faculty and students are stepping up to the plate this year to explain the bottom line on why public education is vital for our economy and for social justice. Is there also a way we can talk unabashedly about the top line, the improbable ambition of the institution, its libraries and labs and gardens and concerts, its saved lives in its hospitals and classrooms, unafraid of sounding elitist because the top line too is testament to UC’s splendid publicness?
Let there be light: not a bad pitch. Abstract. Benign, but grand. Secular, yet still echoing with religious thunder. It doesn’t short-sell the purpose of the UC. We are, however, feeling pressured to invent more positivist missions with greater customer orientation and more directly measurable outcomes—more bottom lines, in…
November 5, 2009, 7:59 pm
Speaking of period dramas on television, John Rogers recently told me to watch Life on Mars. So I am. And so far it’s really quite good: early Hill Street Blues meets A Connecticut Yankee in King Arthur’s Court (or something).
Anyway, the thing I’m enjoying most is the show’s relentless critique of nostalgia. The main character, a contemporary British detective who finds himself transported back in time to Manchester in 1973, can’t seem to decide if he misses his friends or his cell phone more. When he’s at his most despairing, in the early episodes at least, he focuses on the dearth of creature comforts available to him. Even if you weren’t trained as an environmental historian, the emphasis on material conditions — a lack of central heat, spotty electricity, a studio apartment appointed with a twin bed — is pretty obvious. It’s a healthy reminder that the past, even the…
October 27, 2009, 11:44 am
Robert Arnesen’s egghead sculptures are a prominent feature of the UC Davis campus. I learned only recently that one was duplicated for an installation in San Francisco.
Reproductions of Arneson’s Yin and Yang Eggheads appear along the Embarcadero, situated together just east of the Justin Herman Plaza fountain, across from the Port of San Francisco Ferry Building. The sculpture was dedicated in mid-December. A plaque recognizes it as a reproduction of one in a series of five acrylic-on-bronze sculptures commissioned for UC Davis.
A native of Benicia, Arneson taught ceramics at UC Davis from 1962 to 1991. His Egghead sculptures were created for specific campus locations and were installed during 1991-94. The original Yin and Yang Eggheads sit outside the UC Davis fine arts complex courtyard, where they were positioned by Arneson himself shortly before his death in 1992.
August 22, 2009, 5:07 pm
Atrios points us to this Times article, by Jennifer Steinhauer, on the foreclosure crisis in Moreno Valley, out by Redlands in the Inland Empire. It’s inhibited by conventions of the genre, and the interviews seem only to have gone so far, but it’s suggestive — it sketches a picture of the community that took root on one street during the boom years, and the strains that were put on it by the bust.
The neighborly virtues of mutual consideration and assistance seem, in this telling, to go hand in hand with wealth, or with the exclusion of those whose wealth isn’t above a certain bar. For the established residents, moving into this neighborhood, ten years ago, was a move up, and a move away from rougher neighborhoods (El Monte, for example). And as foreclosure pushes some of them out, and the prices of the vacated houses fall to 1989 levels, they seem to fear that rough neighbors like…
April 24, 2009, 1:21 pm
[Editor's Note: Adam Arenson (bio below), a friend and occasional commenter here, has graciously provided us with a guest post. Thanks, Adam, for doing this.]
Quick: What does your bank look like?
I admit it; I don’t know either. There are glassed-in tellers. There’s a metallic sheen off the ATMs. Some peppy posters promoting savings plans for dream retirements. But it all adds up to a rather anonymous décor. More than once the names and the colors have changed, and I hardly noticed.
But there are banks I remember. Growing up in San Diego, I recall the grand lobbies of the Home Savings banks, some with gurgling fountains and sculptures. They had parking lots, and wide arches framed the entrances. Most spectacular were the mosaics: thousands of little tiles arranged to show carefree beach scenes, vaqueros from the Californio past, Victorian ladies in their bonnets, Chinese …