Read Ebook {PDF EPUB} Glass House 51 by John Hampel Glass House 51 by John Hampel. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 657924532822c3ed • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Slaughterhouse Says ‘Glass House’ Album Will Be Its Most Personal. For the greater portion of Slaughterhouse’s four projects ( Slaughterhouse , Slaughterhouse EP , On The House , and Welcome to: Our House ), hip-hop’s four horsemen proved why they are the… John Kennedy. Share this article on Facebook Share this article on Twitter Share this article on Tumblr Share this article on Pinit + additional share options added Print this article Print this article Print this article Print this article Share this article on Print Print this article. For the greater portion of Slaughterhouse’s four projects ( Slaughterhouse , Slaughterhouse EP , On The House , and Welcome to: Our House ), hip-hop’s four horsemen proved why they are the mightiest lyrical force in rap. Yet the collective is digging a little deeper on its third LP. Joe Budden, Royce Da 5’9″, Crooked I and Joell Ortiz sat down for an interview after ripping their SXSW performance at VIBE x House of Vans’ showcase to speak on how their next effort ( Glass House , out this year) will be the group’s most personal to date. “The content is what is going to separate this particular body of work from our previous efforts,” says Budden, with a Burberry scarf draped around his neck. “As artists [we] go somewhere that we probably haven’t explored as a collective in quite some time… When the album comes out a lot of people will be shocked at the caliber of music.” Budden adds that the music on Glass House , which is executive produced by Just Blaze, is an all-star collection of instrumentals. “Just Blaze created a Slaughterhouse of producers,” says Budden, mentioning J.U.S.T.I.C.E. League, Cardiak, AraabMuzik and Illmind as contributors. DJ Premier has also spoken on a future collaboration with Slaughterhouse. “Everybody in there just rocked out for two months and inspired each other. The music reflects that.” Crooked I cosigns his lyrical partner, adding that the group vented personal issues to make the music even more relatable. “We were going through different things personally in our life and it just shines through the music,” said Crooked. “That’s what’s going to make it relatable to the fan. It’s everyday struggles, everyday pain, everyday obstacles. You’re going to go through a journey when you listen to this album.” “You’re going to get to know Slaughterhouse a lot better,” he continues. “I’m hoping that we become more like a friend to the listener than [rappers] that they’re listening to. The whole album is going to surprise people.” Slaughterhouse’s Glass House is for release later this year, while the Glass House tour kicks off tonight in Boston. — John Kennedy. GLASS HOUSE. During my latest visit to Sao Paulo whilst attending the Brazil-UK Innovation Dialogues, I’ve managed to finally make it to Lina Bo Bardi’s Glass House, located in the hills of Morumbi neighbourhood. The house was designed and built between 1950-51, and it was the Bardi family home until Lina’s death in 1992. Her husband, Italian art curator Pietro Bardi, donated the house in 1995 to function as an institute for the preservation and dissemination of her work (click here to see the type of exhibitions held at the Institute). I’ve mentioned details of her life in another post, so will only concentrate here, very briefly, on one predominant aspect: the relation between Architecture and Nature. Two things are essential to understand Lina’s relationship with Nature, one is her article “ Architettura e Natura: La Casa nel Paessagio ” published while she was the editor of Domus (Number 194 February, 1944, pp. 464-71). The other is to visit the Glass house where she put into practice what she preluded in this article. In her written work, Lina Bo Bardi makes an important distinction between organic and rationalist architecture. She defines the first type as one that tries to melt with the environment, that is open to nature and tries to mimic its forms. In contrast, rationalist architecture is one that delicately touches the ground and watches over nature. While the first is rooted in a specific location, the second can be located anywhere. In contrast to many of her contemporaries that were taking side with one type of architecture or the other, Bo Bardi declares that both types are equally valid. The fact that Lina Bo Bardi is comfortable designing in the junction of the organic/rational dichotomy becomes evident when visiting the Glass House. The house is clearly divided in two parts – the day area, which floats over nature and sits precariously over very slender pilots; then the night area, with load bearing walls that anchor the house to the slope. The night area is further divided by an internal patio, separating the servants quarters and the owners, linked by the kitchen. House Plan Ground Floor and level 1. As the visitor walks through the house, the division between nature and architecture is constantly appearing; in some parts of the Glass House the viewer feels at one with nature but in others a foreign observer of it. For example, the views from the garden towards the city stress this difference making the visitor feel part of nature and turning urban life into a distant alien object. View of the city from the Garden of the Glass House. In some other areas of the house, the visitor feels overlooked by Nature, arousing feelings of vulnerability and exposure to the surrounding uncontrolled environment. At some other points, Nature is the one under observation, like in the internal patios of the house or the tree that grows in the heart of the day area. Here architecture is in control, turning Nature into an object of study and observation. At other times, the visitor becomes a voyeur, viewing human life inside the house, experiencing the role that Nature always has over the Glass House. There is a constant changing of roles as the visitor moves around the house, which inspires one to meditate about our place in the natural world, just as the Greeks contemplated the relation between Mount Parnassus and the Temple of Apollo in Delphi; so well described by John Summerson in the Classical Language of Architecture. The materials used in the Glass House also aim to stress this nature-human dichotomy. Architectural elements are reduced to their minimal essence, the granite and iron staircase is a simple exercise of vertical and horizontal lines, allowing the eye to continually explore the surrounding nature as the visitor moves upwards towards the interior of the building. The window frames have extremely slender lines, with the windows having panes of sliding glass that provide maximum exposure to the surroundings, making the visitor feel inside a tree house. This feeling of openness and the invitation to interact with nature contrasts with the void between the windows and the outside. There are no balconies or protection, just a vertiginous drop, making the visitor suddenly feel the fear of Nature. The distance between the house and urban life becomes closer, making people retreat back inside, towards the comfort of rational man-made objects. The mechanical details of the design of the ironwork reinforce the rational ideal. Hinges and window-locks are strikingly simple but yet they have an aura of clockwork technology which immediately brings to mind notions of the Cartesian world.The kitchen, which acts as the transition between the rational space of the day and the more organic space of the night area, is where the mechanical expression explodes, with a very clinical steel worktop, long enough to experiment with a variety of exotic fruits and flavours, and equipped with the latest technology to offer cutting edge comfort. Original 1950’s dishwasher. Lina Bo Bardi was very interested in mechanical objects. She was apparently fascinated by an antique folding chair that she admired for its simple mechanism and fine joinery. There are some examples of these chairs around the house, alongside samples of furniture designed by her. This close relation with history can also be seen in the eclectic choice of ornaments around the house. Suddenly Nature is not longer centre stage, what becomes important is humanity, man-made objects and their historical roots. Antique folding chairs. Interior view showing an eclectic array of ornaments and mix of furniture including Lina’s own. Lina Bo Bardi’s bowl chair. To visit the house is a fascinating experience that manipulates the viewers, inspiring thoughts on our relationship with nature and to land. Lina Bo Bardi was herself a foreigner in Brazil as she immigrated from her native Italy in 1946. As many migrants she developed a sharp eye to observe the unfamiliar. She became a Brazilian citizen in 1951, and she later declared: ‘When one is born, one chooses nothing, one just happens to be born. I was not born here, but I chose this country to live in. For this reason, Brazil is my country twice times over; it is my “country by choice” Glass House 51. Glass House 51, a major new novel from the author of the critically acclaimed Wherever You Go, There You Are, in the vein of George Orwell and Aldous Huxley, is a journey deep into the heart of informationage darkness. This is the insanely amazing adventure—or misadventure—of a lifetime, of one Richard Clayborne, a hard charging young marketing maverick at gigantic AlphaBanc’s San Francisco branch, and the lovely, brilliant (and doomed) Chicagoan Christin Darrow. Follow their dangerous romp across the dark and tangled AlphaBanc terrain, where their growing love for each is other thwarted at every turn by the firm’s diabolical agenda. This all happens in the very near future present, where information on an individual can be so comprehensive, so insidiously granular and minute, that people can become information “specimens” kept by perverse “collectors” . . . like butterflies in a virtual bottle. Jump right into this delicious bite of provocative literary fiction, with a compelling plot, fascinating characters, and fastpaced action. Pop a Deludamil, strap yourself in, and hold on tight as you zoom through the fastpaced action in this cuttingedge literary thriller! Review: Elaine Lustig Cohen’s Paintings Move Into Philip Johnson’s Glass House. NEW CANAAN, Conn. — Philip Johnson left behind a complicated legacy, which is entering an expansive new phase with exhibitions like the current one of Elaine Lustig Cohen’s paintings from the 1960s and ’70s at his 49-acre estate in New Canaan, Conn. Johnson, journalism behooves me to say, embraced fascism in his youth: He published articles in right-wing magazines and attended Nazi rallies in Potsdam and Nuremberg before abandoning politics in 1940. And architecture wonks like to point out that his famous Glass House (1949) on the estate was largely copied from his mentor, Mies van der Rohe, who designed and built the pioneering steel-and-glass Farnsworth House (1945- 51) in Plano, Ill. But Johnson, who was the founding director of the architecture department at the Museum of Modern Art in New York and had a huge influence on postwar American architecture, also acted much like a modern curator. He championed the artists Jasper Johns, Frank Stella and Andy Warhol (who brought the Velvet Underground to play on the Glass House grounds in the late ’60s) and encouraged Ms. Lustig Cohen, who became an award-winning graphic designer as well as a painter. In a recent interview with Artforum magazine, Ms. Lustig Cohen recounted that she had never designed anything before her husband, Alvin Lustig, died in 1955. He had been commissioned to create signage for the Seagram Building in Manhattan, and Ms. Lustig Cohen ended up doing the work — and eventually the catalogs for museums designed by Johnson, who died in 2005. Included in a display case here are examples of Ms. Lustig Cohen’s design work, including the catalog for “Primary Structures,” a landmark 1966 exhibition of Minimalist art at the Jewish Museum; a book about Johnson’s architecture; and a 1965 brochure celebrating the Whitney Museum of American Art’s new Marcel Breuer building. (The Whitney, of course, recently left that building, which is being rechristened by the Metropolitan Museum of Art as the Met Breuer.) The 10 paintings on view in the underground gallery that Johnson created on his estate (he called it the kunstbunker) are very much in keeping with her design work. They are hard-edged, geometric and abstract, built of rectilinear forms that radiate from their centers, spilling occasionally onto the sides of the canvases. Ms. Lustig Cohen has said that her paintings were inspired by architecture, particularly buildings by Richard Neutra and Rudolph Schindler that she saw in Los Angeles. But they hark back, naturally, to pioneers of geometric abstraction like Piet Mondrian, Kazimir Malevich and Aleksandr Rodchenko, and to ’50s painters like Ellsworth Kelly. Only these are ’60s and ’70s paintings: rendered in acrylic, the cool, industrial, fast-drying medium of the day. Some ’60s touchstones include painters like Kenneth Noland, Bridget Riley and, of course, Mr. Stella. One of the defining aspects of Ms. Lustig Cohen’s canvases is their palette. While Malevich used black, white and red, and Mondrian specialized in primary colors, Ms. Lustig Cohen reached for secondary hues like orange, green, pink and lavender. Later, a ’70s palette took hold, with brown and orange dominating. (After the explosion of psychedelic color in the ’60s, and with the United States in the grips of Vietnam and Watergate, more somber natural colors like avocado and brown ruled the ’70s.) There is a pleasingly retro effect in both Ms. Lustig Cohen’s compositions and their hues. Are they great paintings? Admittedly, they are somewhat second-string. A laminated checklist at the gallery includes images of the Stella works that are customarily installed there, and one can immediately see the difference between painting qua painting — that is, painting that springs primarily from the vocabulary of painting — and canvases that suggest other disciplines and purposes: architecture’s axonometric view, the attention-grabbing book cover or the recognizable corporate logo. For Ms. Lustig Cohen, painting and graphic design are on a continuum, even if their processes differ, from paste-up to applying pigment on a canvas; drawing was the procedural link between the two. However, in the recent interview, Ms. Lustig Cohen said that early visitors to her studio tended to be writers — Donald Barthelme, Ralph Ellison and John Ashbery. The complex relationship between novels or short stories and their film adaptations might be an analogy for the relationship between painting and design. It is a pleasure to see her work being revived, as is happening for many women active in the 1950s through the ’80s. (Although Ms. Lustig Cohen considered herself an art outsider, she was the first woman to have a solo show at the Mary Boone Gallery, in the ’80s, which suggests both the increased visibility women have had in recent decades, and their regrettable lack of historical — and market — traction.) For the Glass House, exhibiting Ms. Lustig Cohen’s paintings in this show, organized by Cole Akers, is a way of showing the variety of artists Johnson supported — but also, as any foundation based on a single person’s life and work is mandated to do, a way to reconsider his life and achievements. Johnson’s worldview was grounded in an aesthetic purity that echoes, at times with troubling overtones, his early political ideology. Ms. Lustig Cohen’s paintings, which blur the boundaries of art and design, serve as helpful metaphors for thinking about and consciously grappling with his legacy rather than ignoring it.