http://www.pool-la.com/new-index-1 daily 0.75 2018-06-13 https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1473110858345-4EKQIXNXCL17XFVLHJ1H/POOL_Moving+Water+%2850+Shades%29.gif DRAFT https://images.squarespace-cdn.com/content/v1/576ae204e58c625f37d961d1/1472590015046-6EWF4LQWDT1HUX2Q45OP/toothbrush-v6.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494829745822-FGCPPRXB3S9D8H9MWSUQ/Pool+dwgs+-+Will+Fu_Page_1.jpg DRAFT Georges Bataille hypothesis constructions of architecture as a physical embodiment of ideology and the state’s values of power. The storming of the Bastille during the French revolution marked a very direct physical confrontation against state power. In modern day architectural production, the iconic and stylistic exercise of architecture attempts to subdue public populations while masking the activities of inner power structures. Late modernism’s commissions of distorted values to stress literal transparency to promote visual connection still did not ameliorate the invisible social structures presented by the autonomous office buildings. Protests to this day still direct confrontation at architectural monuments and icons, marking public space key sites of contention. As state institutions invest heavily in anti-protest infrastructures, equipment, and training, against formalized bodies of publics, new inventive forms of activist tactics is in need to fully utilize modern technologies and thwart state restrictions. Popper is a machine in support of nonviolent revolution. Popper is inspired by the preachings and actions of Gandhi. It is a mini-architecture that seeks to utilize architecture and technological media against the big boy monuments and icons of economy, institution, and government. Empower the people through space creating, education, and discussion. Architecture against architecture. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456427533187-IOOOHITNT2U97JDT9GGQ/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456428805655-PTZE743V53CU93UA4DN7/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1454894363852-3Z14R6OZI90OA8L3G7TW/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1454896326108-FQ78HJO97DANXUJ1AXB5/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1454896409760-I7OMY3EX9DFPGHLWDDPK/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456427381057-6SW3F8M1VIS7NRF7717C/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456428506778-6IHWBUUVJ94CH1G79827/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456427969371-S9TPF54AA67O7OH5FXW9/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456427946988-MMAHZIU5HH3GFQIRMG4D/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456427993295-9VWWB2ZQS6FRUG366RJ2/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456430973742-3KSDS0XRQG6R57DBFW20/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1468729431821-QU5A6FOA6MGBPQ31QNOZ/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1468730939484-OURRRO8PAOHTH02ZHATU/image-asset.png DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492982088498-CA44TZIGFRF1DP5EP5AN/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492991402108-L738KJ8U211JKYIXX4EI/%23Fig.1+Spring+Street DRAFT Fig.1 101 Spring Street, 1972. (Photograph: Paul Katz/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493516533308-S5FT4H65KM28ODLSBZ6J/%23Fig.+5 DRAFT Figure 5. Front page of the Soho Newsletter with a map captioned “SOHO: The Artists’ Legal Turf,” 1971. (Image: SoHo Artists Association/Archives of American Art) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515504032-5PUC4FNGQ2VF0MLQYEBW/%23Fig.+2 DRAFT Fig. 2 Living among art: fifth floor bedroom with bed platform by Judd and artwork by Dan Flavin and others, 1970s. (Photograph: Annabelle D’Huart/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515731876-YIW7WTOF15P8A2SRUH1L/%23Fig.+3 DRAFT Figure 3. Judd with students gathered on the first floor of 101 Spring Street, 1974. (Photograph: Barbara Quinn/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515870645-WTJ2BQOUO907ZD2FVNU1/%23Fig.+4 DRAFT Figure 4. The loft aesthetic: high ceilings, heating stove, and industrial cookware on the second floor, 1985. (Photograph: Doris Lehni-Quarella/Antonio Monaci) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493594585402-H7J1DBRYZX8XD6EG7HK0/image-asset.jpeg DRAFT The chapter on design in the 1967 National Commission on Urban Problems shows the untapped potential for architecture to contribute to Presidential discourse. It avoided the potent issues of race, inequality, and deteriorating housing though its consideration of style has the potential to avoid pitfalls of a divided society. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599748297-R9XNTPTXC7FV2BIPXN3H/Daniel+Haidermota_Skyscraper_Page_02+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599748549-7ADSSDTPVN5YQYY68H30/Daniel+Haidermota_Skyscraper_Page_03+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599749548-R1W0ZGAL1NX2ZGPZ95VP/Daniel+Haidermota_Skyscraper_Page_04+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599750304-JKKH3XBSW5TNT8QWUY7Y/Daniel+Haidermota_Skyscraper_Page_05.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599751429-RQL1QDQ5ATKA5K3ADF78/Daniel+Haidermota_Skyscraper_Page_07+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599752572-I06RBH3K78RK6YZSCXP7/Daniel+Haidermota_Skyscraper_Page_08+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599752895-0C8NYGQKNWRT2VC177VV/Daniel+Haidermota_Skyscraper_Page_09+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599753759-4RIDYCVSHQBV9B28N9A1/Daniel+Haidermota_Skyscraper_Page_10+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599754051-N4HSB68GXUPQQHSXUGFC/Daniel+Haidermota_Skyscraper_Page_11+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599754868-TVBMQE8A14PBVIX4SH6P/Daniel+Haidermota_Skyscraper_Page_12+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599755113-0VVBU9YZULSIXGDXXOLG/Daniel+Haidermota_Skyscraper_Page_13+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599756034-I1W0WYEHK7Y8L4DS5RT2/Daniel+Haidermota_Skyscraper_Page_14+copy.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493599756256-W87STCLUCE8CMMRMZQ4M/Daniel+Haidermota_Skyscraper_Page_15.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828298287-ATDLVNWZNXF0510A12DD/Pool+dwgs+-+Will+Fu_Page_1.jpg DRAFT Georges Bataille hypothesis constructions of architecture as a physical embodiment of ideology and the state’s values of power. The storming of the Bastille during the French revolution marked a very direct physical confrontation against state power. In modern day architectural production, the iconic and stylistic exercise of architecture attempts to subdue public populations while masking the activities of inner power structures. Late modernism’s commissions of distorted values to stress literal transparency to promote visual connection still did not ameliorate the invisible social structures presented by the autonomous office buildings. Protests to this day still direct confrontation at architectural monuments and icons, marking public space key sites of contention. As state institutions invest heavily in anti-protest infrastructures, equipment, and training, against formalized bodies of publics, new inventive forms of activist tactics is in need to fully utilize modern technologies and thwart state restrictions. Popper is a machine in support of nonviolent revolution. Popper is inspired by the preachings and actions of Gandhi. It is a mini-architecture that seeks to utilize architecture and technological media against the big boy monuments and icons of economy, institution, and government. Empower the people through space creating, education, and discussion. Architecture against architecture. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828304536-K6FQJEO1T3ZC0TBL46IV/Pool+dwgs+-+Will+Fu_Page_2.jpg DRAFT Inflatables created as icons and a monument seeks to scale down its significance into manageable opponents. The inflatables that popper facilitates are for sitting, lounging, and for popping if you’re really fed up. Using one form of architecture against another, the inflatables create its own public microclimate that is mobile, and flexible. A mobile power cell gives life to popper and also charges phones and laptops for discussion and general public use. A wireless router provides an independent hotspot that will attract a general public to approach and participate while the radio transmitter seeks to exteriorize and project information. Architecture does not take kindly to radio waves. Radio waves don’t really care about architecture and pass right through it. No matter stone, brick, concrete composition of your banks, parliament, or churches, radio waves will reduce these “powerful” and stable works of architecture into complete porosity. Poopers eyes display live information and has built in speakers in attempts to carry information in a overlapping radius of influence. Rather the brute force of populations clashing against state, invisible forces of mediation can provide awareness through information intensity. Invisible forces themselves are harder to snuff out, and control. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828313348-LHV67X300WTPL7GLPLQJ/Pool+dwgs+-+Will+Fu_Page_3.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828331379-4MOTVB4SYH7IZ2K64E05/Pool+dwgs+-+Will+Fu_Page_4.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828339912-6GC5VHO6036MEWW8VSM4/Pool+dwgs+-+Will+Fu_Page_3.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1494828359266-VR7YQ0HT6MKQ6M2G5B1S/Pool+dwgs+-+Will+Fu_Page_5.jpg DRAFT Popper is conceptualized to be mobile and deployable in any public space, or in front of any iconic structures. Due to its technological tools it is better utilized in developed cities like example here: Bryant Park, New York. Popper is at its highest potential when it is able to utilize its multiple tools for protest from broadcasting information, making spontaneous zones for rest through its inflatables, or its general use as a charging and hotspot location. All modes of infrastructure seeks to congregate muliple populations to learn more about relevant issues from key facilitators. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492982088498-CA44TZIGFRF1DP5EP5AN/image-asset.jpeg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492991402108-L738KJ8U211JKYIXX4EI/%23Fig.1+Spring+Street DRAFT Fig.1 101 Spring Street, 1972. (Photograph: Paul Katz/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493516533308-S5FT4H65KM28ODLSBZ6J/%23Fig.+5 DRAFT Figure 5. Front page of the Soho Newsletter with a map captioned “SOHO: The Artists’ Legal Turf,” 1971. (Image: SoHo Artists Association/Archives of American Art) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515504032-5PUC4FNGQ2VF0MLQYEBW/%23Fig.+2 DRAFT Fig. 2 Living among art: fifth floor bedroom with bed platform by Judd and artwork by Dan Flavin and others, 1970s. (Photograph: Annabelle D’Huart/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515731876-YIW7WTOF15P8A2SRUH1L/%23Fig.+3 DRAFT Figure 3. Judd with students gathered on the first floor of 101 Spring Street, 1974. (Photograph: Barbara Quinn/Judd Foundation Archives) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1493515870645-WTJ2BQOUO907ZD2FVNU1/%23Fig.+4 DRAFT Figure 4. The loft aesthetic: high ceilings, heating stove, and industrial cookware on the second floor, 1985. (Photograph: Doris Lehni-Quarella/Antonio Monaci) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920292683-0VSFPF2AKLAPX7SVBM76/01+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920292764-I55A9XUYPMXEBDKAS3C6/02+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920298347-KBG0DBEO35ZASHQSYO69/03+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920302501-L9FUSTWKWR4GJ3BOAQFN/04+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920303578-OBXVVPFQLCKJ7WL8RFM2/05+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920310833-8TH0PJOOISN0UOS44UMW/06+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528920322536-OYYONXEYZYE540EC323S/08+Limbo.jpg DRAFT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1528928858041-4K1F2G4YVSASVSD5EWGR/07+Limbo.jpg DRAFT http://www.pool-la.com/content-2 daily 0.75 2021-05-28 https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1498524737659-HLBA4ADCFQPEV5Z9J9A9/Davis_five_excercise_thumbnail+GIF0-03.jpg CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1503968225935-7XQNPXPD39YKJ23GLEMY/Architecture-Hero_Thumbnail_GIF.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1508198225241-VVAIXQPDOWDJ3UX9VF4J/Cuff_Act+Like+An+Architect.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434134343184-7P8WBA7VBMOELV2876OP/concrete+turf CONTENT A hard divide between concrete and synthetic turf on a sidewalk on 11th Street in the South Park neighborhood of Downtown Los Angeles. (Photograph by Ian Besler) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139259310-67113PHERG4LHMZI5SIL/image-asset.jpeg CONTENT The carpet-like uniformity and unnaturally simulated quality of the original AstroTurf (initially marketed as ChemGrass) patent drawing seems to come through in its obstinate refusal to fit neatly into any one category: Is it a carpet? Or is it a scrub brush? (U.S. Patent No. 3,332,828, “Monofilament Ribbon Pile Product,” James M. Faria & Robert T. Wright, issued July 25th, 1967) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139313996-OIEFAL76ZLSI2PQ6FG1V/image-asset.jpeg CONTENT A golf ball is dramatically dissected in the pursuit of the perfect playing surface. “Thus,” writes the inventor, “the ball will behave as it does on grass.” He then goes on to assert that characteristics of his artificial surface make it equal or superior to natural grass. (U.S. Patent No. 3,995,079, “Artificial Turf-Like Product,” Frederick T. Haas, Jr., issued November 30th, 1976) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139570017-6A3JUDH1X8CBS18DA5V6/image-asset.jpeg CONTENT The oscillation in scope and scale, from the micro focus of the patent for a single blade of grass, to the macro focus of the patent for an entire landscape, is itself a meaningful indicator of how chemists and inventors approached the problem of manufacturing convincingly natural landscapes through synthetic means and materials. (U.S. Patent No. 5,419,561, “Method of Playing Golf Game on Reduced Size Course,” Charles G. Webber, issued May 30th, 1995) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139660876-RUL0J72ZVW1NVNFCIVTA/image-asset.jpeg CONTENT The ambition to control and perfect nature, while still capturing its richness of variety, makes for a difficult and often visually perplexing representational outcome. (U.S. Patent No. 4,850,594, “Perfect Putting Surfaces,” Peter Manzione, issued July 25th, 1989) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139700737-ELT86T64132IETCI6JY2/image-asset.jpeg CONTENT Drawings for the methods and apparatuses for tufting, or otherwise making blades of synthetic grass appear less uniform, and therefore more natural, seem to dwell obsessively on the characteristics of individual blades. Here, a blade of grass is diagrammed and depicted as one might for a work of sculpture on a pedestal. (U.S. Patent No. 4,061,804, “Non-Directional Rectangular Filaments and Products,” Walter Graham McCulloch, issued December 6th, 1977) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139737100-YTA0MSP7I267SXG79MEW/image-asset.jpeg CONTENT A cross section of a spiraled blade of artificial grass, among the more recent advances in aesthetic fidelity to natural grass. The text of many patent filings reveals an alarmingly deadpan preoccupation with the idea of not only mimicking natural phenomena, but improving on them through engineering. (U.S. Patent No. 5,601,886, “Artificial Turf,” Yoshio Ishikawa & Hiroaki Fukumoto, issued February 11th, 1997) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139790023-PAFUAU2GM9V3AS5VR9B1/image-asset.jpeg CONTENT The representation from manufacturing process and method to convincingly simulated outcome. (U.S. Patent No. 6,551,689 B1, “Synthetic Grass with Resilient Granular Top Surface Layer,” Jean Prevost, issued April 22nd, 2003) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434139881729-K223SWHTGDYUOWO38ZW5/2015_05may_06_projects_writing_astroturf_images_01.jpg CONTENT A hard divide between concrete and synthetic turf on a sidewalk on Los Angeles Street in the Skid Row neighborhood of Downtown Los Angeles. (Photograph by Ian Besler) https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434135671271-6ZTKKUTGSN330YD9986L/image-asset.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434135650418-AKD1KW2BL5DE87UPNTJ1/jacob.jpg CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492993725264-1KRMAC72ESAH9PJ71WMD/Reimaing_FIG_01_1.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492993725326-DNU6DR9ELFLD1F2JLGEU/Reimaing_FIG_01_2.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492993725662-YDDAG80FWJNYX9JJOADE/Reimaing_FIG_01_3.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138328274-LIUXMKKNDJP5E1HWP1Y4/fig+2 CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138407715-46FHFYBK5QXHV11OJUNU/Gabriel+Fries-Briggs%2C+Nicholas+Paierski%2C+Brendan+Shea%2C+Architecture%2C+UCLA%2C+POOL CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138440508-QTZECERL9P4D4J29NREP/image-asset.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138519804-PZNCFD6FGF9A17SE0VVO/fig+5 CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138592015-ELQ8JPTLAH21YI6VZO43/fig+6 CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138703087-8Z8AKZ6MGHN53THCWJQO/fig+7 CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434138732485-CUKVJWQQ7UQZS0G94XR8/fig+8 CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438592685-9LLUOD55AHEV86LBC70D/fig+1 CONTENT Figure 1. Carl Akeley and assistant, at work. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440150430-6P7SHITQP45CSDD1NUI5/2.jpg CONTENT Figure 2. Carl Akeley, shotcrete used in taxidermied elephant. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440167245-D8ZFTDJRX9N7YRVXLS1C/fig+4 CONTENT Figure 3. Carl Akeley, Patent Application for “Apparatus for Mixing and Applying Plastic or Adhesive Materials.” https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440190556-T0S6U2M0EH2TY8IKQHSP/image-asset.jpeg CONTENT Figure 4. George M. Pro, Patent Application for “Discharge Nozzle for Hydrating Cementitious Substances Under Pressure.” https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440283282-841Z85LDWH4MS1LWR7D7/image-asset.jpeg CONTENT Figure 5. Shotcrete-stabilized cliff in New Zealand. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440410921-C3UIV3MV8NJQ953Z8IH4/image-asset.jpeg CONTENT Figure 6. Antti Lovag, Bubble House. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440429062-XC6KCC0PFN291COWPIJ8/image-asset.jpeg CONTENT Figure 7. Pascal Hausermann. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440449445-FQWK0L39465SXIYUS96O/image-asset.jpeg CONTENT Figure 8. Antti Lovag, Abandoned experimental sphere. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440469760-ISE23UZAZRDGY4QGJN3N/image-asset.jpeg CONTENT Figure 9. Antti Lovag, Bubble House. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440712394-40PJGAY4QL8WO7JF7ZR2/image-asset.jpeg CONTENT Figure 10. Gehry Partners, E.M.P., Under construction. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440731502-LBE4BIOW1PV4F55IBE3V/image-asset.jpeg CONTENT Figure 11. Gehry Partners, E.M.P., Interior. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434440747514-FW20YS72H33QCIF1TT82/image-asset.jpeg CONTENT Figure 12. Gehry Partners, E.M.P., Steel details, screenshot. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434441592515-6R408IYZKDQXZPJDV249/image-asset.jpeg CONTENT Figure 13. Gehry Partners, E.M.P., Under construction. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438162757-328XIM4AL297DHYN0HAM/image-asset.jpeg CONTENT Fig. 1. RCA Kinephoto; Television History, the First Seventy-Five Years; TV History; Web; 15 Feb. 2015 https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438269956-YNNEQCCXWZHKS5RRSO9G/image-asset.jpeg CONTENT Fig. 2. Case of the U-matic videocassette of Superstudio. The Long Beach Museum of Art Video Archive, circa 1970-2000. 1972, the Getty Research Institute, 12 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438321806-ZF15R9QHX4K4TV73GB40/image-asset.jpeg CONTENT Fig. 3. The U-matic videocassette of Superstudio. The Long Beach Museum of Art Video Archive, circa 1970-2000. 1972, the Getty Research Institute, 12 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438350406-6VIMKSSARUIC5VBVBK5N/image-asset.jpeg CONTENT Fig. 4. The label of the videocassette. The Long Beach Museum of Art Video Archive, circa 1970-2000. 1972, the Getty Research Institute, 12 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438450997-RV9KKIP8WHCUSEHI3HYG/image-asset.jpeg CONTENT Fig. 5. The receipt copy of shipping Daniel Burden’s videotapes. The Long Beach Museum of Art Video Archive, circa 1970-2000. 1972, the Getty Research Institute, 12 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438485475-W3MSFR186VQ6S37HJFJG/image-asset.jpeg CONTENT Fig. 6. The letter from Electronic Arts Intermix, Inc. to Howard Wise. The Long Beach Museum of Art Video Archive, circa 1970-2000. 1972, the Getty Research Institute, 12 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438530896-2A4FF6I6F1GVPOBDC1GU/image-asset.jpeg CONTENT Fig. 7. Three-two pulldown diagram; “Telecine”; Wikipedia; Web; 15 Feb. 2015. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438557758-CPKFPQXWYYM5MSUCV1IN/image-asset.jpeg CONTENT Fig. 8. Screenplay slides of Supersurface. Lang, Peter, and William Menking, Superstudio: Life without objects (Milano: Skira, 2003) 180. Print. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1434438588148-4FQYIOA5XS12B10HDSV8/image-asset.jpeg CONTENT Fig. 9. Drawing of the exhibition cube at MoMA, Ambasz, Emilio. Italy: the new domestic landscape: achievements and problems of Italian design. (New York: New York Graphic Society Books, 1972) 241. Print. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1457136605256-EJOZLNRV95481FFU5L6I/image-asset.png CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1456896443323-1D380BAW61FQ58T4WUX6/image-asset.gif CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477937864716-NLBBTWCYOBEUJ5EFMRPE/Kevin+Daly_16+Tables%2C+1+Sheet+of+Plywood CONTENT Kevin Daly 16 Tables, 1 Sheet of Plywood click to download the CNC ready cut file https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477938901465-NOUVNHE86LUWPU1L5JCQ/Andrew-Kovacs_Proposal-for-a-Building-with-a-Roof-Garden-in-the-Form-of-a-Table CONTENT Andrew Kovacs Proposal for a Building with a Roof Garden in the Form of a Table https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477938985676-A2HFCL8RWHQZ46E5ZYCV/Erin+Besler_Table+of+Contents CONTENT Erin Besler Table of Contents 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https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477939062015-CQNNRD9NDHTRPO9GK6ZG/Georgina+Huljich_Untitled CONTENT Georgina Huljich Untitled https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477939133426-LKRPZ4Z072DWOZYSB9QN/Narineh+Mirzaeian_Jigsaw CONTENT Narineh Mirzaeian Jigsaw https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1477939651711-K5S0VXDZRKBSSQ4CPSBZ/Kevin+Daly_16+Tables%2C+1+Sheet+of+Plywood CONTENT CLICK for the CNC files capable of producing any of the shapes from a single sheet of 3/4"plywood. https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492977763096-86FX8J8BASHUF727O7K2/image-asset.jpeg CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492977865757-VQWU4JPAVXYB1DCLCSMJ/image-asset.jpeg CONTENT https://images.squarespace-cdn.com/content/v1/5529e89fe4b056ed1944d70f/1492977875004-F4VQS7AV4E5M0AWT9MPV/image-asset.jpeg CONTENT 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