An image as classic as the old gent himself. He's happy as always and ready for a Merry Christmas. This high quality T-Shirt will make you happy too! Makes a great gift choice. Shop today before it's too late. Highest quality for you and yours...

EricHatheway.com Online Store

Apologists for the International Style claimed that modern architecture represented a democratic style expressing the taste of the general public, its works often have been seen as aloof and oversophisticated by their residents. Finally, modern architecture's efficacy in solving the problems of redesigning cities into finely tuned social organisms has been questioned by those who see it as the destroyer of cohesive neighborhoods through wholesale urban renewal.

As these contradictions in modern architecture began to emerge clearly in the 1950s, many architects sought to modify the codes of the International Style so as to create buildings at once modern and monumental, as well as functional and responsive to the needs and expectations of a wide audience. An international group of architects formed (1953) under the name Team X (Team 10) succeeded in 1959 in dissolving the Congrès International d'Architecture Moderne (International Congress of Modern Architecture) and setting its own goals for a new, more humane system of public housing.

Team X members such as Alison and Peter Smithson and Aldo van Eyck, working from the aesthetic basis of the International Style, evolved from it more visually complex, texturally rich, and physically substantial buildings. Late in his career Le Corbusier himself became a major figure in this development, particularly with his sculptural concrete chapel at Ronchamp, France (1951-55). Another convert was Philip Johnson, the theorist of the International Style, who executed a number of monumental public buildings in rich materials.

If Eero Saarinen turned the International Style to expressionistic ends in works such as his TWA Terminal (1956-62) at J. F. Kennedy Airport in New York City, his buildings are scarcely more extraordinary than the later works of Frank Lloyd Wright, whose spiraling, concrete Guggenheim  Museum was conceived in 1942 and completed in 1959.  Finally, Louis I.  Kahn developed a new monumentality that was first expressed in his Yale University Art Gallery (1951-53) and culminated in such buildings as the Exeter Library (1967-72), a symmetrical, almost classical composition of brick, wood, concrete, and glass.  Kahn was perhaps the last of the great modern architects.  The full emergence of Postmodern Architecture took place shortly after Kahn's death in 1974, and many prominent architects are now pursuing a variety of formal images beyond the doctrinal limitations of the International Style.


Related Articles
Limits of the International Style
Founders of Modern Architecture: Le Corbusier
Founders of Modern Architecture: Frank Lloyd Wright
Founders of Modern Architecture: The Bauhaus

In the San Fernando Valley of California, there is a very famous American home and landmark – the split-level suburban home that housed one of television's most beloved families, the Brady Bunch. The home, used for the exterior views of the Brady home, is not a true two-story structure. The interior set was already being constructed when this home was chosen as the representative view of the Brady house. Only on television and film can we have a house that cannot contain the supposed interior floor plan. A fake window was added to house to give it the appearance of a true second story.

The Brady's famous and very beige, ranch-style home first appeared in the second episode of the Brady Bunch in 1969. The typical 70s era home that is the Brady's appeared in almost all of the 115 episodes that completed the rest of the television series. Television viewers saw the Brady's house from a several canned angles during each show. The private home was selected for use on the series because it symbolized California living. Here are the plans for the house that Mike Brady built. As you can see, it was not really built for 8 people, a housekeeper and a dog.

Dirque du Soleil

He's from the past, so he knows the future ....

dirque@erichatheway.com

Tropicália, also known as Tropicalismo, is a Brazilian art movement that originated in the late 1960s. Tropicália, as an artistic movement, involved theatre, music, poetry and art. Tropicália was influenced by what is called concrete poetry, a variant genre of the Brazilian avant-garde poetry embodied in the works of the movement. So, Tropicália is not just a Brazilian branch of the hippie movement of the 1960s that drifted down from North America. The works of Tropicália notables such as Augusto de Campos and Haroldo de Campos helped to form and solidify the movement in Brazil as well as on an international level.

Born from the visual arts scene in 1960s Brazil, Tropicália was named for an installation exhibition of the same name by Hélio Oiticica. Other Brazilian visual artists of the day such as Emerson Adriano Catarina, Antonio Dias and Rogério Duprat helped to infuse Tropicália with the vibrant visual energy that matched the music and poetry that were also a part of this artistic  movement. Above all, Tropicália was based upon the cultural constructs of the cannibalism of music and culture by all societies.

So, at its deepest roots Tropicália is about the blending, the mixing and the matching from any and all genres in any and all cultures and producing a unique but fabricated result. Formally, the idea is called the Concept of Intropofagia created by the poet Oswald de Andrade in his 1928 Cannibal Manifesto (Manifesto Antropófago).

Musically, the manifesto for Tropicália is considered to be the 1968 album collaboration of many musicians called Tropicália: ou Panis et Circencis. The mainstays of the musical side of Tropicália were Gilberto Gil and Caetano Veloso. In this music, they experimented with odd time signatures, strange song structures and bold political views as an artistic response to the Brazilian Coup of 1964, the event that also inspired the Brazilian film movement which is known as Cinema Novo.

DJ Super Buffet most highly recommends the following two items on the buffet!

Find the artist on Facebook and Twitter and now on the newly hatched Google+!  You can follow his updates on all of these very popular social media sites. He looks forward to hearing from you – just send a friend request. Thanks for visiting and please come back often! Hit me up ... yeah.

Eric Hatheway		Eric Hatheway
@erichatheway		You get the idea ....

The Fluxus Conundrum. Now, you too can display your belief or skepticism on this retro vintage art T-Shirt! Finest kind, guaranteed! You will wear it well!

Click the Link to Order Yours! Art Not Art T-Shirt Long Sleeve, Short Sleeve and Many Assorted Colors

Howard Sprague, the particular and fastidious town clerk of Mayberry, North Carolina, was a fictional character played by the actor Jack Dodson from 1966 to 1971. Howard was a nerd before the term was coined as he went through life in Mayberry clueless and oblivious to what the citizens of Mayberry really thought of him and his nettlesome presence among them.

Howard Sprague was distinguished by a very well groomed mustache, stiff-looking pressed suits and the signature bow ties that completed his stuffy businessman ensemble. He often spoke of philosophy and culture to those who were willing to listen to what he had picked up at community college in Mount Pilot. These deep conversations usually occurred at Floyd's Barber Shop or in front of the Mayberry courthouse.

Above all, Howard was a subjugated momma’s boy who lived with his meddling and manipulative mother in Mayberry. Howard’s mom faked heart palpitations once to stymie a double-date with Sheriff Andy Taylor and his frumpy date Helen Crump. When Howard was invited to join an all-male social lodge in Mayberry, Howard’s mother maneuvered Goober into blackballing Howard to prevent his membership in the club.

Despite all of this, Howard went wild – twice! After his mother remarried and moved to Mount Pilot with her new husband, Howard tried, with difficulty, to fit into the swinging sixties by becoming a hipster. He transformed his persona by donning a silk smoking jacket complete with a pompous ascot. He kept his trademark mustache but he grew no hipster sideburns or even a soul patch to complete his version of the sixties hipster. Poor Howard still had no clue but hey, this was Mayberry and he must have seemed pretty hip to the others. Yeah, right.

Howard converted his very ordinary home into a mod bachelor pad by hanging beads in the doorways and by putting a groovy wet bar in the corner of the room. His bachelor pad was completed by some awful throw pillows on the floor (hippies sat on the floor, you see) and a hideous bear skin rug. Music was provided by a record player which presumably was a modern hi-fi set. His musical taste was not hip by any means. Emmett and Helen danced to his music at his swinging sixties party – enough said?

Howard, the plain vanilla county clerk from Mayberry, went wild again in another episode when he decided to turn his mundane existence upside down by packing his bags and moving to the distant island of Saint Benedict’s in the Caribbean. This is the only time we see Howard go unshaven and lose the boring suits and bow ties in favor of some wildly ugly tropical clothing, probably purchased in Mount Pilot.

After about a week or two of beach combing and drinking rum with a character played by Harry Dean Stanton, Howard once again decided to change his life by packing his bags and returning to Mayberry to the drab lifestyle that previously drove him crazy. He could find no compromise between these two conflicting lifestyles, even with Harry Dean Stanton as a drinking buddy! As soon Howard returned to Mayberry, he shaved his island beard and returned to his stale business wardrobe as well as his very dull job as town clerk of Mayberry. C’est la vie, Howard.


You Might Also Be Interested In Reading:
A Rare Interview with Larry Tate
Remembering Larry Mondello