Art-World Pilgrimage Site Naoshima Island Unveils New Sou Fujimoto Pavilion

Naoshima, a 3.15-square-mile island in Japan’s Seto Inland Sea, has become a must-see destination for art and architecture aficionados. The island is known for its contemporary art museums designed by famed Japanese architect Tadao Ando, which house a number of site-specific installations by James Turrell, Walter De Maria, and Yayoi Kusama, among others. In March, Sou Fujimoto was added to the list of acclaimed creators when his firm completed an ethereal metal-mesh pavilion on the waterfront. Sou Fujimoto is one of several Japanese architects participating in the inaugural Chicago Architecture Biennial this fall. 

A 2 ¼" tall, coffin shaped cab made from polished, agatized dinosaur bone.  This bone is from the Brushy Basin Member of the Morrison Formation which is about 150 million years old.  

It comes out of one of the dinosaur quarries we work with near Dinosaur, CO. One layer of the quarry contains lots of broken and tumbled chunks of bone which has been agatized (replaced by silicates).  This layer very rarely produces complete or near complete bones but some of the chunks and fragments look gorgeous when cut and polished.

Just added for sale at FossilEra.com

Be sure to follow the FossilEra Tumblr Blog for many more great fossils.


Engineer Turned Cabbie Helps New Refugees Find Their Way

Almost 70,000 refugees — victims of war, hardship and persecution — are allowed into the U.S. each year. But settling into their new homes can be a challenge, from learning English to figuring out how to turn on the dishwasher.

Omar Shekhey says he’s there to help. The Somali-American drives a cab at night, but during the day, he runs the nonprofit Somali American Community Center, based in Clarkston, Ga.

Clarkston, a small town outside of Atlanta, is sometimes called the “Ellis Island of the South.”Several thousand refugees live there, resettled by the U.S. government from Somalia, Burma, Bhutan, Iraq, the Democratic Republic of Congo and other hot spots around the world.

Shekhey and his small staff pick up where the resettlement agencies leave off, he says, helping refugees feel at home. “We are like soldiers. We go do whatever’s needed. No time sheets, no nothing. Just go.”

And Shekhey, 55, seems to go nonstop, taking phone calls about potential jobs for refugees, helping people with government forms or organizing a community dinner between refugees and local Jewish teens. There’s a steady stream of people seeking help at the center, a small office tucked in a strip mall with shops like Al Muhajaba Clothing Store and Halal Pizza and Cafe.

Story by Pam Fessler & Images by Kevin Liles.

Read the story here.


Before and After: Assemble Recreates Brutalist Concrete Playgrounds in Foam

As the Balfron Tower in east London—originally a product of 1960s social housing—is now being scrubbed up to be sold off as luxury brutalist apartments, the fate of its fantastical concrete playgrounds is less certain. 

“The tower itself might have been saved, but we’re interested in what happens to the landscapes around these postwar housing estates, and what they represent,” says Jane Hall of young architecture collective Assemble, Chicago Architecture Biennial participants and Turner prize short-listers. As The Guardian notes, “they are currently rebuilding full-sized chunks of these brutalist playgrounds inside the Royal Institute of British Architects in London, in one of the most radical exhibitions ever staged in the prim surrounds of its Portland Place HQ.”

The Body of Architecture: Didier Faustino Explores Relationship Between People, Movement, and Space

Flatland,” a performance by architect and Chicago Architecture Biennial participant Didier Faustino, “challenges the notions of reality and fiction through the ghostly presence of the body deforming the surface of the screen.” The piece reflects the themes of Faustino’s work, which seeks to explore and confound the confrontation of the body with architecture and architecture with movement. For his latest work, “Exploring Dead Buildings 2.0,” Faustino staged a month-long performance around Havana’s dilapidated Modernist School of Ballet, strapping a camera rig to a local resident who explored the ruins during the Havana Biennial.