studio manhattan

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I can’t believe I’ve been in this precious little studio apartment for SIX years. The 12-foot window, the parquet floors, the multiple closets, the tiny little dishwasher – and just enough room for all my books & records. Home sweet home, indeed. (This is the cleanest it’s ever been, so, here’s a sexy photoshoot.) 

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Good wood - another awesome log cabin, this one was designed by Manhattan studio JacobsChang in upstate New York and built on a shoestring. Love the contrast between the blackened timber exterior and the cool, calming, minimalist white interior.

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Inge Morath, ‘Masquerade’ (The Saul Steinberg Mask Series), 1960-1962.

Saul Steinberg in his studio, masked, Manhattan, 1959.

TIME Magazine: A Star of His Own Making 

In person, John Boyega carries himself with an assuredness that could be mistaken for self-­importance. He’s one of those actors who look as tall and sturdy in real life as they do onscreen. He fills whatever room he happens to be in with inviting, boisterous chatter, thanks, no doubt, to years of voice training on the English stage. And he’s dead certain he’s going to be a big, big movie star.

I first meet Boyega in a cramped hallway at ABC Studios in Manhattan in July. We barely manage a hurried handshake as he proceeds in Aaron Sorkin–like strides toward a nearby stage. His publicist and his sister—who also acts as his assistant and is Googling where they can find British pub food in New York—are drafting in his wake. I watch off set as Boyega sits down with the hosts of Live With Kelly and Ryan, his first of three interviews for the day. Each sit-down requires the same thing of the 25-year-old Brit: promoting his latest film, Kathryn Bigelow’s Detroit, about the city’s 1967 riots, and expounding on the state of race relations in neat, 30-second sound bites. Naturally, interviewers also want to ask about his other new movie, Star Wars: The Last Jedi, coming out in December. 

If the challenge of figuring out how to discuss Black Lives Matter and lightsabers in the same breath weighs on him, Boyega doesn’t show it. “I see what I do in part as creating change through art,” he tells me. “Sometimes that responsibility can feel like a burden, but it’s not. It pushes you to find your purpose in the world.”

Most people know Boyega as Finn, the Storm­trooper who defects to the Rebels and helps an aspiring Jedi (Daisy Ridley) in 2015’s Star Wars: The Force Awakens. Boyega is confident that he can sidestep the quagmire of franchise fame that has kept some actors from ever eclipsing their first blockbuster roles. So when I finally sit down with him for lunch, I begin by asking if he’d rather follow the Denzel Washington/Harrison Ford path to stardom—­bringing the same charming swagger to every role—or if he’d prefer to go the Judi Dench/Idris Elba route of disappearing into parts. He grins at me and says, “I think to be a real star, you have to do both. I’m going to do both.”

Which might seem presumptuous if Boyega hadn’t been consistently checking off items on his superstardom to-do list. Since his breakout role two years ago, he has produced and starred in another franchise film, the upcoming Pacific Rim: Uprising (become a producer: check), played opposite Tom Hanks in the poorly reviewed The Circle (inevitable flop: check), returned to London to play a soldier with PTSD at the Old Vic (reaffirm acting chops onstage: check) and, with Detroit, become the face of an Academy Award winner’s latest gritty film (make an Oscar bid: check). And he’s working on writing and producing his own movies in hopes of leading a generation of artists who bring more diverse stories to the screen.

So, yes, John Boyega will be a big, big movie star. And he plans to get there his own way.

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The Power Station is a legendary 33,000-square-foot building in Hell’s Kitchen and one of the last full-scale recording studios in Manhattan. Its acoustical innovation in the 1970s led to an unprecedented number of awards over the years, including the first Les Paul Lifetime Achievement Award, the recording industry’s highest honor. The recording studio was built by Tony Bongiovi and his partner Bob Walters. Bongiovi, a producer who got his start at Detroit’s Motown Records when he was just 17, is considered an acoustical genius. By the time he started the Power Station he’d worked in some of the world’s best studios, and the Power Station quickly became a commercial success. 📸: Photo by Michael Flanagan.

Painter Elaine de Kooning working on John F Kennedy painting in Manhattan studio, 1964, New York, NY. Photo by Alfred Eisenstaedt, LIFE.

In 1962 Elaine de Kooning was commissioned to paint a portrait of President John F. Kennedy to be hung in the Harry S. Truman Library in Independence, Missouri. De Kooning was one of the early participants in the Abstract Expressionist movement. She was given access to the president during his winter sojourn in Palm Beach, Florida, in late 1962 and early 1963.

anonymous asked:

Hello, do you have any inspirations for sustainable parking building? Thanks before and really love your blog!

Check out this post and this post for interesting parking garages.

Now, many will argue parking garages cannot be sustainable because its mere existence creates the opportunity for more cars to be on the road. Others claim that cars will continue to exist even without more parking garages and the fact that the designer took the strategy to make the structure as green as possible is a step forward.

That being said here are some garages that have successfully attained LEED certification:

City of Santa Monica Parking Structure #6 Behnisch Architekten + Studio Jantzen Source

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“The Cobain family are having a nice day out. It’s late afternoon in a photo studio in downtown Manhattan. Daddy Cobain is careering from one end of the room to another, steering his 11 month old daughter around in her pushchair, dressed in a suit that suggests he could be auditioning for the role of Tiger in “Winnie The Pooh”. He looks ridiculous. Frances bean is gurgling uncontrollably, a big grin on her angelic face. Courtney Love-Cobain is lounging bare foot on a sofa. “where are my babies?” she demands, her arms outstretched. Kurt changes direction, pretending to be out of control and stops the pushchair just short of the sofa. He leans over his wife and kisses her. long and passionately” - The Face, 1993