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[ By WebUrbanist in Architecture & Public & Institutional. ]

abc of architects

An adult-fascinating and kid-friendly overview of 26 works by architectural greats from the last 100 years. Watch as this fantastic collection of animated iconic buildings comes to life in less than two minutes.

G raphic designer Federico Gonzalez worked with architect Andrea Stinga to create this instructive-yet-comical tour de force, animated in the style and set to the same sort of tune you might expect from a vintage cartoon.

abc mid century modernists

Aalto, Barragan and Calatrava lead ultimately to Xenakis, Yamazaki and Zaha – their aim was to cover a worthy structure from each of the 26 architects, and diversify their selections in terms of style and nationality.

abc architect examples

The creators’ only lament: that they could not include more works – but as any architect will tell you: sometimes having limitations and guidelines (like a 26-building limit, in this case) helps you focus on what is most important, and create the best design possible.

Want More? Click for Great Related Content on WebUrbanist:" title="5 Infamous Abandonments Used in Famous Movies: Deserted Buildings from Cult Classic Films">" rel="nofollow" title="5 Infamous Abandonments Used in Famous Movies: Deserted Buildings from Cult Classic Films" style="color:gray">5 Infamous Abandonments Used in Famous Movies: Deserted Buildings from Cult Classic Films

Have you ever wondered what really happened to that mall in The Blues Brothers or where Tarkovsky filmed those jarring and surrealistic scenes in Stalker?
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From iconic architecture like the fish-inspired Guggenheim Bilbao to obscure shell-shaped houses in Mexico, these 15 buildings are truly strange.
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Horst Faas, a prize-winning combat photographer who carved out new standards for covering war with a camera and became one of the world's legendary photojournalists in nearly half a century with the Associated Press, died Thursday.

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The last time we took a look at Children of Liberty, there was a woeful lack of game play material available for viewing. This time around, things are a lot better. The cartoony aesthetics work almost surprisingly well in this historical, stealth-oriented platformer. While some might find themselves questioning how four unruly kids can take on an assortment of well-trained soldiers, I'm more than willing to suspend my disbelief for the duration of the experience.

If you're curious about how well the game works in practice, you can check out the alpha here.

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Weegee, the tenacious news photographer famous for his gritty images of New York in the 1930s and ’40s, is the subject of two concurrent shows in Manhattan, one at Steven Kasher Gallery and one at the International Center for Photography. The exhibit at the ICP includes historical material, such as Weegee’s book “Naked City”, newspapers, films and images made by other photographers.

Weegee worked as a freelance newspaper photographer when wire services were just beginning include photos, a time when New York City had several dailies. Strategically, Weegee was well situated for the challenge of keeping up with the crime surge–as police and government crackdowns increased in the city between 1935 and 1941, the rate of organized-crime murders increased dramatically. His apartment was across the street from police headquarters, where he listened to his police-band radio receiver for updates, often managing to arrive on the scene before the police. Murders, he claimed, were the easiest to photograph because the subjects never moved or got temperamental. To read more about Weegee’s illustrious career, click here.

At an East Side Murder, 1943. © Weegee/International Center of Photography.

Weegee, The dead man’s wife arrived…and then she collapsed, ca. 1940. © Weegee/International Center of Photography.

Hats in a pool room, Mulberry Street, New York, ca. 1943. © Weegee/International Center of Photography.

This photo by an unidentified photographer shows Weegee on the scene, December 9, 1939. © Weegee/International Center of Photography.

Anthony Esposito, booked on suspicion of killing a policeman, New York, January 16, 1941. © Weegee/International Center of Photography.

Police officer and lodge member looking at blanket-covered body of woman trampled to death in excursion-ship stampede, New York, August 18, 1941. © Weegee/International Center of Photography

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In an effort to bring the George Eastman House archive online, Dr. Anthony Bannon, Director at George Eastman House in Rochester New York,  has announced partnership with Clickworker, an international crowdsourcing company. The project involves photo-tagging of more than 400,000 images from the George Eastman House, one of the world’s oldest photography museums. Using a guided and tiered tagging system, Clickworker hopes to bring the Eastman archive into the digital age, making the photographs accessible to the public — in many instances, for the very first time. To get these images online, Clickworker is using its global crowd of paid “clickworkers’, more than 115,000 strong.

People who register to work on the project as “clickworkers’ will also be able to see the results of their work just a short while later on the Eastman House licensing website. Among the images from the venerable George Eastman House archive are classic favorites like views of Paris by Eugene Atget and immigration photos by Lewis Hine–but among are some surprises, like the Hippo Back, Hippo Front photographs by Lewis Hine, and the electric portrait of Judy Garland by Nickolas Muray.

Nickolas Muray, American (b. Hungary, 1892-1965) Judy Garland. 1945 Color print, assembly (Carbro) process.

Lewis Hine, Empire State Building construction worker touching the top of the Chrysler building, 1930. Gelatin Silver Print.
Hine was commissioned to photograph construction of the Empire State Building in May 1930. He photographed construction workers, following them up into the sky as the building rose to its height of 102 stories, the tallest building ever erected at that time.

Lewis Hine, Hippo Back.

Lewis Hine, Hippo Front.

Eugene Atget, (1857-1927) Avenue de l’Observatoire, 1926. Silver printing-out paper print.

Lewis Hine, Immigration.

Alvin Langdon Coburn, The Octopus, 1912. Gelatin silver print.

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Photographer Stephen Shames began his project shooting on East Tremont Ave in the Bronx while on assignment for Look Magazine in 1977. The magazine went under while Shames was on assignment, but he continued with the project for two decades, sometimes staying on the block for weeks, sometimes visiting only once or twice a year. Accompanying the photographs is the riveting story of Bronx born Martin Dones, who Shames follows from childhood to manhood. Dones is an exception, a young man who manages to escape a violent life to successfully raise his own family. Dones offers his earliest memories of his life in the Bronx:

“My first memory is still as clear as a picture: my cousin being murdered. I didn’t actually see him being murdered but I heard the thud of his body hitting the pavement. That death sound is the first thing I remember. Thud. I jump awake, startled and everybody is screaming. Years later I learn he was murdered because his brother robbed this gangs’ little nightclub. Since they couldn’t get the brother, they got him. He’s tossed off the roof. His body has to clear a fence. They swing him so his body arks up and out, like a diver, before gravity carries it down to the schoolyard. The cops never caught them. The 135th Street Boys of the South Bronx did it, but we never found out for sure which ones. People said, “It was maybe him, maybe not, maybe this one, maybe not.” The crazy thing is they all died eventually, one by one. Right after my cousin was thrown from the roof, other cousins torch my building. We escape as the third floor explodes and falls on the lower floors. The building whimpers, and then collapses. I stand in the cold and watch all of our stuff fly away. I’m sad. I got a new monorail track that morning for Christmas.

My mother’s boyfriend is an alcoholic. They drink, party, talk and sing Spanish songs. Pretty much, they just drink and argue. And me, at age four, I just want to escape from the noise. I open the front door and walk out. Nobody even knows I’m gone. That’s how drunk they are. I walk up, past the fourth, the fifth floor, up to the roof. Well, not the roof, because the door is locked. I go to the last step. Crunch into a little ball, lay down and try to sleep.

Another time, my mother pours lighter fluid on her boyfriend then torches the bed. My brothers and I try to put it out. He barely escapes with his life. One day my mom finds hickies on my sister’s neck and chest. So my mother beats her up and then calls her father. He arrives from Spanish Harlem, takes an extension cord and wraps it up around his hand. I hear my sister screaming. He gives her marks all over her body. Shortly after that, he was shot six times in the hallway by his sister.”

The electronic book Bronx Boys is available from FotoEvidence Press. The Ebook Bronx Boys has the look and feel of a physical book– the high-resolution images that can be viewed full screen, with a feature allows the viewer to zoom into details without loss of image quality. Most of the photographs in Bronx Boys are published by FotoEvidence Press for the first time.

Martin Dones

Clubhouse, circa 1980

Hanging out

Ralph jumps, 1977

Martin Dones, flirting

Hot summer night

Hanging out

Ponch with girlfriend

After breaking into the pool, hot summer night

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By Rebecca Horne

Between the pages of Mitch Epstein’s new book Berlin from Steidl is an elegant collection of photographs showing a city nearly devoid of people, under pale blue skies. Epstein directs his lens at architecture, art, infrastructure and other markers of history that Berliners have purposefully kept as reminders. A personal foreword by Epstein offsets the cool and precise images.

Epstein came from a Jewish American family that refused to visit Germany because of kin lost in the Holocaust. Breaking with family tradition, Epstein visited Germany. He found Berlin to be a source of fascination. He and his family moved to Germany for a six month residency at the American Academy in Berlin. Epstein writes: “I looked for the remnants of those tormented wartime and postwar histories; they were often overt, and sometimes lay just below the thin skin of contemporary Berlin. With an 8×10″ camera, I started at Sachsenhausen concentration camp in January and ended with the Dalai Lama speaking at Brandenburg Gate in June.”

Jewish Cemetery, Weissensee — the largest Jewish cemetery in Europe, established in 1880 for Berlin’s substantial Jewish population.

Teufelsberg (Devil’s Mountain). This artificial hill was built from World War II ruble on top of a Nazi technical college.

Checkpoint Charlie. This was an East-West crossing in divided Germany from 1961 to 1989. The original guardhouse and sign were moved to the Allied Museum and replaced with an on-site replica.

Lichtenberg. These Soviet inspired pre-fabricated Plattenbau (panel-building) housing complexes became prevalent in Berlin after WWII. The elephants were part of an itinerant circus.

Dalai Lama, Brandenburger Tor. The gate was commissioned by Friedrich Wilhelm II to represent peace and constructed in 1791. IN 1933, storm troopers held a torchlight procession through it to celebrate Hitler’s rise to power. Languishing in a no man’s land between two portions of the Berlin Wall during the Cold War, the Gate was the site of speeches by US presidents John F. Kennedy and Ronald Reagan.

Stasi Memorial Garden. The rosebushes were cultivated by former Stasi prisoners.

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These remarkable photographs came to our attention after we published several postcards from a new book on the atomic age in a recent weekend edition, including one that featured a colorized version the atomic bomb test of shot Charlie that you see here. Mr. Verdooner sent us these images after seeing the vintage postcards published in the WSJ newspaper. We were struck by the beauty of the images, and were delighted when he agreed to be interviewed about his experience shooting them.

Sergeant Marcel Verdooner was 24 years old on April 22, 1952, when he witnessed an atomic bomb detonation reportedly 10 times more powerful than the one that hit Hiroshima. He was a member of the 301st Signal Photographic Company detachment of 21 photographers assigned to Yucca Flats, six of whom are still living today. Mr. Verdooner describes what he saw as shot Charlie was dropped, in his position about ten miles from ground zero: “The first photo here was taken after the initial fireball was burned out and the stem of the mushroom started to develop from the sand on surface of the desert. The colors in the fireball were indescribably beautiful. This image shows the shock wave traveling across the desert. After I took this photo I had to kneel down, turn my back to the shock wave and brace myself. The fireball was followed by the forming and rising of the mushroom cloud in the second photo. The vacuum created by the fireball sucked material inwards, which creates the mushroom shape.” Shot Charlie was the first public and televised atomic bomb test in the US.

At four miles from ground zero was Sergeant Irwin Gooen from the 301st Signal Photographic Company:
“The day the bomb was dropped, I was up at dawn cleaning my camera. A number of us were in two-person trenches about four miles from ground zero. That was the closest, at the time, that human beings were placed. They had sheep tied up at Ground Zero! We were told that the shock wouldn’t reach us for 20 seconds after the blast. The officer with me and I stuck our heads deep down as the time approached. At the moment of the blast, it was as if someone had triggered a large flash bulb in the trench. I counted to four and stood up to take a shot, as did my companion, and the shock wave hit us. I was knocked backward, and he fell into the trench, looking dead to me. I thought I was dead too, but I realized if all this was going through my thoughts and vision I couldn’t be too dead. Then he came out of shock, and I knew we were both OK. I blew the dust off my lens and took my shot. The picture was not of a mushroom cloud (you had to be pretty far away to get that view), but from underneath, mostly of a ring of fire around us. The picture appeared in Life magazine, credited as a US Army Photograph.”

The photographic mission lasted six weeks and required the photographing of all the installations surrounding ground zero before, during and after the detonation. The installations included houses, tanks, guns, airplanes and more. Also included were animals such and sheep and cows. These were scattered throughout the test site, including at ground zero. The photographers documented the installations before and after, but were not allowed to keep any of the photographs. The Army photographers wore radiation badges that were meant to measure the levels of radiation they were exposed to. Mr. Verdooner notes that these badges were lost by the army after the test at Yucca Flats.

Shot Charlie, Yucca Flats, NV, April 22, 1952. Marcel Verdooner/U.S. Army Photograph

Shot Charlie, Yucca Flats, NV, April 22, 1952. Marcel Verdooner/U.S. Army Photograph

This image shows a scan of the back of the print of the previous photograph of Charlie.

Viewers and members of the press at “News Nob”, Yucca Flats, NV, April 22, 1952. Marcel Verdooner/U.S. Army Photograph

Newspaper page reporting on Charlie, the first public and televised atom bomb drop in the US– the article reports that technical problems with the television broadcast made the explosion very hard to see.

Shot Charlie, Yucca Flats, NV, April 22, 1952. Irwin Gooen/U.S. Army Photograph

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