View allAll Photos Tagged counterspace
I am so amazed by the kitchen. It's so clean and fresh. The color I used in the kitchen and in the bathroom is Folk Art by Benjamin Moore. Unfortunately my Benjamin Moore store didn't have the swatch in the display (I own the fan decks) so you may have to specially request it. We also put in the microwave/hood fan to save counterspace. I also went with a single sink, though still white and cast iron, and old fashion-ly deep, to save space. It's a small kitchen but very efficient, I think.
Pentax K-1, SMC Pentax-M 28/2.8
Every once in a while, Ryan will make dinner. It's a struggle for everyone, but it's done out of love. ^_^
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
As the United States faces rising geopolitical threats in outer space—and countries like China and Russia advance their own so-called “counterspace” programs—the US is considering adding a sixth military branch, its first since the Air Force in 1947. The Washington Ideas Roundtable Series featured Capitol Hill’s two most vocal leaders on space issues, discussing the modern threat environment and the Pentagon’s approach to the next frontier.
Property of the Aspen Institute / Photo Credit: Riccardo Savi
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
"Monument to the Armenian Alphabet", erected in 2005 just outside of the village of Artashavan Արտաշավան, Aragatsotn Marz.
Cookies - www.thekitchn.com/how-to-make-cutout-sugar-cookies-cookin...
Icing - www.thekitchn.com/how-to-decorate-cookies-with-icing-the-...
Cookies
Ingredients
- 1 cup (2 sticks) unsalted butter, softened at room temperature for 1 hour
- 2 ounces cream cheese, at room temperature
- 1 cup sugar
- 1 large egg
- 1 teaspoon vanilla extract
- 1/2 teaspoon almond extract
- 1 teaspoon lemon zest
- 3 cups all-purpose flour
- 1 1/2 teaspoons baking powder
- 1/2 teaspoon salt
Directions
1. Cream the butter, cream cheese, and sugar: Place the softened butter, cream cheese, and sugar in the bowl of a stand mixer (or in a mixing bowl with a hand mixer). Beat together on medium until very light and fluffy. Scrape down the sides of the bowl and the beater.
2. Beat in the egg, extracts, and lemon zest: Add the egg to the mixing bowl and continue beating until it's fully incorporated and the batter is smooth again. Beat in the vanilla extract, almond extract, and lemon zest. Scrape down the sides of the bowl and the beater.
3. Add the flour, baking powder, and salt: In a separate bowl, whisk together the flour, baking powder, and salt. Gradually add the flour mixture to the wet ingredients, beating on low speed until everything starts clumping together into a soft dough and the flour is nearly incorporated (the sides of the bowl will still look floury).
4. Mix a few times by hand: Use a stiff spatula to incorporate the last of the flour and to make sure everything from the sides and bottom of the bowl have been worked in. The finished dough will be very soft and quite sticky.
5. Roll out the dough between wax paper: Divide the dough into two portions. Sandwich each half between wax paper and pat the dough into thick disks. Then use a rolling pin to roll each disk out to 1/4- to 1/8-inches thick.
6. Chill the dough: Transfer the rolled-out dough to a baking sheet, still sandwiched between wax paper, stacking them on top of each other. Chill the dough in the refrigerator for at least an hour or for up to 5 days. (See Recipe Notes for freezing instructions.)
7. Preheat the oven to 350°F: Preheat the oven to 350°F with a rack in the middle position. Line 2 baking sheets with parchment or a Silpat.
8. Cut out the cookies: Work with one portion of dough at a time, leaving the other in the refrigerator. Transfer the dough to your work surface and peel off the top layer of wax paper. You can cut out the cookies on the wax paper, or you can dust your work surface with flour, flip the dough over on top, and peel off the other piece of wax paper. Cut out cookie shapes and transfer to the prepared baking sheet with a spatula. (Do not bake the cookies on the wax paper; the wax will melt in the oven.) Repeat with the other portion of dough. Re-roll the dough scraps to cut out additional cookies.
9. Bake for 8 to 15 minutes: Bake the cookies until the edges are set and just barely starting to turn golden, 8 to 15 minutes depending on the size of your cookies.
10. Cool the cookies: Let the cookies cool on the baking sheet for 10 minutes — they are delicate when first out of the oven and can break if moved sooner. Transfer the cookies to a cooling rack to cool completely. If any cookies have baked together in the oven, use a sharp paring knife to gently cut them apart while the cookies are still warm.
11. Frost or glaze the cookies: Once completely cool, the cookies can be frosted, glazed, or decorated.
12. Store sugar cookies: Store cookies in an airtight container at room temperature. They are best if eaten within 5 days.
Recipe Notes
Freezing the dough: The prepared dough can be frozen, either in a disk of dough or rolled out, for up to 3 months. Wrap the dough tightly in plastic wrap before freezing. Thaw in the fridge overnight before cutting and baking the cookies.
Freezing the baked cookies: The unfrosted cookies can be frozen for up to 3 months in an airtight container.
Icing
For the border icing:
- 1 cup powdered sugar
- 1/2 teaspoon vanilla or other flavoring extract
- 2 to 2 1/2 tablespoons milk or water
- Food coloring, optional
For the flood icing:
- 1 cup powdered sugar
- 1/2 teaspoon vanilla or other flavoring extract
- 2 1/2 – 3 tablespoons milk or water
- Food coloring, optional
Directions
1. Clear some counterspace: Iced cookies need at least 24 hours to dry, so clear a good amount of counterspace or tablespace where you can ice the cookies and leave them undisturbed. Cover the counter with parchment paper.
2. Arrange cookies for icing: Allow fresh-baked cookies to cool completely, then arrange all your cookies over the parchment paper. You might find it helpful to leave a small workspace clear in front of you where you can move each cookie as you’re working on it.
3. Prepare the border icing: Mix together the powdered sugar, vanilla, and 2 tablespoons of milk or water for the border icing using a spoon or a fork. It should be quite thick, and if you drizzle a little from your spoon, the ribbon should hold for a few second before melting back into the icing. This border icing should be just thick enough to pour easily. If desired, add food coloring to this border icing now.
4. Transfer the border icing to a squeeze bottle: Insert the funnel in the mouth of one of the squeeze bottles. Spoon some of the border icing into the funnel and let it drip into the bottle. Since this icing is so thick, it can be difficult to get it to drop into the bottle — you can squeeze the bottle to suction the icing and start it flowing. If it still won’t start flowing, add more milk or water one teaspoon at a time until just barely thin enough to pour (be careful of adding too much or else the border icing will pool instead of maintaining a border). Once flowing, it can still take a few minutes for all the icing to funnel into the bottle. Prepare your flood icing while you wait.
5. Prepare flood icing: Mix together the powdered sugar, vanilla and 2 1/2 tablespoons of milk or water for the flood icing using a fork or a spoon. This icing should still be fairly thick, but it should drizzle easily and a bit of drizzled icing should sink immediately back into the icing. If desired add food coloring to the flood icing now.
6. Transfer the flood icing to a squeeze bottle: Clean your funnel and insert it into a clean squeeze bottle. Pour the border icing into the bottle; this icing should be thin enough to funnel easily into the bottle. If necessary, add milk or water 1 tablespoon at a time until a thin, pourable consistency is reached.
7. Prepare as many batches of flood icing as needed to decorate your cookies.
8. Draw the borders around the cookies with border icing: Begin with the border icing and trace the outline of each cookie with icing. Hold the bottle vertical with the tip of the bottle slightly above the cookie. Squeeze gently and with consistent pressure so the border is the same width all the way around. Think of this border icing like drawing lines with a pen. If desired, you can draw inside the cookie — thicker lines are better than thin lines for separating areas of flooded icing.
9. Allow border icing to dry slightly: The border icing doesn't need to be completely dry, but the next step (flooding the cookies with icing) works better if the borders are at least dry to the touch. If you draw the borders on all your cookies before moving onto flooding, the first cookies will be dry enough to start flooding once you finish drawing the borders.
10. Flood the interior of the cookie with flood icing: Using a bottle of the flood icing, begin filling the interior of the cookie with icing. Use the nose of the bottle to push the icing into the corners and against edges. Think of this flood icing like using a paintbrush.
11. Allow the cookies to dry: Leave the cookies undisturbed for at least 24 hours to fully dry. Depending on the thickness of your icing and the layers on the cookie, it may take longer. When the cookies are dry, the surface of the cookies will be completely smooth, dry, and resistant to nicks or smudges.
12. Store the dried cookies: Once dry, you can stack the cookies between sheets of parchment paper in an airtight container at room temperature for several weeks.
Recipe Notes
The icing will keep for several days in the squeeze bottles. It’s best to store unused icing in the fridge and let it warm to room temperature before using.
Since the icing keeps well, you can spread your cookie decorating over the course of a day or several days. I often create a station in my kitchen and ice a few cookies at a time over a day or two.
To make marbleized icing, flood the entire cookie with icing, then drop dots or draw a squiggle line over the top with a contrasting color. Run a toothpick through the contrast icing to "marbleize." For more details, check out this post: How to Create a Marbled Effect When Decorating Cookies.
This is made from a Rubber Made "Handy Shelf" found at stores like Wal-Mart, Target, etc. Once manipulated, it is a great display for a spot where there is limited counterspace, such as a beauty shop counter.
This picture is taken from the southwest side of the room, looking towards the light well.
The kitchen is huge, with lots of storage for food, appliances, and counterspace for cooking. There is a dishwasher, double sink with garbage disposal, and vintage stove with 6 burners, two small ovens, and two broilers. This is a dream to cook in!
As the United States faces rising geopolitical threats in outer space—and countries like China and Russia advance their own so-called “counterspace” programs—the US is considering adding a sixth military branch, its first since the Air Force in 1947. The Washington Ideas Roundtable Series featured Capitol Hill’s two most vocal leaders on space issues, discussing the modern threat environment and the Pentagon’s approach to the next frontier.
Property of the Aspen Institute / Photo Credit: Riccardo Savi
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
At the end of the hall on the left - the kitchen! laundry tub, large black shipping container now used for emergency water, mini fridge with silver water filter on top, and more cupboards than I have had in four years. (counterspace remains at a measly 2 square foot though)
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
Jeanne de Kroon, Zazi Vintage and Sumayya Vally, Counterspace at DLD Munich Conference 2022, Europes big innovation conference, Gasteig, Rosenheimerstrasse 5, 81667 Munich, May 2022, 2022 Free press image © Picture Alliance for DLD / Hubert Burda Media
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
Standing in the pantry/laundry/bath. The half bath was removed so I could have a second sink and more cabinets and counterspace. Also, the washer and dryer have a little more room.
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
I cleaned pre-photo shoot. Obviously. I think the house was built in the early 1900s, so it's all charming and stuff. Some enterprising soul took all the cabinet doors off, stirring my long dormant arrangement-gene and making it so I can only put "cute food" on the shelves.
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
Nina Gualinga, Activist, Jeanne de Kroon, Zazi Vintage and Sumayya Vally, Counterspace at DLD Munich Conference 2022, Europes big innovation conference, Gasteig, Rosenheimerstrasse 5, 81667 Munich, May 2022, 2022 Free press image © Picture Alliance for DLD / Hubert Burda Media
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Serpentine Pavilion 2021 designed by Counterspace
Text © The Serpentine Gallery 2021, please see: www.serpentinegalleries.org/whats-on/serpentine-pavilion-...
“The Pavilion’s design is based on past and present places of meeting, organising and belonging across several London neighbourhoods significant to diasporic and cross-cultural communities, including Brixton, Hoxton, Tower Hamlets, Edgware Road, Barking and Dagenham and Peckham, among others. Responding to the historical erasure and scarcity of informal community spaces across the city, the Pavilion references and pays homage to existing and erased places that have held communities over time and continue to do so today. Among them are: some of the first mosques built in the city, such as Fazl Mosque and East London Mosque, cooperative bookshops including Centerprise, Hackney; entertainment and cultural sites including The Four Aces Club on Dalston Lane, The Mangrove restaurant and the Notting Hill Carnival. The forms in the Pavilion are a result of abstracting, superimposing and splicing elements from architectures that vary in scales of intimacy, translating the shapes of London into the Pavilion structure in Kensington Gardens. Where these forms meet, they create a new place for gathering in the Pavilion.
The Pavilion is built of reclaimed steel, cork and timber covered with micro-cement. The varying textures, hues of pink and brown are drawn directly from the architecture of London and reference changes in quality of light.
For the first time in the history of this commission, four Fragments of the Pavilion are placed in partner organisations whose work has inspired the design of the Pavilion: one of the first Black publishers and booksellers in the UK New Beacon Books in Finsbury Park, a multi-purpose venue and community centre The Tabernacle in Notting Hill, arts centre the Albany in Deptford and the new Becontree Forever Arts and Culture Hub at Valence Library in Barking and Dagenham, which was established this year to commemorate the centenary of the UK’s largest council housing estate. These Fragments support the everyday operations of these organisations while enabling and honouring gatherings of local communities that they have supported for years. A gesture of decentralising architecture to include a multitude of voices, the Fragments extend out into the city the principals on which the Pavilion was designed.
Since its inception, the Pavilion has become an established home for Serpentine’s Live Programmes. This year the Pavilion will also host a specially commissioned sound programme Listening to the City that features work by artists including Ain Bailey and Jay Bernard, connecting visitors to the stories and sounds of selected London neighbourhoods. The design process has also extended into thinking through more equitable, sustainable and imaginative institutional structures by creating Support Structures for Support Structures, a grant and fellowship programme that supports artists who work in, support and hold communities in London through their work.
Sumayya Vally of Counterspace said of the design:
“My practice, and this Pavilion, is centred around amplifying and collaborating with multiple and diverse voices from many different histories; with an interest in themes of identity, community, belonging and gathering. The past year has drawn these themes sharply into focus and has allowed me the space to reflect on the incredible generosity of the communities that have been integral to this Pavilion. This has given rise to several initiatives that extend the duration, scale and reach of the Pavilion beyond its physical lifespan. In a time of isolation, these initiatives have deepened the Pavilion’s intents toward sustained collaboration, and I am excited to continue this engagement with the Serpentine’s civic and education teams and our partners over the summer and beyond.”
Serpentine Artistic Director Hans Ulrich Obrist and CEO Bettina Korek selected this year’s architect with advisors Sir David Adjaye OBE, Professor Lesley Lokko and David Glover alongside the Serpentine team – Julie Burnell (Head of Construction and Buildings) and the project’s curator Natalia Grabowska.”
APEX 17×9″ ET42 ARC-8 5×100 Wheels
Hoosier A7 245/40-17 (Front)
Hoosier A7 275/35-17 (Rear)
Brakes:
Cadillac ATS Brembo front Brakes (near identical to performance package)
2014 STI Brembo rear brakes (keeps brake bias in check with front upgrade)
Suspension:
CounterSpace Garage Spec’d Tein Flex A Coilovers
SPC Adjustable LCA’s
Owner:
www.instagram.com/spitsnaugle/
Photos:
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group