Clorox launched an eco-friendly line of cleansers earlier this year and has seen its Green Works line leap to the head of the green cleansers class. A recent story in the San Francisco Chronicle reports that, “Just eight months after its introduction, Clorox’s Green Works line is on track to generate first-year sales of well over $40 million. It’s already outselling all other brands in the green cleaning products niche.”
This weekend I met up with a friend who lives in Washington DC and was in San Francisco for a visit. I lived in Washington from 2004-2006 and we soon started talking DC politics. She’s lukewarm on first-term mayor Adrian Fenty, unsure of the Nationals prospects for next season, and when I mentioned that British architect David Adjaye has just been contracted to design two new branches of the DC Library (see this story from the Washington Post by culture critic and Dwell contributor Philip Kennicott), she responded with the weary tone of any Washingtonian told of proposed improvements to the local, not federal, infrastructure: “I’ll believe it when I see it."
This image of a Levittown house turned real estate office appears to be peddling something current mortgage brokers have had little time for: vigilance.
With house prices plummeting and bad mortgages as common as Sarah Palin impersonators, I sometimes wonder why, for all the talk about affordable housing, few people actually seem to live in it. In this summer’s issue of The Wilson Quarterly professor of urbanism at UPenn and stellar essayist Witold Rybczynski takes up that very subject.
Creative director of the storied Italian furniture manufacturer Moroso, Patrizia Moroso was in San Francisco on Thursday morning at the Dzine showroom to chat with the press about the history of her company—founded by her parents outside Milan in the 1950s—and what we can expect in the future.
Only slightly less annoying than the self-satisfied American who, upon visiting Europe, complains that everything is better back in the States, is the grossly insecure American who laments repeatedly that everything is better here in Europe and that the United States is little better than a cultural backwater.
Norway’s Sognefjord is the longest in the world, stretching some 200 kilometers into the country from the North Atlantic. And though I’ve spent the last couple days darting about the freezing waters on ferries, gawking at passing porpoises and mooning over the hazy vistas—which bear a surprisingly strong resemblance to the gauzy pink paintings of the 19th century Norwegian Romantics like JC Dahl (a previous, if more Viking-enthralled, incarnation of Thomas Kincaid to be sure)—no view has been better than the one from Canadian architect Todd Saunders’ perilously curved lookout about the fjordside town of Aurland.
I've been in Norway for the last week, and though I've seen all sorts of top drawer design, from the clever houses by Jarmund Vigsnæs to the glacial Oslo Opera House by Scandinavian-firm-of-the-moment Snohetta to the shockingly good cafeteria at the Trondheim airport, I must confess that the most exciting design I've seen, in part due to just how unassuming it is, is the standard Norwegian phone booth.