Archinect - Features 2015-07-01T23:38:14-04:00 Screen/Print #3: BI's "Free" Amelia Taylor-Hochberg 2013-12-19T15:02:00-05:00 >2014-01-14T22:04:54-05:00 <img src="" width="514" height="819" border="0" title="" alt="" /><p> <a href="" target="_blank"><em><strong>Screen/Print</strong></em></a> is an experimentation in translation across media, featuring a close-up digital look at printed architectural writing. Divorcing content from the physical page, the series lends a new perspective to nuanced architectural thought.</p> <p> For this issue, we&rsquo;re featuring <strong>BI</strong>'s inaugural&nbsp;publication, "FREE<em>"</em>.</p> <p> Do you run an architectural publication? If you&rsquo;d like to submit a piece of writing to <em><strong>Screen/Print</strong></em>, please <a href="" target="_blank">send us a message</a>.</p> ARCHIPELAGOS: Ungers vs. Rowe Alex Maymind 2012-10-09T16:58:00-04:00 >2014-10-04T10:05:11-04:00 <img src="" width="514" height="206" border="0" title="" alt="" /><p>This brief text attempts to discuss two interrelated concerns: an examination of the techniques and analyses of the city that underpinned the work of O.M. Ungers and Colin Rowe, and secondly, the way in which that examination served as the conceptual foundation for a graduate architecture studio I taught in Fall 2011 at Cornell University which took their legacies and positions as the basis for a urban design and architectural project. The four projects shown here each enacted a rigorous process of manipulation, transformation and distortion of precedents by Ungers or Rowe (two of each). In doing so, the distinction between architectural history and design was purposely collapsed, requiring a combination of analogical and analytical thinking. While the discourse surrounding these two significant figures is vast, the precise relationships between their distinct projects is less well-known. Nevertheless, a key point of overlap (among others) is the issue of contextualism (a term with ...</p> Manhattanisms : RAM(s) vs. REM Alex Maymind 2012-08-14T20:00:00-04:00 >2015-03-20T11:10:44-04:00 <img src="" width="514" height="328" border="0" title="" alt="" /><p><em>by Alex Maymind &amp; Matthew Persinger</em></p><p><em>(published in </em><a href="" target="_blank">Pidgin Magazine</a>: Issue 11<em>, Princeton University School of Architecture, p. 208-219.)</em></p><p>&ldquo;In other words, it&rsquo;s Stern&rsquo;s commonness as opposed to his rarity, that makes his work so significant.&rdquo; - Mark Jarzombek [1]</p><p>&ldquo;Pretending histories left and right, its contents are dynamic yet stagnant, recycled or multiplied as in cloning: forms search for function like hermit crabs looking for a vacant shell . . .&rdquo; - Rem Koolhaas, Junkspace [2]</p> Still Ugly After All These Years: A Close Reading of Peter Eisenman’s Wexner Center Alex Maymind 2012-05-22T17:46:00-04:00 >2014-11-12T10:13:00-05:00 <img src="" width="514" height="411" border="0" title="" alt="" /><p><em>(Published in <a href="" target="_blank">One: Twelve Issue 4</a>, April 2012.)</em></p><p><em>Alex Maymind</em></p><p>Peter Eisenman&rsquo;s Wexner Center for the Arts at Ohio State University has been typically understood through its relationship to and manipulation of then-current postmodern trends within architectural discourse. While the discussion about the building has been host to a plethora of theoretical issues (ranging from the historicity of quotation, to new forms of monumentality, to contemporary modes of estrangement, to architecture-as-collage, etc.) it seems that today certain shifts have caused the work to move to the fringe of current debates.</p>