Archinect - News

Architectural Photography without Architecture

2013-05-13T13:44:00-04:00

Slowly it dawned on me that this was not a photograph of a real building but a total digital fabrication. I was shocked, not in a moralistic way but, rather, with amazement at the masterful deception and amused pique at being fooled.

The technologies of representing architecture have advanced steadily over the years, from drawing to photography to digital rendering — and have lately taken a new leap.

On Places, Belmont Freeman argues, "the crafts of architectural rendering and photography have now merged into a common activity of digital image-making — so completely that one can conceive a work of architecture and produce a 'photograph' of it without having to go through the expensive, tedious and corrupting intermediate step of actually building the building. Welcome to the world of architectural photography without architecture."

He discusses the Metropolitan Museum of Art exhibitions "After Photoshop: Manipulated Photography in the Digital Age" and "Faking It: Manipulated Photography Before Photoshop"; the MoMA exhibition "9 + 1 Ways of Being Political: 50 Years of Political Stances in Architecture and Urban Design," and recent books of photography by Frédéric Chauban and Ezra Stoller.

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On the Folk Art Museum: Save Modernism from the Modern

2013-05-07T13:20:00-04:00

The Modernism worth pursuing — worth protecting — is the one where Gregor Samsa wakes up transformed into a large insect, and ends up with an apple embedded in his carapace, which is exactly what the Folk Art Museum is to the Museum of Modern Art, right now, right where it is.

On Places, David Heymann presents an incisive critique of MoMA's decision to raze the Folk Art Museum building, by Tod Williams Billie Tsien Architects.

From a quiet beginning — "Here is why I think the American Folk Art Museum is a great Modernist building" — Heymann works his way to a pointed conclusion: "Modernism in the architecture of the Modern is just another sad Historical Revival Style, the very thing Modernism as an ideology set out so intently to destroy."

Architecture as Child's Play

2013-05-01T19:31:00-04:00

At university, students from other courses felt that we in architecture weren’t really studying at all; to them the studio seemed like some kind of uber-kindergarten, legitimated for academic credit.... The architecture profession seemed from the outside, and perhaps even to us on the inside, to promise an idyllic eternal childhood of balsa and glue and gee-whiz drawings on computers.

On Places, Naomi Stead discusses the popular conception of architecture as a kind of "child's play."

What do dollhouses and architectural models have in common? Why should we care about Lego Architecture and Architect Barbie and the romantic depiction of architects in Hollywood movies?

She concludes: "If the profession of architecture is constructed from the outside as an escapist daydream, available for the idle fantasizing and wish-fulfillment of all, then this leaves the whole profession operating inside a doll’s house: idyllic, hermetic and controlled, but largely powerless to act in the actual world."

Olympic Displacement: Atlanta 1996 to Rio 2016

2013-04-15T17:35:00-04:00

Atlanta and Rio are but two chapters in the long history of displacement that has accompanied mega-events like the Olympics. Similar dynamics reshaped London’s Clays Lane Estate, Beijing’s hutongs, the Marousi Roma settlement in Athens, Barcelona’s Poblenou and Seoul’s hanoks. . . . Today the people of Vila Autódromo are struggling for what housing scholar-activist Chester Hartman has aptly called “the right to stay put.”

As plans unfold for the 2016 Summer Olympics in Rio de Janeiro, MIT's Lawrence Vale and Annemarie Gray consider the case of Vila Autódromo, a former fishing colony on the Olympic site whose residents have organized to resist displacement. They compare ongoing events in Rio to the demolition of Atlanta's Techwood Homes, the first public housing in America, prior to the 1996 Olympics.

The Story Behind the Seagram Building

2013-04-08T13:43:00-04:00

Reading this was for me an epiphany. I could see, almost in a flash, the unity of building and landscape developing throughout Mies’s building art, ultimately morphing into the podium that binds the Seagram tower to the urban landscape — plaza, platform, an oasis amid the chaos of New York. This led me to reevaluate the importance of surrounding context, in Mies’s architecture throughout his career and to understand in a new light some of his statements, drawings, and photomontages.

"What led Mies to create the union of skyscraper and plaza on Park Avenue, a binding together so profoundly important in his oeuvre?" On Places, in an excerpt from the new book Building Seagram, Phyllis Lambert recounts the evolution of Ludwig Mies van der Rohe's architectural philosophy, from his early years in Berlin to the postwar American projects; in particular she explores his deep concern for the interrelationship between architecture and landscape, which culminated in his design for the Seagram Building.

The Irrational Exuberance of Rem Koolhaas

2013-04-03T14:44:00-04:00

"Irrational exuberance" seems to me an apt introduction to an understanding of Rem Koolhaas in the '90s and beyond; it foregrounds his great success in navigating the intersection of the pragmatic corporate sector, on the one hand, and the “delirious” and volatile realm of desire and possibility, on the other. ... Koolhaas has encouraged his followers to shed the crippling shackles of critical theory and pick up a surfboard upon which to ride the shock waves of the new economy.

For decades Rem Koolhaas has been not only a leading global architect but also a restless provocateur. On Places, in a chapter from the forthcoming book Architecture and Capitalism, Ellen Dunham-Jones explores Koolhaas's protean career, from the early fantastical projects to the big books and bigger buildings of recent years. It's a career that has come to embody, she argues, "the inevitable contradictions in trying to marry art and capitalism, radicalism and pragmatism, icon-making and city-making."

Steve Jobs, Architect?

2013-03-18T19:24:00-04:00

Yet another treatise on Steve Jobs? As an “architect” — really? And with Apple seemingly waning, aren't we behind the curve on this? Suffice it to say that my interest is not solely in Jobs himself, but rather in the challenge he poses to the methods and purpose of an architectural historian.... But since architectural stories are surprising rare here on the edge of the continent, I need a shtick; no matter my connoisseur-ish personal tastes and leftist political dispositions.

What is revealed when we contemplate the late Steve Jobs not only as a technologist extraordinaire but also as a sort of architect? And if we then compare Jobs with another complicated virtuoso, Rem Koolhaas? On Places, architectural historian Simon Sadler argues "Jobs and Koolhaas both seem to have been driven by the possibility that they can act inside, or around, a postmodern world resistant to purpose. Both share an attraction toward design as a type of hermeneutics — a will to learn about the world through the attempt to change it."

Mariana Van Rensselaer, Founding Mother of Architecture Criticism

2013-03-01T19:18:00-05:00

Whatever you want, then, go to an architect for it; not to a carpenter, or a mason, or your own still more profound incompetence. Tell him all your practical, material desires, and insist that they shall be respected... Settle your practical desires and state them clearly; and, if you will, pour out your vague aesthetic wishes; try to explain those crude artistic preferences, those misty, formless visions which you are pleased to call “my own ideas.”

Mariana Griswold Van Rensselaer, though little known today, was not only a leading architecture critic of her day but also one of the pioneers of the field in the late 19th century. On Places, Alexandra Lange analyzes her writings and her influence. As she writes, "Mariana Van Rensselaer worked out the ground rules of the fledgling profession, struggling to be a critic of greater conscientiousness, while calling upon her players — architects, clients, public — to do their jobs properly."

In a related features, Places has republished Van Rensselaer's 1890 essay, "Client and Architect."

Shanghai, Future City

2013-02-18T20:30:00-05:00

There is only so far the gap between the migrant workers and the local Shanghainese they serve can grow before the foundations of the city buckle — and only so many well-educated, English-speaking, computer-literate, world-traveling young people the city can welcome before they demand change. Modernity is about more than fast trains and tall buildings. Despite the authorities’ strict controls, some among Shanghai’s millions have surely figured this out.

In just two decades Shanghai has been transformed from "mothballed relic" of Maoism to one of the world's largest and most dynamic cities, complete with the fastest train on earth and more high-rise buildings than Manhattan.

In an excerpt on Places from the new book A History of Future Cities, Daniel Brook recounts the city's fast-forward and often ruthless reinvention — and describes what has become an enduring dilemma in Reform-era China. For all its new energy, he writes, "the new Shanghai has yet to live up to the city’s historic promise — to sort out what it means to be Chinese and modern."

The Emergence of Container Urbanism

2013-02-13T14:33:00-05:00

In its most far-reaching aspects, container urbanism proposes to take the fundamental organic/architectural condition of containment further by exploring how a boundary might be better coordinated, even merged with the flow of material/ideas. Can containment equate more closely with transmission and, in so doing, position architecture and urbanism more in line with societal mobility and change?

The repurposed shipping container has become a fixture of urban architecture — part of a movement, as Mitchell Schwarzer argues, toward an "urban design as flexible, responsive and electric as the currents that feed it."

On Places, Schwarzer examines the rise of container urbanism from the mid 20th century to now, from Archigram and the Metabolists in the '60s to the pop-up markets and modular housing of today; and he sees in this latest phase a "landmark change" for architecture.

"By facilitating an almost instant building complex," he writes, "the containers put architectural production more in sync with the speed and transitoriness of contemporary life, forcing it to respond to a city’s many complex, adaptive systems."

Climate Change and Public Works

2013-01-21T17:24:00-05:00

We seem to have lost the political capacity to grapple with the big picture, the long range, the global scale. To a degree we've even lost the vocabulary. In design circles it's as if the perceived failures of mid 20th-century planning — exemplified by top-down urban renewal and personified by the power-brokering Robert Moses — have induced a kind of conceptual paralysis, an inability to formulate the public sector, or public works, in terms not beholden to a discredited history.

On Places, editor Nancy Levinson argues for an intensified political agenda for designers.

As Barack Obama takes the oath of office for his second term, the longstanding tension between the pressing need for public action and the tenacious culture of privatization remains the critical dilemma of U.S. politics. Nothing underscores the need to resolve this tension — and to commit once again to the ideals of collective purpose and common good — than the accelerating crisis of climate change.

A City for Books and Architecture in South Korea

2013-01-16T11:21:00-05:00

When I first heard of Paju Bookcity, I imagined a bibliophilic paradise of human-scaled buildings with legible facades nestled side-by-side like volumes on a shelf. When I traveled to the real Paju Bookcity, I found an industrial estate created by companies related to all aspects of book manufacturing, sited north of Seoul in the marshes near the Demilitarized Zone. But if Bookcity is not the fairy tale I envisioned, it is a kind of Cinderella story: this is the industrial park remade.

On Places, Shannon Mattern explores the ongoing remaking of Bookcity — which seeks to reinvent invent Korean publishing, architecture and urban planning — in the digital era.

My Beautiful City

2013-01-02T15:33:00-05:00

Architects think people aren’t interested in buildings anymore, and don’t look at them, and consequently don’t — can't — appreciate what architects really want to do, which is make fetishized constructions to sit on the landscape like mechanical praying mantids, which will make people look at them some more.

On Places, architect David Heymann writes about a heartbreaking house commission outside Austin — the kind of larger-than-life story that could only happen in Texas.

The feature includes an audio recording of the author reading his work.

Architecture in Children's Books and Fairy Tales

2012-12-19T17:36:00-05:00

Even the smallest architectural design proposes to make an intervention in the known world, it dares to change things as they are, and to venture how they might be. It envisions a possible future, sometimes a fantastic one, and then sets out to make it manifest. If that’s not a rich subject for children’s books, I don’t know what is. But such books should also make us question what we want architecture and architects to be. Not just in fairy tales, but in real life.

For generations children's books have told fanciful stories about the creation of houses and the comforts of domesticity. "When you go looking," writes Naomi Stead on Places, "you realize that there is a huge, even dominant genre in children’s literature: stories about houses, about the choice of a house, the quality of homeliness, and the very concept of home." Stead surveys the scene, from Iggy Peck to Roberto, from The Little House to House by Mouse, and wonders what these books tell us "about the architecture profession and how it is conceived and represented in culture more broadly."

In related features, Places continues an ongoing series on fairy tale architecture, with new designs by Abruzzo Bodziak ("Snowflake"), Bernheimer Architecture ("The Little Match Girl"), and Solid Objectives – Idenburg Liu (SO – IL) ("Monkey King").

Four Freedoms Park and Modern Memorial Design

2012-11-05T17:47:00-05:00

The creation of a public monument is a fraught business these days. That the pristine work of an architect nearly 40 years dead should rise intact, in today’s contentious political, legal and aesthetic climate, is a wonder. And how timely it is that the legacy of Franklin D. Roosevelt should be honored in such eloquent fashion at a moment when powerful political forces in this country seek to dismantle it.

Why is the design of memorials so fraught? Belmont Freeman reviews the design and politics of diverse memorials to American presidents, with a focus on Four Freedoms Park in New York City, the memorial to Franklin Roosevelt designed by Louis Kahn that opened last month.

Fairy Tale Re-Imagined by Bernheimer Architecture

2012-11-02T15:28:00-04:00

In the terms of the story, we wanted to distill experience to a shape, a volume, instead of a literal space-type (“castle” or “gingerbread house,” etc.) We chose this path in part because the structure of the story wasn’t accessible, the events were scattered, random and untethered to a place. So we had to find the rope, make the place, invent a story-space outside the tale itself.

In the Halloween installment of Places' ongoing series of architectural fairy tales, fabulist Kate Bernheimer and her architect brother, Andrew, investigate the shape of fear itself. Re-imagining a Brothers Grimm fairy tale at the site of a World War II bombing, Andrew Bernheimer and Vera Leung design and fabricate a model for the unsettling tale “The Boy Who Set Forth to Learn What Fear Was.”

Previous on Archinect: The House on Chicken Feet

The Demolition and Afterlife of Baltimore Memorial Stadium

2012-10-22T18:32:00-04:00

We tend to think of architecture as solid, stable, enduring, something that at its best will outlast us and possibly say something about us to future generations. Demolition makes powerfully evident the vulnerability, the mortality, of all things standing.

"When does architecture, once started, stop?" asks Keith Eggener. "Does it end when human occupation or attention terminates, when function or fabric are removed?" What is the connection between civic buildings and collective memory? Just in time for the World Series, Eggener recounts the saga of Baltimore Memorial Stadium, describing its powerful presence in the city during the decades when it was home to the Orioles — and its afterlife in the years since its demolition.

Scarcity contra Austerity

2012-10-08T19:37:00-04:00

Conditions of scarcity demand new ways of thinking, an expansion of the role of the architect and designer outwards in order to function more broadly and imaginatively as spatial agents. In contrast to the regimes of austerity ... the territory of processes and networks opened up by scarcity is far more conducive to creative intervention. It is here that scarcity — which can seem at first a bleak prospect — can become the inspiration and context for constructive and transformative action.

What is the difference between scarcity and austerity? On Places, Jeremy Till contrasts the political ideology of austerity — imposed reductions of public services and social benefits — with the physical condition of scarcity — the measureable dwindling of finite resources — and explores how this distinction might enable designers to grapple with big-scale challenges. A keener understanding of scarcity, he argues, "might inspire us to widen the field of practice and allow us to operate more creatively."

Living in Mies van der Rohe's Lafayette Park

2012-10-04T15:45:00-04:00

The ability to observe the private lives of strangers from the windows of my home is one reason why I’ve chosen to reside within a dense urban fabric. I am not a voyeur: I do not receive sexual satisfaction from watching the daily lives of others. But I do like to imagine the many meaningful “relationships” I have created with people that I will never meet or even recognize on the street.

When architect Melissa Dittmer moved from New York City to Detroit, her reaction was a "year-long panic attack." Where, she wondered, were the people? "Where was the density, the sense of connection with strangers?" But then Dittmer and her family bought a townhouse in Lafayette Park, the modernist development created in the early '60 by Mies van der Rohe, Ludwig Hilberseimer and Alfred Caldwell — a place where the design itself encourages "a shared sense of intimacy that fosters community." On Places, she writes about how the architecture and landscape design of Lafayette Park conspire to create a sense of ordered exhibitionism, in a chapter from the new book Thanks for the View, Mr. Mies.

Beyond Zuccotti Park: Making the Public

2012-09-24T19:08:00-04:00

The root cause of diminishing public resources and the privatization of urban public space today is precisely the privatization of our political system — a crisis that cannot be addressed simply by creating more public spaces or by making these public spaces more inclusive and accessible. This deeper crisis requires the attention and intervention of a much more active and engaged public, a public willing and capable of speaking up and mobilizing politically to change the system.

The recent wave of citizen protests — from Tahrir Square to Zuccotti Park to the streets of Athens — has brought renewed attention to the role of public space in democratic society. In an essay on Places (excerpted from the new book Beyond Zuccotti Park, by New Village Press) Jeffrey Hou shifts the emphasis from physical space to citizen action. We need to focus not just on ensuring the right to public assembly, he writes, but also on "the making and mobilization of the public as an actively engaged citizenry."

Latin America: A New Generation of Women Architects

2012-09-20T16:11:00-04:00

Yet women architects in Latin America — as in North America — continue to confront gender-based inequities. Partly this seems due to entrenched cultural attitudes, and partly to the traditional connections between architecture, engineering and capital, which can make it difficult to progress to a less patriarchal culture of building and design.

Places presents highlights from the exhibition Spaces Through Gender, now on view in San Francisco, with exemplary work by Latin American designers Tatiana Bilbao, Fernanda Canales, Frida Escobedo Lopez, Rozana Montiel, Nora Enriquez, Rocio Romero, Galia Solomonoff, Catalina Patiño and Viviana Peña (of the collective Ctrl G), Ana Elvira Velez, Carla Juacaba, and Sandra Vivanco.

Occupying Wall Street and Mapping Liberty Plaza (Video Trailer)

2012-09-17T12:41:00-04:00

As Occupiers posted links, updates, photos and videos on social media sites; as they deliberated in chat rooms and collaborated on crowdmaps; as they took to the streets with smartphones, they tested the parameters of this multiply mediated world. What is the layout of this place? What are its codes and protocols? Who owns it? How does its design condition opportunities for individual and collective action?

On the anniversary of Occupy Wall Street, architects Jonathan Massey and Brett Snyder investigate the spatial dimensions of political action in two related features on Places, including axonometric drawings that follow the transformation of Zuccotti Park into Liberty Plaza. See the trailer below.

Why Architects Need Feminism

2012-09-12T12:42:00-04:00

For those of us who have long fought for greater diversity in architecture, the slow pace of change is less alarming than the emergence of cynical voices that dismiss the viability of architecture as a profession. At the final Van Alen roundtable, Dagmar Richter relayed the opinion, expressed by some in the field, that the declining status of the discipline is reflected in the growing presence of women in architecture schools — in other words, women are making headway because men are bailing.

Are we really ready to be post-feminist? Inspired by a series of Van Alen Institute roundtables held this spring — and by the alarming attrition rate of women practitioners — Despina Stratigakos advocates for an expanded role for next-wave feminism in architecture and design. Understanding feminism "as a matrix of politically conscious social, spatial and environmental strategies," she argues, could spur us to experiment with new models for a "more sustainable and inclusive architecture culture."

The Incredible True Adventures of the Architectress in America

2012-09-10T13:47:00-04:00

Let’s mentor a new generation of architects who are as proud to be women as they are proud to be designers. And let’s start by taking back the “architectress,” by infusing that cringe-inducing, condescending, mid-century term of opprobrium with some born-this-way, kick-ass, grrrl-power, retro cool. Imagine Architectress t-shirts and Architectress tattoos, Architectress blogs and Architectress fansites, Architectress flash mobs and Architectress meetups. Imagine Architectress going viral.

Back in the '70s, second-wave feminists were organizing and agitating, forming alternative communities, creating new spatial practices and attempting to pry open what a contemporary reporter called the "exclusively male preserve" of the American architecture profession. Gabrielle Esperdy revisits their "amazing adventures fighting for gender equality" and measures the distance we've traveled since. It's pretty far, she concludes — but not far enough.

Olympic Urbanism: The Athletes' Village

2012-07-20T14:06:00-04:00

At the 1928 Amsterdam games, athletes were accommodated in spare rooms in boarding houses and aboard ships. The first Olympic Village was built in 1932, in the Baldwin Hills neighborhood of Los Angeles, but it was dismantled after the games and virtually no trace survives today. Not until the 1952 Olympics in Helsinki did host cities began to plan and develop permanent structures for housing athletes.

When the Olympic Games open next week in London, showpiece venues like Zaha Hadid’s Aquatics Centre and Populous’s Olympic Stadium will be the center of the world’s attention. But when the games are over, the greatest impact on London urbanism will be from the 2,800 new apartments converted from athlete housing. On Places, Anisha Gade looks at the history of Olympic Villages, from derelict ruins in Berlin to suburban townhomes in Sydney to a large public housing development in Athens.

Territory Jam: Tehran

2012-07-09T15:51:00-04:00

Revolutionary guards who are denied entry to an apartment have been known to scale a building’s walls with grappling hooks to dismantle receivers. It may seem like something out of a spy novel, but this cat-and-mouse game tells the deeper story of a complex exchange between the Islamic Republic and citizens of Tehran. In the absence of legitimate public space for discourse or demonstration, the satellite receiver opens a space for political dissent and cultural protest.

In contemporary Tehran, where the city's parks and plazas have been delegitimized by censorship and surveillance, the true public realm is inside the home. On Places, architect Rudabeh Pakravan examines the spatial politics of satellite television in Iran, with a close look at "the satellite man" as an agent of change.

The Housing Question

2012-06-25T13:48:00-04:00

Foreclosed is controversial because it suggests that the state, or the public sector — conceived along with civil society in terms of multiple, overlapping, virtual and actual publics — might play a more active, direct and enlightened role in the provision of housing and, by extension, of education, health care and other infrastructures of daily life in the United States.... Simply put, can we no longer imagine architecture without developers?

Earlier this year Foreclosed: Rehousing the American Dream opened at MoMA in New York. The exhibition quickly became controversial, with some decrying it as elitist and paternalistic, others defending it as powerful and ambitious. On Places, Reinhold Martin, co-organizer of Foreclosed, and Raphael Sperry and Amit Price Patel, of Architects/Designers/Planners for Social Responsibility, continue the debate — in a virtual roundtable — along with IDEO.org fellow Liz Ogbu and urban planner Tom Angotti of Hunter College.

A New Belle-Lettrism and the Future of Criticism

2012-06-21T18:11:00-04:00

But despite the many and varied predictions of the death of criticism — of architecture as well as other forms of culture — it seems to me that a radical rethinking of critical practice might be prompted by the potentials of writing for online media, and that this rethinking might result in a new belle-lettrism.

How will the accelerating transition from print to digital publishing affect the practice of architecture criticism? On Places, Naomi Stead surveys the scene and is optimistic about the possibilities.

Zone: The Spatial Softwares of Extrastatecraft

2012-06-11T14:22:00-04:00

In the future the wisest zone entrepreneurs will question this central feature and ask: Why enclave? What types of incentivized urbanism will actually benefit from physically segregated infrastructure—from being separate and even distant from the dense and dynamic central spaces of existing cities? Given that the zone is now generating its own urban programs — aspiring to be a city—what economic and technical benefits can result from constructing what is in effect a double or shadow of the city?

On Places, Keller Easterling traces the global rise of The Zone -- "a.k.a., the Free Trade Zone, Foreign Trade Zone, Special Economic Zone, Export Processing Zone, or any of the dozens of variants." From pirate enclaves to Puerto Rico, from Shenzhen to Dubai, she interrogates the spatial logic of extrastate zones created to avoid national laws.

On the Aesthetic Potential of Sustainability

2012-06-04T13:45:00-04:00

So, to re-pose the question: what is the radical aesthetic consequence of the cultural desire for sustainable performance? Is it something that expresses itself in a set of formal rules, like the Modern response to the development of the steel frame? Or is it something — because it is essentially about performance — requiring entirely different means to fruition? Well, as with uncharted territory: here there be dragons.

In his latest essay for Places, David Heymann asks, "What is the 'radical aesthetic potential of sustainable design?" Drawing on examples from Leonardo to Duchamp to Peter Zumthor, Heymann explores the still unmet challenge — the "uncharted territory" — of developing a new aesthetic ideal inspired by the evolving technologies of sustainability.