Can the field’s top minds change the way we think about a doomed housing project in Naples or the most abhorred skyscraper in Paris? Allow them to try. — The New York Times
Zaha Hadid, Norman Foster, Annabelle Selldorf, and (everyone's favorite) Daniel Libeskind are among the architects who sum up their thoughts on some of the most controversial buildings around the world. What's your take on these projects?More:Zaha Hadid, Piers Gough, other leading cultural figures...
It's bullshit. The golden ratio's aesthetic bona fides are an urban legend, a myth, a design unicorn. Many designers don't use it, and if they do, they vastly discount its importance. There's also no science to really back it up. Those who believe the golden ratio is the hidden math behind beauty are falling for a 150-year-old scam. — fastcodesign.com
The tax breaks, rent-control laws and building restrictions that make up zoning codes in many major cities require lawyers to decipher. Whether by design or effect, a housing regime that is intelligible only to highly trained professionals is one that spells endless power for owners and endless misery for tenants. Zoning codes must be simplified — quickly, radically and without mercy. — Al Jazeera
Women are architecture's original rebels. Over 120 years ago, they insisted that architecture schools and professional organisations open their doors to women, arguing that the field would thrive (or wither) according to the diversity of its students and practitioners...And yet despite this long history of challenging architecture to be inclusive, women have been given little credit for their contributions. — Al Jazeera
Despina Stratigakos, historian and University at Buffalo architecture professor highlights in her Opinion article how women in architecture have challenged and continue to challenge the deep-rooted patriarchy in the field of architecture throughout the past century. Although there is a growing...
Readers respond to a letter by Peggy Deamer, an architect, calling for less arrogance and more collaboration in architecture. [...]
It is not only the public that is fed up with this idea of The Architect, but also the profession itself. Having watched ourselves increasingly backed into the corner of aesthetic elitism, we are now more interested in models of practice that do away with the egos and the glamorous buildings they are associated with. — nytimes.com
Frank Gehry once said that if we didn’t have starchitects, architects (and architecture) wouldn’t be in the media at all. But this kind of coverage, even when positive, we don’t need. It perpetuates a Howard Roarkian image that makes most of us architects cringe — not the least because of the uber-capitalist, Ayn Rand alignment — and also deflates a more productive optimism within the profession that sees these arrogant acts as old school. — mobile.nytimes.com
Is it necessary to poll hundreds of coffee drinkers to determine that round tables "protect self-esteem for those...flying solo"? Or could an architect have come to the same determination by believing their impression that round tables work better in some environments than square tables, be it by observing patrons at a local cafe or in a public park, or by choosing a round table over a square one themselves? — archidose.blogspot.com
Architecture, the most public of endeavours, is practised by people who inhabit a smugly hermetic milieu which is cultish. If this sounds far-fetched just consider the way initiates of this cult describe outsiders as the lay public, lay writers and so on: it's the language of the priesthood. And like all cults its primary interest is its own interests, that is to say its survival, and the triumph of its values – which means building. — guardian.co.uk
IT has become fashionable in many architectural circles to declare the death of drawing. What has happened to our profession, and our art, to cause the supposed end of our most powerful means of conceptualizing and representing architecture?
The computer, of course. — nytimes.com
Architecture critics are in a particular bind. Like art critics but unlike, say, those of film, they must swim in the same social sea as their targets. Further, because useful architectural criticism requires experience of the design process, they must also be prepared to offend those by whom they might otherwise be employed. — theage.com.au
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