From their studios, ateliers, film sets and kitchens — and even the White House — these are the people whose inventive spirits shaped the conversation this year. — nytimes.com
It certainly was an eventful career year for Alejandro Aravena (Pritzker Prize, Venice Biennale, et al.), and the ambitious Chilean's cultural footprint can be traced throughout a handful of our Archinect 2016 Year In Review posts:The top prize-winning architects of 2016How starchitect culture...
For a serious architect who has designed public housing in Dallas and a bridge in Slovenia, it may come as a surprise that Oana Stanescu’s best-known work is a 50-foot-high volcano that Kanye West ascended onstage during his grandiose Yeezus tour...Along with Dong-Ping Wong, her partner in the West Village architectural firm Family, Ms. Stanescu is making a name for herself in design circles for her ability to merge pop culture with utilitarian design. — The New York Times
Over at the Los Angeles Times, Christopher Hawthorne eloquently pans the new addition to the 405 freeway, noting that "The expanded 405 might be the first L.A. freeway project to look haggard and disjointed the day it opened." His review comes at a time when infrastructure, especially in...
The exhibition recalls an earlier era when architects there believed that social challenges should be tackled by design, that humane societies deserved beautiful new forms, and progressive development put faith in art, nature and the resilience of ordinary people. — Michael Kimmelman, New York Times
Michael Kimmelman of The New York Times wrote a review on the recent MoMA exhibit, ‘Latin America in Construction: Architecture 1955-1980’. The exhibit highlights the work of Oscar Niemeyer, Lina Bo Bardi, Eladio Dieste, Rogelio Salmona and others who helped define Latin American modern...
The strategy, she said, is “minimum intervention.” The point is to preserve the objects and buildings, not beautify them. Every year, as more survivors die, the work becomes more important. “Within 20 years, there will be only these objects speaking for this place,” she said. — New York Times
Until the advent of cable television and then the Internet, Latin Americans, creators and consumers alike, were often more aware of trends in Europe and the United States than in nations neighboring theirs: Whatever similarities in style that emerged regionally were largely the result of discrete, parallel responses to the challenges of urbanization, poverty and the need to somehow integrate modernity and tradition. — The New York Times
Midcentury architecture and design from the Latin America region seems to be a trend in recent exhibitions in MoMA, MAD, and Americas Society in New York. New York Times writer Larry Rohter compares and contrasts the exhibitions, which shed light on the all-too-familiar tension of integrating...
Architecture, of the capital “A” variety, is exceptionally capable of creating signature pieces, glorious one-offs. We’re brilliant at devising sublime (or bombastic) structures for a global elite who share our values. We seem increasingly incapable, however, of creating artful, harmonious work that resonates with a broad swath of the general population [...]
We’ve taught generations of architects to speak out as artists, but we haven’t taught them how to listen. — nytimes.com
Architecture, however, is a social art, rather than a personal one, a reflection of a society and its values rather than a medium of individual expression. So it’s a problem when the prevailing trend is one of franchises, particularly those of the globe-trotters: Renzo, Rem, Zaha and Frank.
It’s exciting to bring high-powered architects in from outside... But in the long run it’s wiser to nurture local talent; instead of starchitects, locatects. — tmagazine.blogs.nytimes.com
MAS is proud to announce that Michael Kimmelman, architecture critic of The New York Times, has been named the winner of the 2014 Brendan Gill Prize. [...]
The jury singled out Kimmelman’s exceptional coverage of the challenges posed by an overstressed Penn Station, challenging New Yorkers and their regional neighbors to no longer settle for anything less than planning and design excellence that befits the busiest transportation hub in North America. — The Municipal Art Society of New York
Any definitive insight into the formative stages of Roman architectural hubris lies irretrievable beneath layers of the city’s repeated renovations through the time of caesars, popes and the Renaissance [...] Now, at excavations 11 miles east of Rome’s city center, archaeologists think they are catching a glimpse of Roman tastes in monumental architecture much earlier than previously thought, about 300 years before the Colosseum. — nytimes.com
The New York Times recently reported on the ongoing excavations of Roman monumental remnants from the city's pre-Colosseum era at the Gabii digging site not far from the capital. Since last summer, a team of archaeologists and University of Michigan students led by classical studies...
“Ultimately people can’t get around conveniently because they are far away from everything.” And it is this observation that for me epitomizes the problem of the driverless car — it’s the worst kind of solutionism. By becoming so enamored with how technology might transform the car, we’ve neglected to adequately explore how getting rid of cars might transform how and where we live. We’d do well to heed Gorz’s exhortation to “never make transportation an issue by itself.” — opinionator.blogs.nytimes.com
It's a given that America continues to be a car-obsessed society despite the more painstaking reality of driving a car in many major cities of today. In The New York Times, editor Allison Arieff of SPUR points out that the U.S. is still fixated on selling, using and enhancing the car when...
This puzzle appeared in the October 7 issue of T Design (page 60) in The New York Times. — blog.dwr.com
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
Mr. Landman views these attempts at defining the critic’s frame of reference — Kimmelman-style and Scott-style — as entirely appropriate. Critics, he said, are not supposed to be objective; they are free to champion certain kinds of work. They are “free to like or dislike anyone or anything.” — NYT
Arthur S. Brisbane, (the Public Editor) provides some insight into the workings of the NYT Arts section. He spoke with Jonathan Landman, The Times’s culture editor, in an effort to better understand the rules that The Times plays by. Specifically, when it comes to the New York...
Michael Kimmelman is not a very good architecture critic, at least that is what some of his critics would have you believe. As invigorating as his first few columns championing urbanism and public design were, the whole thrust has devolved into a sort of schtick, whereby every article is about the greatness of cities, and barely about architecture.
Michael Kimmelman knows this. — observer.com
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