In a lecture hall that sat a third empty due to the eclipsed "super blood moon" transpiring outside, Paul Goldberger discussed his new biography of Frank Gehry, "Building Art: The Life and Work of Frank Gehry" with J. Paul Getty Trust C.E.O. James Cuno at The Getty Center. Goldberger spent the...
From a super-sized cheese grater, to a contraceptive sponge, to an inadvertent fun house ride, the critics have thoroughly analogized the new Broad museum in mostly positive (if occasionally biting) reviews. To follow up with Amelia's review, published earlier today, we offer some other critical...
What is the role of creative exploration in architecture? From the L.A. Times to The New Republic, this question is very much on critical minds. In a piece entitled "How to Make Architecture Human," Anna Wiener reviews Witold Rybczynski's latest collection of essays, Mysteries of the Mall, which...
Taken out of its high-profile context, the BIG design for Two World Trade Center initially appears to be a graduate school placeholder: here are the initial seven blocks of program, with a light dusting of foliage on the exposed step-backs. The internet's critical reaction to the renderings...
Julia Ingalls spoke on the phone with Paul Goldberger about the relevance of criticism in the social media age. davvid was at least somewhat pleased "Its about time we start talking about this stuff. I'm not convinced that Goldberger has a good handle on it, but at least he's trying". Later...
These days, it is not just a woman who can never be too rich or too thin. You can say almost exactly the same thing about skyscrapers, or at least about the latest residential ones now going up in New York City, which are much taller, much thinner, and much, much more expensive than their predecessors. And almost every one of them seems built to be taller, thinner, and pricier than the one that came before. — vanityfair.com
Ever taller, ever thinner, the new condo towers racing skyward in Midtown Manhattan are breaking records for everything, including price. Sold for $95 million, the 96th floor of 432 Park Avenue will be the highest residence in the Western world. As shadows creep across Central Park, Paul Goldberger looks at the construction, architecture, and marketing of these super-luxury aeries, gauging their effect on the city’s future. — vanityfair.com
Goldberger addressed the disappearance of journalistic hegemony and the advent of electronic media. While mainstream publications with an ongoing commitment to architecture criticism continue to possess a degree of authority, they are struggling to make themselves heard in this noise. It is clear to Goldberger that “the playing field may be level, but the players are not equal.” — dirt.asla.org
The National Building Museum presents its fourteenth Vincent Scully Prize to Pulitzer Prize-winning architecture critic Paul Goldberger, for his lifetime work of encouraging thoughtful discourse and debate about the importance of design. — nbm.org
Why bother, then? It’s a key building in the history of structural engineering, and its unusual form, a poured-concrete cantilevered shell, has few if any equals in modern engineering. Almost nothing else looks like this building, and in a world of carbon-copy architecture, its loopy, futuristic curves are unique: a concrete rocket ship amid Chicago’s glass boxes. A little weird, yes, but the more you look at it, the more you like it. — vanityfair.com
Beginning on May 19th, people will see the Barnes collection not where Barnes intended it to be seen, but in a new building designed by the New York architects Tod Williams and Billie Tsien.
This building won’t please the absolutists, the people we should probably call Barnes fundamentalists, because nothing would please them short of a return to the way things were. But it really ought to please everybody else, because—to cut to the chase—the new Barnes is absolutely wonderful. — vanityfair.com
It is still far and away the greatest memorial of modern times—the most beautiful, the most heart-wrenching, the most subtle, and the most powerful. It’s also the most abstract, which makes it even more miraculous that it was built in a nation that generally prefers symbols more along the lines of the Lincoln Memorial. — Vanity Fair
Reacting to the news that The New Yorker's influential architecture critic Paul Goldberger, was moving to another magazine (although both are owned by Condé Nast) Vanity Fair, some have wondered whether Eulogies For Architecture Criticism (are) Not Far Behind...
But like so many landmarks, from the Parthenon to Penn Station, few endure. Starting today, Mr. Goldberger will board the notorious Condé Nast elevator, but instead of getting off on the 20th floor, he will report to work two floors up, where Graydon Carter has finally poached Mr. Goldberger for Vanity Fair. — New York Observer
Paul Goldberger leaves The New Yorker, partly to have more time to work on a biography of Frank Gehry, partly because he was not given enough chances to write for the magazine anymore. At Vanity Fair, he won't just be writing on architecture, but also "design-related" stories, too.
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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