[...] part architect, part furniture designer, part product designer, part researcher, part landscape architect, and part Pied Piper of design, and the things he comes up with manage somehow to be at once charming and brash.
[...] shares not only the Eameses’ determination to be wide-ranging but also their fascination with technology, their interest in communication, and, most important of all, their passionate belief in the meaning of actually making things and in using materials in new ways. — vanityfair.com
Over the years, Trump has courted me, comforted me, criticized me and sent me a handful of sometimes-fawning letters and notes. I saved the correspondence. Wouldn't you? [...]
And the missives are telling. Combined with other things he's said and written, they show that Candidate Trump isn't all that different from Developer Trump. He remains a master media manipulator who can be charming, mercurial and vengeful. Only now he wants to be the most powerful man on earth. — Blair Kamin – Chicago Tribune
MCP: How would you characterize the President and First Lady’s architectural taste, as best as you can tell up to this point?
PG: Modern and refined. They like modern things quite genuinely. They do not want a traditional building... there’s a certain kind of, let’s say tailored modernism, that they respond best to. But they’re interested in a range of things, and they’re also very interested, as they should be, in somebody who they will feel comfortable talking to. — commonedge.org
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
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