Modern architecture, despite breaking with the past stylistically, nonetheless maintains this image of the gifted architect as a lone autonomous genius who overcomes gravity and prevails over his client [...]
Rather than an inner activity done in solitude, it has been found that people often discover their thoughts and ideas through interactions with others [...]
The centrality of collaboration in architecture is often overlooked in a culture celebrating and branding “starchitects.” — Lilith
Referring to recent statistics concerning women in architectural practice and the Denise Scott Brown Pritzker controversy, architect Esther Sperber calls for an overhaul of how we think about creativity and authorship in architecture. Her piece for Lilith, "Revising Our Ideas about...
Creativity was now the most valuable quality of all, ran Florida’s argument, “the decisive source of competitive advantage.” This made creative people into society’s “dominant class” — and companies that wished to harness their power would need to follow them wherever they went...
Every element of Florida’s argument infuriated our future correspondent. Was he suggesting planned bohemias? Built by governments? To attract businesses? — salon.com
Japanese architect Fumihiko Maki has gathered a throng of designers including Toyo Ito, Sou Fujimoto, Kengo Kuma and Riken Yamamoto to oppose the design of Zaha Hadid's 2020 Olympic Stadium in Tokyo.
Maki, who was awarded the Pritzker Prize in 1993, has organised a symposium where Japanese architects will protest against the scale of the proposed 80,000-seat stadium, which is set to become the main sporting venue for the 2020 Olympic and Paralympic games. — Dezeen
Art Critique Of Gramsci Monument: A Work in Public Space by Thomas Hirschhorn at Forest Houses, the Bronx, New York. — newcriterion.com
Thomas Hirschhorn’s Gramsci Monument, a temporary public art work sponsored by the Dia Foundation now on view at Forest Houses in the Bronx, reportedly cost $500,000 to construct.1 If you try accounting for its material costs in plywood, nails, tarps, and packing tape, and still come up...
And just as prisons in the U.S. are now designed to look not just secure and largely windowless but so nondescript that they practically disappear, architecture firms often coat their prison-design work in several layers of euphemism.
Prisons and jails become "correctional facilities." On the website of the large corporate firm HOK Architects, which designed the 1997 Twin Towers Correctional Facility in downtown L.A., they are tucked into a broader portfolio of "justice buildings." — latimes.com
“Louvers won’t work, they reflect light too,” he wrote in June in a blog comment on dallasnews, “and retrofitting on a 42 story building has never been tried and the makers say they would rip off in high winds prevalent in Dallas.”
An honest opinion, except that there is no such Barry Schwarz.
This post and others proved to be the work of Mike Snyder, long a fixture in the city and now a public relations executive who had been hired by the tower’s outside law firm. — nytimes.com
The vote came after Gehry presented the latest changes in the design, which included the restoration of bas-relief sculptures that had been eliminated in an earlier design and alterations in the statues of a young Dwight D. Eisenhower and of Eisenhower as president and World War II general. Excerpts from Eisenhower’s Guildhall Address, delivered after the allied victory in Europe and considered his most important speech, were also approved for the memorial. — articles.washingtonpost.com
"There are certainly critical voices that doubt the building’s value. These begin with that of MoMA itself . . . While others claim the AFAM should be preserved because it’s a great Modernist building, and therefore part of the MoMA collection, rather than its campus, no one has unequivocally answered the question of why it is so. The discourse as yet remains one of opinions asserted as imperatives: I love it / I never liked it / it must be saved / tear it down." — Design Observer (Places)
David Heymann in his critical article explores the deeper issues at play in the American Folk Art Museum controversy. As he mentions, the stances taken for or against the AFAM are clear, however; too much attention has been paid to the object itself and not to reality that it sits empty as a...
“Insofar as you have in mind a retroactive award of the prize to Ms. Scott Brown, the present jury cannot do so” -Peter Palumbo, the Pritzker chairman — NYT
The Hirshhorn Museum and Sculpture Garden on Wednesday finally abandoned its long-planned project to cover the museum’s interior courtyard in Washington D.C. with a distinctive, temporary inflatable bubble.
Citing financial uncertainties, Richard Kurin, the Smithsonian Institution’s under secretary for history, art and culture, made the announcement. He said outgoing director Richard Koshalek, who resigned last month after failing to receive full support for the bubble... — artsbeat.blogs.nytimes.com
The unbending axis of architectural apologetics made for Speer is a double one...This defense, of course, is exculpatory only if it fails to make any distinction within the field of this expression or to consider any integral relationship between form and function. The more outré defense of Speer insists that he is not simply tarred with modernism’s anti-classical brush but that he was an excellent architect, full stop. — The Nation
Richard Koshalek, the director of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden in Washington, said on Thursday that he was resigning after the board of trustees failed to reach a consensus on the future of a long-planned project to cover the museum’s interior courtyard with a temporary inflatable bubble. — artsbeat.blogs.nytimes.com
Lootah said the project is a complete glass, transparent structure resembling a huge window frame intended to highlight the attractions of the city so visitors can view the skyscrapers on Shaikh Zayed Road from one side — symbolising modern Dubai — while the other side of the frame will show the old Dubai landmarks of Deira, Umm Hurair and Karama.
“The electrical panoramic elevators will help visitors move through its facilities as if they are moving in the sky inside the glass frame,” — khaleejtimes.com
As some of you may remember, when the winner of the ThyssenKrupp Elevator Award was announced 3 years ago, there was quite a bit of controversy surrounding the selected winner. The winning entry, "Dubai Frame" by Fernando Donis of the Netherlands, was a 150m tall structure designed as a literal...
The specially appointed Holocaust Memorial Artist Selection Committee overwhelmingly favored Daniel Libeskind’s design for an 18-foot tall brushed stainless-steel memorial accompanied by a 40-foot walkway and memorial words etched in limestone. — dispatch.com
After a daylong meeting in which the panel heard extensive presentations from all three artists, Richard H. Finan, chairman of the Capitol Square Review and Advisory Board, which will make the final decision on the design, strongly opposed Libeskind’s proposal. He said a memorial with a Jewish...
Design contests are considered a springboard to personal success, but they are nevertheless an inexhaustible source of friction and entanglement, with recurrent complaints over defects and shortcomings, and even corruption. — haaretz.com
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