The architect, who implicitly exempted himself from that 98%, might have been arrogant, but that doesn’t mean he wasn’t right.
[...] many if not most buildings are the work of contractors, not architects, and that this has been and will likely always be the case. Unfortunately, architectural education and criticism tends to focus on important buildings at the expense of the common and ordinary. — forbes.com
“It’s not so bad,” offered an architect who has a window facing the building.
Alas, it is.
Like the corporate campus and plaza it shares, 1 World Trade speaks volumes about political opportunism, outmoded thinking and upside-down urban priorities. It’s what happens when a commercial developer is pretty much handed the keys to the castle. — The New York Times
In Screen/Print #26: an interview with Jessica Walsh, currently half of design firm Sagmeister & Walsh, was excerpted, from the 2nd issue of Intern Magazine (devoted to "intern culture" in the creative industries). Darkman was confused "Strange choice to interview the most hated...
The crowd fell silent as the Great Gehry replied by slowly curling his hand into a fist and extending his middle finger towards the sky. The moderator asked for the next question. But Gehry was not finished, according to El Mundo (translated back into English by our own Jesus Diaz): — gizmodo.com
Let me tell you one thing. In this world we are living in, 98 percent of everything that is built and designed today is pure shit. There's no sense of design, no respect for humanity or for anything else. They are damn buildings and that's it. Once in a while, however, there's a small group of...
Let's start with the building itself, the actual architecture. Union Station is a neo-classical mix of styles — European styles. The symmetry, arched windows, ornate cornice and stacked, stone walls have their roots in the glory days of France, England, Greece and Rome, in empires that were nearly absent of ethnic minorities and who felt fully at ease invading, exploiting and actually enslaving the people of Africa, subcontinent Asia and South America. — denverpost.com
The critic Martin Filler has acknowledged a significant error in a scathing article he wrote for the New York Review of Books about the architect Zaha Hadid. — artsbeat.blogs.nytimes.com
Full statement to New York Review of Books...In my review of Rowan Moore’s “Why We Build: Power and Desire in Architecture,” I quoted comments by the architect Zaha Hadid, who designed the Al Wakrah stadium in Qatar, when she was asked in London in February 2014 about revelations a week...
Hadid, who was born in Baghdad and is now a British citizen, claimed that Filler falsely implied she was indifferent to the alleged difficult working conditions of migrant workers on high-profile construction projects in the Middle East, including her own.
She also claimed Filler used large portions of his June 5 review of Rowan Moore's "Why We Build: Power and Desire in Architecture" to question her success and fault her personality, although she was not a prominent character in the book. — whtc.com
New to Archinect, Julia Ingalls penned an essay, titled Material Witness: Insanity in the walls of '"True Detective" and "Twin Peaks". Olaf Design Ninja_ offered a complement "A good visceral read like a true detective watch...This would almost suggest the inert quality of this line between...
For the nineteenth edition of Screen/Print, Archinect excerpted from a new collection of essays titled Chicagoisms. - vado retro had a complaint "ragged right is, well, raggedy. widows and orphans galore. who did this page layout? it is not good"...
Terri Peters penned a review of Rem's Venice Biennale. Therein, she wrote "The exhibition encourages dialogue, and feels like an exhibition of architectural research, not a survey of new trends in architecture". For the nineteenth edition of Screen/Print, Archinect excerpted from a new...
Brutalism, a muscular and monumental architectural style known for its unsparing use of cast concrete, has grown old enough since its heyday in the fifties, sixties, and seventies to have aged badly, but not old enough to inspire much sympathy. The austere, domineering artifacts of its philosophies now face widespread enmity; a number of institutions, with varying degrees of exertion, have sought in recent years to replace their Brutalist inheritances with practically anything else. — theawl.com
Obscene was the Venice Biennale of Rem Koolhass
On one side the fetishism of the industrial products and components (Italian International Pavilion) and on the other the celebration of the political failure of the world… as a naive agitprop able to wrap the architect with politically correct conscientiousness… self-complaisance for this comfortable dualism. — new-territories.com
We are in the pursuit of the diagrammatic hoax he himself promoted 20 years ago, same arrogance of reductionism to avoid embracing and gathering complexity in a productive way, in an aesthetic way, for a critical production, not for a simulation of a critical behavior… sponsored by Rolex.
His writing has a patient, deliberate quality that is rare at a moment when the dominant medium of architectural discourse is Twitter. Perhaps this is why Mr. Rybczynski, despite himself, is suddenly all the rage. — nytimes.com
News Dave Heller spoke with Inga Saffron about not just architecture but "city life criticism". Evan Chakroff asked for tips "Has anyone compiled a good 'top ten' of her articles?" Quondam replied "Links to Saffron's articles appear almost weekly within ArchNewsNow's daily collection of...
Inga Saffron, who writes the "Changing Skyline" column for the Philadelphia Inquirer, won the Pulitzer Prize for criticism this week.
She talks with Dave Heller about the state of criticism today, and the changing attitudes towards cities. — newsworks.org
His work is badly constructed, ravey-balls hair metal, a C.C. DeVille guitar solo that cannot—will not—end until the billionaire clients who keep paying for this shit can be stopped. — gizmodo.com
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