Brooklynites might consider themselves lucky. In Manhattan, Madison Square Garden’s owners are renovating, spending nearly $1 billion. Judging from results so far, it won’t be enough. The Barclays Center is no Garden disaster, just an extraordinarily expensive lost opportunity. — bloomberg.com
For the latest Student Works feature Elif Erdine a PhD in Architectural Design Candidate at the AA, researching on ‘Generative Processes in Tower Design: Algorithms for the Integration of Tower Subsystems’, profiled Fallen Star an installation set between biomimetics, interaction, and perception.The project led drewjmcnamara to think "I am always amazed at the resources available to students at some schools. And then to see those resources actually being put to good use".
For the latest Student Works feature Elif Erdine a PhD in Architectural Design Candidate at the AA, researching on ‘Generative Processes in Tower Design: Algorithms for the Integration of Tower Subsystems’, profiled Fallen Star an installation set between biomimetics...
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
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...
But despite the many and varied predictions of the death of criticism — of architecture as well as other forms of culture — it seems to me that a radical rethinking of critical practice might be prompted by the potentials of writing for online media, and that this rethinking might result in a new belle-lettrism. — Places Journal
How will the accelerating transition from print to digital publishing affect the practice of architecture criticism? On Places, Naomi Stead surveys the scene and is optimistic about the possibilities.
I remember Poly Styrene, the singer from X-Ray Spex, and all her prophetic songs from the late 70s: "I Am A Poser," "Germ-Free Adolescents," "Prefabricated Icon," "Genetic Engineering." Take a look at architecture and people today and you realize that it all came true. — Vice Magazine
Architecture critics are in a particular bind. Like art critics but unlike, say, those of film, they must swim in the same social sea as their targets. Further, because useful architectural criticism requires experience of the design process, they must also be prepared to offend those by whom they might otherwise be employed. — theage.com.au
It is easy to see how Kimmelman’s resistance to conventional criticism can open the discussion of architecture to those outside of the field. But perhaps more importantly, it prompts critics, readers and architects who look to the Times to consider architecture as both a large-scale work of art, deserving of lofty theoretical contemplation, and an equally large-scale social intervention, deserving of anyone’s comments. — blogs.artinfo.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.
If you drove far enough, from Maine to Georgia, from the Midwest to Southern California, or simply from one end of Los Angeles to the other, you would start to notice that there were different ecologies, and that some were geographical and some were cultural, but that they intersected and collaged to form a vast, sprawling, layered network whose patterns were discernible only if you took the long view and just kept driving. — Places Journal
In an essay for Places, Gabrielle Esperdy (of American Road Trip) follows architectural critic Reyner Banham out of Los Angeles and out onto the open road, placing him in the tradition of European travelers, from de Tocqueville and Dickens to Alistair Cooke and Stephen Fry, whose observations...
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
Buildings are discussed — indeed aspects of them obsessed upon — but almost exclusively in the context of economics. This building went over budget, that surplus of houses led to the foreclosure crisis, that condo broke the record for residential real estate, etc. To the layman, then, architecture is conveyed as little more than something that costs a lot and causes a lot of grief, rather than something with the potential to enhance our daily lives. — New York Times
We are rarely roused by the day-to-day, brick-by-brick additions that have the most power to change our environment. We know what we already like but not how to describe it, or how to change it, or how to change our minds. We need to learn how to read a building, an urban plan, a developer’s rendering, and to see where critique might make a difference.... We need more critics — citizen critics — equipped with the desire and the vocabulary to remake the city. — Places Journal
Places features an essay from Alexandra Lange's new book Writing About Architecture: Mastering the Language of Buildings and Cities (Princeton Architectural Press, 2012). Lange takes on a classic text by Ada Louise Huxtable — a review of SOM’s 1967 Marine Midland Bank...
SUBMIT NEWS: submit in 60 seconds!