"designed by famed architect Zaha Hadid whose signature style appears to be making some of the world's most f**kable buildings...like Georgia O'Keeffe of things you can walk inside...i guess maybe it is time things evened out a bit" - Jon Stewart — Daily Show
The creaky staircase was covered in plastic, as was the living room furniture, but the bones were still there: pressed paper wainscoting in the hall, thickly painted moldings. We often got in trouble for walking too loudly in our clompy shoes up to the top floor at night. — Alexandra Lange
Like one skyline perched on another, the latest mega-building by Rem Koolhaas towers over the starchitect playground of Rotterdam. But why was it even built? — theguardian.com
Today’s piece was going to be an op-ed column in the New York Times.
But they declined to publish what I supplied. Which was this... - Banksy — Better Out than In
Cornell University’s new architecture building designed by Rem Koolhaas’ Office of Metropolitan Architecture is a “disaster” says Cornell University architecture professor Jonathan Oschorn. “The code violations are egregious”, states Ochshorn. — businessofarchitecture.com
Far from being anchored in the local context, the project (the disastrous City of Culture of Galicia outside Santiago de Compostela, designed by Peter Eisenman) has decapitated Monte de Gaias and replaced it with a phony landscape with curves like those of a fun-fair roller coaster. These cynical intellectual manipulations cannot mask the reality of structures resembling supermarkets twisted about with algorithms and camouflaged with a thin veneer of granite (imported from Brasil!). — Uncube
Now that the exhibition has opened at the museum's Geffen Contemporary branch in Little Tokyo, where it will limp along through the middle of September as part of the Getty's Pacific Standard Time Presents series, it's clear that it is the product of an architectural ruling class in Los Angeles that is not so much dysfunctional as increasingly insular. — Christopher Hawthorne, LA Times
It might seem like a mismatch: the Dolans, veterans of many public brawls, against Kimmelman, an urbane trained pianist who previously wrote primarily about art. But such is the power of the Times when it’s given to a crusading voice. — NY Magazine
Renderings by Tappan Zee Constructors LLC, the team selected to design and build the bridge at a cost of $4 billion, show a structure crowned by 400-foot-high towers that look like insect antennae waving aimlessly in the wind.
Four pairs of masts tilt outward, from which cables splay to support the road deck. The towers are intended to form an iconic image, but they are just stumpy.
This is a site that deserves the magnificence of the Golden Gate Bridge. — bloomberg.com
Henry Hope Reed, an architecture critic and historian whose ardent opposition to modernism was purveyed in books, walking tours of New York City and a host of curmudgeonly barbs directed at advocates of the austere, the functional and unornamented in public buildings and spaces, died Wednesday at his home in Manhattan. He was 97. — nytimes.com
As it was Manhattan in New York nearly a century ago, China turns into a new stage in world architecture. The facts and figures behind Asian urban growth compared to Europe are incredible: it is five times faster, what took 100 years to happen in Europe has taken place here in just 20; it is also...
The shrinkage of daily newspapers and news and culture magazines has thinned the already slim ranks of architecture critics. While blogs and social media proliferate debate about architecture and design, many have fretted about the lack of a common dialogue around architecture and urbanism as defined by the work of leading critics. It turns out that architecture criticism is far from dead, however, as three established voices are finding new outlets with newspapers and national magazines. — archpaper.com
Analysis, rather than the promotion of starchitects, was her aim, and a prodigious amount of research underlies her early, punchy pronouncements as well as her late, magisterial style...Her death removes a passionate and particular voice from the shrinking ranks of full-time architecture critics, but also represents a loss of institutional memory for architecture culture...She didn’t offer compromise positions — The Nation
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