One of the real challenges, since we’re working in so many places—Mexico, Japan, Brazil—is understanding variations, both in terms of culture and context. It’s important to understand differences in scale and environment.
— Architectural Digest
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Kind of a no-depth interview with cookie-cutter questions and no follow-up. The last question, about Meier's Judaism was the most interesting for me. Meier is less than a generation 20 odd years past ww2 when Jews were not 'acceptable' to NY AIA. I think Emery Roth was the first Jew who joined 'the AIA club' and that on the insistence from a non-Jewish member who threatened to quit.
I heard the story from a long time ago. Anyone know more details?
cyclone> .I dont remember that. But at one time (maybe still) Architectural Digest was the best paying design magazine. Many good writers including prof Vincent Scully wrote for them. My ex-wife worked every year on the annual Hollywood series, btw the publication's best selling issues.
But you are right. Not much hard-journalism there. They are better with historical pieces.
its been some time since i visited but i didn't dislike the getty center although i thought that i might . i positively liked some bits , some bits that i didn't especially where there was too counterintuitive rigid formalism (i recall this feeling around the frontal plaza space for some reason - of course, i didnt take pictures as usual so i can't analyze this). however, and maybe despite itself in some parts, its a nice casual sort of building. but really what made the experience much better was the landscaping, Robert Irwin..right? beautiful palette of colours. so in a way, the architecture was a generally pleasant backdrop to the landscape.
i personally find richard meier's architecture rather strange and in an interesting (static) position. there obviously is something to criticize in his choice to restrict himself to a specific formal and material language which may suggest that his architecture as being either dictated by a (inherently difficult) ideology (as a stubborn modernism) or, in complete contradiction to that, an architecture that has learnt/developed/discovered itself to be consummately easy and pleasant, catering to an affluent contemporary upper classand their aspirations and lifestyle. is modernism that has been traditionalized/vernacularized?
The Getty's landscape is what saves it from being irrelevant as a museum, in my opinion. Frankly, the landscape and the site is what it has going for it.
From the 405, you look up and it looks like an Irvine office park (down to the choice of material) perched up on the hills.
May 12, 13 1:34 pm ·
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8 Comments
Kind of a no-depth interview with cookie-cutter questions and no follow-up. The last question, about Meier's Judaism was the most interesting for me. Meier is less than a generation 20 odd years past ww2 when Jews were not 'acceptable' to NY AIA. I think Emery Roth was the first Jew who joined 'the AIA club' and that on the insistence from a non-Jewish member who threatened to quit.
I heard the story from a long time ago. Anyone know more details?
eric chavkin
I think the last bit of hard hitting journalism I read in Architectural Digest was about whether or not chintz was 'in'
oh, and the one about new uses for blue
then there was that one about the designer that re-did their own house in florida
or was it in manhattan?
I forget
but you remember, right?
cyclone> .I dont remember that. But at one time (maybe still) Architectural Digest was the best paying design magazine. Many good writers including prof Vincent Scully wrote for them. My ex-wife worked every year on the annual Hollywood series, btw the publication's best selling issues.
But you are right. Not much hard-journalism there. They are better with historical pieces.
eric chavkin
They should have asked him why they did such a crappy job of the Getty Center
its been some time since i visited but i didn't dislike the getty center although i thought that i might . i positively liked some bits , some bits that i didn't especially where there was too counterintuitive rigid formalism (i recall this feeling around the frontal plaza space for some reason - of course, i didnt take pictures as usual so i can't analyze this). however, and maybe despite itself in some parts, its a nice casual sort of building. but really what made the experience much better was the landscaping, Robert Irwin..right? beautiful palette of colours. so in a way, the architecture was a generally pleasant backdrop to the landscape.
i personally find richard meier's architecture rather strange and in an interesting (static) position. there obviously is something to criticize in his choice to restrict himself to a specific formal and material language which may suggest that his architecture as being either dictated by a (inherently difficult) ideology (as a stubborn modernism) or, in complete contradiction to that, an architecture that has learnt/developed/discovered itself to be consummately easy and pleasant, catering to an affluent contemporary upper classand their aspirations and lifestyle. is modernism that has been traditionalized/vernacularized?
Robert Irwin!
eerrrrrwin. weird name. errrrrwin.
have you ever seen meier's little book of collages? its very nice. worth a look.
The Getty's landscape is what saves it from being irrelevant as a museum, in my opinion. Frankly, the landscape and the site is what it has going for it.
From the 405, you look up and it looks like an Irvine office park (down to the choice of material) perched up on the hills.
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