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![Louis Curtiss, Victor Beutner House, Kansas City, Missouri, 1911. [Photo by Nate Hofer]](https://archinect.gumlet.io/uploads/y3/y3ohxhzspiy95mpi.jpg?fit=crop&auto=compress%2Cformat&enlarge=true&w=514 "Louis Curtiss, Victor Beutner House, Kansas City, Missouri, 1911. [Photo by Nate Hofer]")
A dandy bedecked in flashy all-white outfits and a pince-nez, chain-smoking custom-made cigarettes that he ordered from a New York manufacturer in lots of 10,000... an early devotee of the motorcar, president of the local Automobile Club, and a notably fast and reckless driver... He paid his rent in gold coins, before moving to an opulently furnished, Oriental-themed downtown Kansas City apartment/studio building of his own design. — Places Journal
Why is Louis Curtiss so much less celebrated than Bernard Maybeck? On Places, Keith Eggener examines the career of the Kansas City architect, "designer of some of the earliest buildings in the world to employ caisson foundations, rolled steel columns and glass curtain-walls," who nonetheless... View full entry
Within the parameters of the building art there cannot be artists like Saul Bellow and Philip Roth or like Sidney Lumet and Woody Allen, who in books and movies probe the excruciating details of the Jewish encounter with American capitalism and lifestyle. Architecture cannot tell stories about one’s Jewish mother or one’s Jewish nose. Especially in the era of high modernism, architecture possessed limited expressive resources for detailed cultural critique. — Places Journal
Is there a type of Jewish architecture that unifies the work of Louis Kahn, Peter Eisenman, Frank Gehry, and Daniel Libeskind? Architectural historian Mitchell Schwarzer reviews Gaven Rosenfeld's ambitious book, Building After Auschwitz: Jewish Architecture and the Memory of the Holocaust, and... View full entry
In the last decade, much has been written about architecture for the greater good, and it would seem that the field, as a whole, is invested in bringing design to underserved communities. Yet all of this talk — at conferences, in the press, at universities — has focused hardly at all on how to put together a career in social design. — Places Journal
On Places, Virginia Tech graduate Will Holman gives an honest report of his experiences volunteering, studying and working at Arcosanti, Rural Studio, and Youth Build. Does the architecture profession need to do more to support young architects who take this path? View full entry
The truth I’m trying to present is one about site-specific forgetting. If our history is a history of forgetting how to remember the past, as I am arguing, then the city of Detroit is the engine of our conflicted deliverance. It’s the machinery we’ve used for particular acts of forgetting, each connected to the place and time where the forgetting got done. — Places Journal
This week on Places, two features by Detroit residents contextualize the city's ruins. In "The Forgetting Machine: Notes Toward a History of Detroit," Jerry Herron reflects on the decline of Hudson's and the improbable hopefulness of the retrofitted car park in the Michigan theater. He critiques... View full entry
We were able to meet the Grimms’ strict design requirements by employing a slender tower design of vertical cylindrical stems that are joined by intermittent outrigger beams with a reinforced space at the very top for Rapunzel’s long captivity. — Places Journal
This week, Places has a holiday series on fairy tale architecture. Participating firms — Bernheimer Architecture, Leven Betts, and Guy Nordenson and Associates — have selected favorite tales and produced works exploring the intimate relationship between the domestic structures of... View full entry
In landscape, legible intent is different for forms we perceive to be buildings than for forms we perceive to be sculptures, since in most cases (Gehry is the exception) before we ask, what is the architect’s purpose, we ask, what is the building’s purpose? This may be the single most profound difference between architectural and sculptural presence in landscape. — Places Journal
David Heymann analyzes the very different ways in which works of sculpture and works of architecture occupy the landscape. And he looks closely at a grain elevator, and shows how a form which we usually experience as a familiar and even neighborly presence can come to seem evil. The final... View full entry
![Occupy Wall Street, Day 60, November 15, 2011, after the police evicted protestors and cleaned the park. [Photo by David Shankbone]](https://archinect.gumlet.io/uploads/ci/ciolh18taz89mjaa.jpg?fit=crop&auto=compress%2Cformat&enlarge=true&w=514 "Occupy Wall Street, Day 60, November 15, 2011, after the police evicted protestors and cleaned the park. [Photo by David Shankbone]")
For if there is one abiding historical certainty it is that, eventually, things change. And they can be made to change. There is no such thing, however, as a revolutionary architecture. Nor does history ever simply start from scratch. Instead, post-revolutionary questions can be posed in advance to infrastructures that already exist.... to reinvent what used to be called housing, schools, hospitals, factories, and farms in a way that asks: What else must change for these changes to be possible? — Places Journal
Reinhold Martin argues that architects must plan for post-revolutionary conditions. A follow-up to his earlier essay for Places, "Occupy: What Architecture Can Do." View full entry
