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Clean lines, white surfaces and indoor-outdoor living epitomise early modern architecture. Contrary to received wisdom, to Colomina this is less a machine aesthetic than a hospital aesthetic. Through the lens of disease, nervous disorders, sexuality and self-expression, Colomina’s fascinating interpretation of modern architecture suggests the motivating factors behind the architectural revolution were the need for health and cleanliness, hygiene and smooth, calming surfaces. — The Sydney Morning Herald
In light of her recently published book X-Ray Architecture, architectural historian Beatriz Colomina talks about the history of how illnesses shaped the clean aesthetics of 20th-century modern architecture. ‘‘In the 20th century architects from Le Corbusier to Mies van der Rohe to Alvar... View full entry
Though buildings are often symbols of permanence, as it may lend itself to the status of an icon for a city or an heirloom for a family, they can be rendered obsolete at any moment. According to Ruin and Redemption in Architecture, Dan Barasch's newest book published by Phaidon Books, abandoned... View full entry
In light of the recent Notre Dame Cathedral fire, many have posted photos and stories remembering the historic landmark across social media. As news of the fire's progression airs around the world, we can not help but stay optimistic for the cathedral's recovery. Although the public eye may be... View full entry
Archigram, the architectural studio known for its avant-garde theoretical projects, has sold their archive for £1.8 million to the soon-to-open M+ museum in Hong Kong. Set to open later this year, the museum designed by Herzog & de Meuron will focus on 20th and 21st century design and... View full entry
In “The Man in the Glass House,” Mark Lamster’s brisk, clear-eyed new biography of Johnson, we are asked to contemplate why the impresario of twentieth-century architecture descended into such a morass of far-right politics—and how, given the depths to which he fell, he managed to clamber his way not just out of it, but to the top. [...] Johnson managed to abjure his past and, on the march toward an exceptionally successful career, leave it behind. — The New Yorker
The New Yorker reviews the new Philip Johnson biography, The Man in the Glass House by architecture critic and professor Mark Lamster, and examines how Johnson eagerly embraced Fascism before WWII and still rose to great fame as America's iconic 20th-century architect. "Indeed, it is difficult... View full entry
In proposing his prototype 21st-century city, Spilhaus correctly diagnosed many of the shortcomings of the 20th-century one. He cottoned on early to concepts such as air pollution, even speculating that it was changing the Earth’s atmosphere. — The Guardian
The Minnesota Experimental City has been documented in the film The Experimental City. Watch the trailer below... View full entry
Out of the 1,171 architectural designs that Frank Lloyd Wright created in his lifetime, around 660 of them remained unbuilt. Using advanced visualization techniques, architect David Romero brings Wright's unbuilt designs one step closer to reality in a series of striking, computer-generated... View full entry
Portman was a pioneer of the devices with which somber modernism was given glitz: mirror-glass, wall-climbing glass lifts, sky bridges, swooping curves. He described some gaudy candelabra he put around a piano stage in the Atlanta Marriott Marquis as a “homage to Liberace”. His buildings became known for their “Jesus moments”, those times when, emerging from a deliberately understated entry into some architectural emulation of the Grand Canyon, a visitor would reliably exclaim, “Jesus!” — The Guardian
Rowan Moore pens a piece on the lasting impact of the late John Portman's other-worldly buildings in Atlanta, which were known for eliciting “Jesus moments” from surprised visitors and also described as “Disneyland for adults” by less-impressed critics. View full entry
For nearly two years, [Janna Ireland has] searched out buildings to photograph — mansions and housing projects, churches and banks designed by the Angeleno architect who died in 1980. [...] “I’m interested in stories about black people, and I’m interested in stories about Los Angeles. There’s an intersection there,” says Ireland, who grew up in Philadelphia. — Los Angeles Times
Mimi Zeiger profiles artist/photographer Janna Ireland, who has spent the last two years photographing the buildings of Paul R. Williams as a way to preserve his architectural legacy. “It has all of this psychological depth ... [Ireland's photos] don’t simply document the architectural... View full entry
For now, the austere structure—and everything it symbolizes about the African American experience—awaits for a buyer while it sits quietly in Guernsey’s storage facility in upstate New York. As of this writing, the home’s destiny looks promising if uncertain. “There are 1,500 monuments to the Confederacy, which is absurd,” Mendoza says. “There are 76 monuments to the civil rights movement. Let this be the 77th.” — Artnet
When Rosa Parks' Detroit home went up for auction a few weeks ago, the auction house Guernsey's struggled to find a buyer, despite the wide media attention the house has received. “If all else fails, theatre and visual artist Robert Wilson and his Watermill Art Foundation in Long Island, New... View full entry
Depending on who you ask, brutalist buildings like the FBI's J. Edgar Hoover Building in Washington, D.C., are little more than misshapen mounds of concrete. But architecture professor Mark Pasnik says the structures were built with a much deeper meaning in mind.
"People think of them as communistic or as alienating," says Pasnik, who came to brutalism's defense in a recent Boston Globe op-ed.
— wbur.org
Architecture professor Mark Pasnik makes the argument for preservation of brutalist buildings in an opinion piece for the Boston Globe. Pasnik's piece was in response to Trumps recent outcry to tear down the FBI headquarters. He explains the style's history of material honesty, along with reasons... View full entry
"Along with their monumental role in Rome's urban fabric, the architectural status of fountains has long been uncertain. It can be hard to determine when they ceased to be viewed as public water utilities, and came to be regarded as purely artistic objects." — Places Journal
In the same week in 2016, a group of tourists were denounced as trespassers for splashing around in one of Rome's historic fountains, while Fendi was praised for its tribute to Italy's artistic legacy by staging a fashion show across another. Anatole Tchikine is prompted by these contrasting... View full entry
How could an architect who had made the pursuit of lightness the essence of his design aspirations become one of the great form-givers of the aesthetics of weightiness? — Places Journal
In this rich examination of the work of Marcel Breuer, Barry Bergdoll explores the marked shifts between his early European and later American work, and finds a constant in the pursuit of lightness. In his efforts to reconcile vernacular traditions with modern expression and the conditions of... View full entry
For too long, the issues of gender, disability, and user-centeredness have been relegated to the far margins of architectural history. — Places Journal
Places columnist Barbara Penner uncovers a parallel narrative to the rise of flexible home design — often attributed to a handful of progressive postwar designers — in the history of home economics. She explores the flexible domestic spaces created by designers such as Lillian Moller... View full entry
During a time of heated debates on national borders, “Unbuilding Walls” — the German Pavilion now open at the 2018 Venice Biennale — revisits the era of the Berlin Wall, 28 years after it was dismantled. “Since February 5, 2018, the Wall that divided Germany for 28 years has been... View full entry
