Book Briefs #38: Houses

“Book Briefs” are an ongoing series of posts with short first-hand descriptions of some of the numerous books that make their way into my library. These briefs are not full-blown reviews (though some might go on to get that treatment), but they are a way to share more books worthy of attention than find their way into reviews on this blog. This installment features five coffee table books on contemporary single-family houses.

Architects’ Houses by Michael Webb | Princeton Architectural Press | 2018 | Amazon
Nearly ten years ago I stumbled upon a used copy of Taschen’s huge 100 Houses for 100 Architects, which highlights just what the title says: houses architects designed for themselves. Since then I’ve had a soft spot for such autobiographical residences, having composed a long feature at World-Architects, “Architects House Themselves.” Architects’ Houses is the latest addition to this literature, in which Michael Webb presents 31 houses by more than 30 architects (many were designed by husband-and-wife architects). It starts with Norman Foster’s little-known house in the South of France and ends with Günther Domenig’s relatively famous concrete expressionism in Austria. In between are houses on six continents that are all modern yet highly idiosyncratic; it’s hard to imagine most of these houses jumping off the drawing board if the clients weren’t the architects themselves. As a bonus, Webb has an essay in the middle of the book with pre-contemporary examples of architects’ houses and a directory at the back of the book with information on those open to the public.

Casa Moderna: Latin American Living by Philip Jodidio | Thames & Hudson | 2018 | Amazon
When I included Radical: 50 Latin American Architectures in a Book Brief earlier this year, I commented on how the 50 projects were mainly drawn from architects in three countries. The same can be said of Casa Moderna, which highlights 38 houses in Latin America, with 11 located in Chile, 10 in Mexico, and 8 in Brazil (6 other countries fill out the balance). The book can be seen as arising from the attention directed toward Latin America recently, primarily through the MoMA exhibition in 2015, Latin America in Construction, and Chile’s Alejandro Aravena, who won the Pritzker Prize in 2016 and curated the Venice Architecture Biennale the same year (ironically, given his work with housing for poor people, he does not have a house in this book). Jodidio, “the scribe of contemporary architecture,” groups the houses into chapters defined by their sites: high ground, cities, the tropics, coasts, and forests. But more than context, what comes across is how Latin American architects are masterful at manipulating modern, rectilinear boxes to create sumptuous spaces that take advantage of their natural surroundings.

House Equanimity – Masterpiece Series by Joseph N. Biondo | Oscar Riera Ojeda Publishers | 2018 | Amazon
Many moons ago, publisher Oscar Riera Ojeda edited a “Single Building Series” with book-length case studies on such houses as Bohlin Cywinski Jackson’s Ledge House and and Vincent James’s Type/Variant House. The appeal of delving deeply into the design of houses through sketches, drawings, models, construction photos and finished photography continues decades later, assuming this new book devoted to Joseph N. Biondo’s Equanimity House is not alone. Biondo, a partner at Spillman Farmer Architects, built a house for himself and his family not far from Bethlehem, Pennsylvania, where SFA is located and has realized a number of projects, including the ArtsQuest Center. As in that project, also designed by Biondo, the architect’s own house (which could easily be in Webb’s book above) is a deceptively simple box with a heart of concrete. Rooted in the area’s history as well as its suburban site, the two-story (plus basement) modern house appears to float above the sloped landscape, an effect accentuated by the blue fiber-cement panels across the top floor. Although the concrete is exposed on the interior, the living spaces are far from cold, with selective wood surfaces and wood window frames signaling the influence of Louis I. Kahn.

Hudson Modern: Residential Landscapes by David Sokol | The Monacelli Press | 2018 | Amazon
When considering the country residences of New York City residents, the Hamptons and other parts of Long Island usually get all the attention. But what about the Hudson River Valley, an area removed from the ocean and beaches but full of natural beauty? It’s an area that journalist David Sokol hones in on, presenting seventeen houses that are broken up by three conversations with clients and architects. The book’s subtitle, “Residential Landscapes,” points to the book’s main theme: how do the houses relate to and sit upon their properties? Considering that most of these houses, even the most diminutive ones, are on multi-acre sites, it’s a fitting tactic for telling the stories of the houses, their designers, and often their residents (not surprisingly, sometimes architect and owner are one). The theme extends to the book design (by over,under), which includes one-page site plans drawn on color backgrounds that are coded to each house.

The Iconic House: Architectural Masterworks Since 1900 by Dominic Bradbury with photographs by Richard Powers | Thames & Hudson | 2018 | Amazon
Of the handful of books presented in this Book Brief, The Iconic House packs the most into its pages. As a “compact and updated edition” of the 2009 book of the same name, The Iconic House presents 83 houses completed from 1900 to 2012. (Best I can tell, there are only three houses added from the nine years between editions.) Twenty of the 83 houses are sidebars accompanying the 20-page introduction, but the rest are given either two, four or six pages with photographs, floor plans and text so small the words are just barely legible. The plans, drawn and labeled consistently if not all at the same scale (they’re as big as they can be on the page below the photos), are most helpful – and they are a bit of a surprise given the small real estate for the roughly 9-inch square book (the 2009 original was a couple inches bigger in both directions). It’s great to have 63 icons of modern residential architecture, all with floor plans and all in one place.

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Today’s archidose #1016

Here are some photos of the Fjordenhus (2018) in Vejle, Denmark, by Sebastian Behmann with Studio Olafur Eliasson. (Photographs by Ken Lee.)

The Fjordenhus, Vejle, Denmark
The Fjordenhus, Vejle, Denmark
The Fjordenhus, Vejle, Denmark
The Fjordenhus, Vejle, Denmark

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Book Review: Michigan Modern

Michigan Modern: An Architectural Legacy by Brian D. Conway with photographs by James Haefner
Visual Profile Books, 2018
Hardcover, 300 pages


[Eero Saarinen’s General Motors Technical Center (1956) graces the cover.]

When thinking “modern architecture” what places come to mind? In the United States, at least, it’s probably the Chicago Loop’s commercial architecture, or Southern California’s residential architecture, or even Columbus, Indiana’s surprising density of modern architecture of all types. But Michigan? Most likely that doesn’t bubble to the top. Yet even a cursory glance at this lovely coffee table book of 34 buildings in Michigan from the late 1920s to earlier this decade reveals that is a huge oversight. The state — or at least concentrated portions of its southern half — is crammed with some amazing modern architecture.


[Frank Lloyd Wright’s Dorothy Turkel House (1957) is one of the book’s many highlights.]

Michigan Modern is the joint creation of Brian D. Conway, of Michigan’s State Historic Preservation Office, and photographer James Haefner. The duo has documented each project with, respectively, descriptions on the history and design of the buildings and photographs of both exteriors and interiors. Conway’s descriptions are heavy on history, both of the personalities behind the buildings and the situations of each project. In turn, Haefner’s photos do a lot of the work in conveying the character and quality of each building, complementing Conway’s few words on the designs. Although there are some gaps between the two contributions (e.g. Conway describes how Alden B. Dow designed the Ashmun House around the client’s piano, but that seemingly important feature is missing from the photos), the two work together very well to capture the state’ homegrown modernism. (My only other quibble with the book, my main one actually, is the difficulty in reading Conway’s descriptions, given the thin, narrow sans-serif font set in a small type size.)


[William Kessler’s W. Hawkins Ferry House (1964) is just one building in the book little known to people outside of Michigan — until now.]

Before the 34 building presentations by Conway and Haefner, Alan Hess’s essay “Fertile Ground: Michigan’s Modernist Revolution” puts the state’s modern architecture into a larger national and international context. He touches on the importance of the automobile industry and highlights the architects who worked in Michigan last century: Eliel and Eero Saarinen and Minoru Yamasaki mainly, but also lesser-known architects Alden Dow and William Kessler, among others. For me, two of the book’s biggest highlights are buildings by architects who happened to emigrate to Michigan from Europe: Oskar Stonorov’s UAW Family Education Center (1970, now UAW Black Lake Conference Center) near the UP, and Gunnar Birkerts’ Allan and Alene Smith Law Library Addition (1981) in Ann Arbor.

Considering these two buildings alongside two of the three 21st-century buildings in the book, both designed by architects outside of Michigan (a house by California’s Anderson Anderson Architecture and a museum by London’s Zaha Hadid Architects) points to the openness of the state but also hints at the transient nature of architects who have worked and were educated in Michigan. Kevin Roche, for instance, worked for Eero Saarinen and led the architect’s successor firm but ended up moving to the East Coast. And I imagine that most architects who train at the Cranbrook Academy of Art venture outside the state to set up their practices. While these thoughts point to an interesting situation for Michigan’s architectural profession this century, Michigan Modern persuasively argues for the importance of the state’s modern architecture alongside Chicago, Los Angeles, and other epicenters of Modernism in America.

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Book Review: Michigan Modern

Michigan Modern: An Architectural Legacy by Brian D. Conway with photographs by James Haefner
Visual Profile Books, 2018
Hardcover, 300 pages


[Eero Saarinen’s General Motors Technical Center (1956) graces the cover.]

When thinking “modern architecture” what places come to mind? In the United States, at least, it’s probably the Chicago Loop’s commercial architecture, or Southern California’s residential architecture, or even Columbus, Indiana’s surprising density of modern architecture of all types. But Michigan? Most likely that doesn’t bubble to the top. Yet even a cursory glance at this lovely coffee table book of 34 buildings in Michigan from the late 1920s to earlier this decade reveals that is a huge oversight. The state — or at least concentrated portions of its southern half — is crammed with some amazing modern architecture.


[Frank Lloyd Wright’s Dorothy Turkel House (1957) is one of the book’s many highlights.]

Michigan Modern is the joint creation of Brian D. Conway, of Michigan’s State Historic Preservation Office, and photographer James Haefner. The duo has documented each project with, respectively, descriptions on the history and design of the buildings and photographs of both exteriors and interiors. Conway’s descriptions are heavy on history, both of the personalities behind the buildings and the situations of each project. In turn, Haefner’s photos do a lot of the work in conveying the character and quality of each building, complementing Conway’s few words on the designs. Although there are some gaps between the two contributions (e.g. Conway describes how Alden B. Dow designed the Ashmun House around the client’s piano, but that seemingly important feature is missing from the photos), the two work together very well to capture the state’ homegrown modernism. (My only other quibble with the book, my main one actually, is the difficulty in reading Conway’s descriptions, given the thin, narrow sans-serif font set in a small type size.)


[William Kessler’s W. Hawkins Ferry House (1964) is just one building in the book little known to people outside of Michigan — until now.]

Before the 34 building presentations by Conway and Haefner, Alan Hess’s essay “Fertile Ground: Michigan’s Modernist Revolution” puts the state’s modern architecture into a larger national and international context. He touches on the importance of the automobile industry and highlights the architects who worked in Michigan last century: Eliel and Eero Saarinen and Minoru Yamasaki mainly, but also lesser-known architects Alden Dow and William Kessler, among others. For me, two of the book’s biggest highlights are buildings by architects who happened to emigrate to Michigan from Europe: Oskar Stonorov’s UAW Family Education Center (1970, now UAW Black Lake Conference Center) near the UP, and Gunnar Birkerts’ Allan and Alene Smith Law Library Addition (1981) in Ann Arbor.

Considering these two buildings alongside two of the three 21st-century buildings in the book, both designed by architects outside of Michigan (a house by California’s Anderson Anderson Architecture and a museum by London’s Zaha Hadid Architects) points to the openness of the state but also hints at the transient nature of architects who have worked and were educated in Michigan. Kevin Roche, for instance, worked for Eero Saarinen and led the architect’s successor firm but ended up moving to the East Coast. And I imagine that most architects who train at the Cranbrook Academy of Art venture outside the state to set up their practices. While these thoughts point to an interesting situation for Michigan’s architectural profession this century, Michigan Modern persuasively argues for the importance of the state’s modern architecture alongside Chicago, Los Angeles, and other epicenters of Modernism in America.

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Book Review: Michigan Modern

Michigan Modern: An Architectural Legacy by Brian D. Conway with photographs by James Haefner
Visual Profile Books, 2018
Hardcover, 300 pages


[Eero Saarinen’s General Motors Technical Center (1956) graces the cover.]

When thinking “modern architecture” what places come to mind? In the United States, at least, it’s probably the Chicago Loop’s commercial architecture, or Southern California’s residential architecture, or even Columbus, Indiana’s surprising density of modern architecture of all types. But Michigan? Most likely that doesn’t bubble to the top. Yet even a cursory glance at this lovely coffee table book of 34 buildings in Michigan from the late 1920s to earlier this decade reveals that is a huge oversight. The state — or at least concentrated portions of its southern half — is crammed with some amazing modern architecture.


[Frank Lloyd Wright’s Dorothy Turkel House (1957) is one of the book’s many highlights.]

Michigan Modern is the joint creation of Brian D. Conway, of Michigan’s State Historic Preservation Office, and photographer James Haefner. The duo has documented each project with, respectively, descriptions on the history and design of the buildings and photographs of both exteriors and interiors. Conway’s descriptions are heavy on history, both of the personalities behind the buildings and the situations of each project. In turn, Haefner’s photos do a lot of the work in conveying the character and quality of each building, complementing Conway’s few words on the designs. Although there are some gaps between the two contributions (e.g. Conway describes how Alden B. Dow designed the Ashmun House around the client’s piano, but that seemingly important feature is missing from the photos), the two work together very well to capture the state’ homegrown modernism. (My only other quibble with the book, my main one actually, is the difficulty in reading Conway’s descriptions, given the thin, narrow sans-serif font set in a small type size.)


[William Kessler’s W. Hawkins Ferry House (1964) is just one building in the book little known to people outside of Michigan — until now.]

Before the 34 building presentations by Conway and Haefner, Alan Hess’s essay “Fertile Ground: Michigan’s Modernist Revolution” puts the state’s modern architecture into a larger national and international context. He touches on the importance of the automobile industry and highlights the architects who worked in Michigan last century: Eliel and Eero Saarinen and Minoru Yamasaki mainly, but also lesser-known architects Alden Dow and William Kessler, among others. For me, two of the book’s biggest highlights are buildings by architects who happened to emigrate to Michigan from Europe: Oskar Stonorov’s UAW Family Education Center (1970, now UAW Black Lake Conference Center) near the UP, and Gunnar Birkerts’ Allan and Alene Smith Law Library Addition (1981) in Ann Arbor.

Considering these two buildings alongside two of the three 21st-century buildings in the book, both designed by architects outside of Michigan (a house by California’s Anderson Anderson Architecture and a museum by London’s Zaha Hadid Architects) points to the openness of the state but also hints at the transient nature of architects who have worked and were educated in Michigan. Kevin Roche, for instance, worked for Eero Saarinen and led the architect’s successor firm but ended up moving to the East Coast. And I imagine that most architects who train at the Cranbrook Academy of Art venture outside the state to set up their practices. While these thoughts point to an interesting situation for Michigan’s architectural profession this century, Michigan Modern persuasively argues for the importance of the state’s modern architecture alongside Chicago, Los Angeles, and other epicenters of Modernism in America.

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Behemoth of the Moment

It’s been six years since Phaidon released one of their gargantuan architectural atlases, meaning the publisher was overdue for yet another one. In 2004 they released the first, the Phaidon Atlas of Contemporary World Architecture; four years later came the Phaidon Atlas of 21st Century World Architecture; and in 2012 they released 20th Century World Architecture. Another atlas should have come out in 2016 to stick with the every-four-years time span. Instead, we get Atlas of Brutalist Architecture, which comes out next month.


[Images via Phaidon]

As boasted by Phaidon:

This is the only book to thoroughly document the world’s finest examples of Brutalist architecture. More than 850 buildings – existing and demolished, classic and contemporary – are organized geographically into nine continental regions.

878 Buildings, 798 Architects, 102 Countries, 9 World Regions, 1 Style BRUTALISM


These spreads give a sense of what’s inside the atlas – lots of photographs and a little bit of text – but the video below best gives a sense of the book’s size.

So how does Phaidon define “brutalist” and therefore determine what buildings are included? I haven’t seen the book so I can’t say for sure. But the architects listed on Phaidon’s website, both from the 20th century (Marcel Breuer, Lina Bo Bardi, Le Corbusier, Carlo Scarpa, Ernö Goldfinger, Frank Lloyd Wright, Louis Kahn, Oscar Niemeyer, Paul Rudolph) and 21st century (Peter Zumthor, Alvaro Siza, Coop Himmelb(l)au, David Chipperfield, Diller and Scofidio, Herzog & de Meuron, Jean Nouvel, SANAA, OMA, Renzo Piano, Tadao Ando, Zaha Hadid), signal that the publisher has a very flexible definition of the “style,” and therefore the pricey book should appeal to just about all fans of modern and contemporary architecture.

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Today’s archidose #1015

Here are some photos of Serpentine Pavilion 2018 by Frida Escobedo, on display in London’s Kensington Gardens until October 7, 2018. (Photographs by Laurence Mackman, who has many more photos of the pavilion in his Flickr set.)

Serpentine_Pavilion_2018-0775
Serpentine_Pavilion_2018-0792
Serpentine_Pavilion_2018-0802
Serpentine_Pavilion_2018-0813
Serpentine_Pavilion_2018-0785
Serpentine_Pavilion_2018-0821
Serpentine_Pavilion_2018-0800
Serpentine_Pavilion_2018-0769
Serpentine_Pavilion_2018-0811

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The Lower Manhattan Skyline, with & without the Twin Towers

On Tuesday, the 17th anniversary of the September 11 attacks, the Skyscraper Museum is hosting a conversation between photographers Camilo Jose Vergara and Richard Berenholtz: The Lower Manhattan Skyline, with & without the Twin Towers.

Details from the Skyscraper Museum:

Photographers Camilo Jose Vergara and Richard Berenholtz reflect on their decades of focus on New York’s changing skyline, in images and conversation.

In conjunction with the museum’s new exhibition SKYLINE, two noted photographers of the New York will discuss their work over several decades of documenting the evolving identity of lower Manhattan. Berenholtz and Vergara will each show a selection of sequences that capture the lower Manhattan skyline from the same position over time and in many temporal conditions, recording in images that are authentic, poetic, and, ultimately, poignant. Join us on the evening of September 11 to remember the Twin Towers and pay tribute to what was lost and to the resilience of the city.

Camilo Jose Vergara has photographed the urban scene in New York, Detroit, and other American cities for more than forty years. In 2002, he was named a MacArthur Foundation Fellow, and in 2013, he became the first photographer to be awarded the National Humanities Medal. He is author of numerous books, including Detroit is No Dry Bones; Silent Cities: The Evolution of the American Cemetery; The New American Ghetto; and Harlem: The Unmaking of a Ghetto.

Richard Berenholtz has been a commercial photographer since 1984. His panoramas of New York City have been published widely and have been shown internationally, including as the photographs for the NYC 2012 Olympic bid book and to represent New York City at the 2006 Venice Biennale. Richard’s photography features prominently in The Skyscraper Museum’s current exhibition, SKYLINE. He is the author of numerous books of New York photography.

A limited number of seats are available and priority is given to Members and Corporate Member firms and their employees. All guests MUST RSVP to programs@skyscraper.org to assure admittance to the event.

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Book Review: TEN Arquitectos/Enrique Norten

TEN Arquitectos/Enrique Norten: Lines of Investigation by Enrique Norten
Princeton Architectural Press, 2017
Hardcover, 320 pages

Although the when and where are hazy, the first time I learned about the architecture of Enrique Norten it was definitely Televisa Edificio de Servicios, which won the first Mies van der Rohe Award for Latin American Architecture back in 1998. It is a relatively early work for the Mexican architect, and although the curved form of the award-winning building is echoed in other projects (e.g. Escuela Nacional de Teatro, also in Mexico City), the buildings of Enrique Norten and TEN Arquitectos are a diverse bunch, sharing a strong understanding of tectonics and a formal bravado that are appropriate to every given site.

My appreciation of Norten’s work was carried through to last decade, when I was writing my Guide to Contemporary New York City Architecture and when Norten had expanded his firm to NYC. The book has a handful of his firm’s buildings, including One York, a piggyback residential addition on Sixth Avenue; 580 Carroll Street, a low-scale apartment building in Park Slope, Brooklyn; Hotel Americano, one of the early neighbors to the then-new High Line park; and Mercedes House, a huge, undulating apartment building on Manhattan’s West Side that was still under construction when my book came out in late 2011.

Another Norten project that was in the early stages at that time was the Visual and Performing Arts Library, located next to the Brooklyn Academy of Music. His ambitious, competition-winning project filled the tip of the narrow triangular site but left the wide end open for a public plaza – a fitting gesture for a public institution. Unfortunately, the project never happened and the large yet oddly shaped lot languished empty for years. Fortunately, Norten ended up designing what would fill the lot: 300 Ashland, a narrow, wall-like apartment building atop a base with cultural facilities, Brooklyn’s second Apple Store, and a branch of the Brooklyn Public Library. Intact is the plaza he first designed for the site.

300 Ashland, aka BAM South, is one of eighteen projects in the new monograph on TEN Arquitectos/Enrique Norten. The eighteen projects are split into three groups of six, though I can’t find any logic to their partitioning. Projects from both sides of the US-Mexico border permeate all groups, as do projects that are both built and in progress. Not surprisingly, the book focuses on newer projects, such as BAM, Mercedes House, and the replacement branch NYPL Library across from MoMA on West 53rd Street in Midtown Manhattan. But the projects aren’t ordered chronologically.

Generally, the projects are treated very cursorily, with very short descriptions and the usual photos/renderings alongside the occasional drawing. Between the three project groupings are two dialogues: one with Elizabeth Diller and Thom Mayne, and one with Enrique Krauze. These dialogues, as well as an essay by Alejandro Hernández Gálvez at the beginning of the book and one by Barry Bergdoll at the back of the book, appear to be the reason for the three groups of six. These four pieces of writing (presented, like the whole book, in English and Spanish) are therefore very important, encapsulating the “lines of investigation” of the book’s subtitle. The essays lend some intellectual weight to Norten’s architecture, while the dialogues offer some insight into his thinking, which may depart from that of Diller and Mayne but has produced some equally exciting architecture over the last 20 to 25 years.

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Book Review: TEN Arquitectos/Enrique Norten

TEN Arquitectos/Enrique Norten: Lines of Investigation by Enrique Norten
Princeton Architectural Press, 2017
Hardcover, 320 pages

Although the when and where are hazy, the first time I learned about the architecture of Enrique Norten it was definitely Televisa Edificio de Servicios, which won the first Mies van der Rohe Award for Latin American Architecture back in 1998. It is a relatively early work for the Mexican architect, and although the curved form of the award-winning building is echoed in other projects (e.g. Escuela Nacional de Teatro, also in Mexico City), the buildings of Enrique Norten and TEN Arquitectos are a diverse bunch, sharing a strong understanding of tectonics and a formal bravado that are appropriate to every given site.

My appreciation of Norten’s work was carried through to last decade, when I was writing my Guide to Contemporary New York City Architecture and when Norten had expanded his firm to NYC. The book has a handful of his firm’s buildings, including One York, a piggyback residential addition on Sixth Avenue; 580 Carroll Street, a low-scale apartment building in Park Slope, Brooklyn; Hotel Americano, one of the early neighbors to the then-new High Line park; and Mercedes House, a huge, undulating apartment building on Manhattan’s West Side that was still under construction when my book came out in late 2011.

Another Norten project that was in the early stages at that time was the Visual and Performing Arts Library, located next to the Brooklyn Academy of Music. His ambitious, competition-winning project filled the tip of the narrow triangular site but left the wide end open for a public plaza – a fitting gesture for a public institution. Unfortunately, the project never happened and the large yet oddly shaped lot languished empty for years. Fortunately, Norten ended up designing what would fill the lot: 300 Ashland, a narrow, wall-like apartment building atop a base with cultural facilities, Brooklyn’s second Apple Store, and a branch of the Brooklyn Public Library. Intact is the plaza he first designed for the site.

300 Ashland, aka BAM South, is one of eighteen projects in the new monograph on TEN Arquitectos/Enrique Norten. The eighteen projects are split into three groups of six, though I can’t find any logic to their partitioning. Projects from both sides of the US-Mexico border permeate all groups, as do projects that are both built and in progress. Not surprisingly, the book focuses on newer projects, such as BAM, Mercedes House, and the replacement branch NYPL Library across from MoMA on West 53rd Street in Midtown Manhattan. But the projects aren’t ordered chronologically.

Generally, the projects are treated very cursorily, with very short descriptions and the usual photos/renderings alongside the occasional drawing. Between the three project groupings are two dialogues: one with Elizabeth Diller and Thom Mayne, and one with Enrique Krauze. These dialogues, as well as an essay by Alejandro Hernández Gálvez at the beginning of the book and one by Barry Bergdoll at the back of the book, appear to be the reason for the three groups of six. These four pieces of writing (presented, like the whole book, in English and Spanish) are therefore very important, encapsulating the “lines of investigation” of the book’s subtitle. The essays lend some intellectual weight to Norten’s architecture, while the dialogues offer some insight into his thinking, which may depart from that of Diller and Mayne but has produced some equally exciting architecture over the last 20 to 25 years.

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Toward a Concrete Utopia

Head on over to World-Architects to read my piece on Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, which is on display at MoMA until January 13, 2019, and is highly recommended.

Toward a Concrete Utopia

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How StreetEasy Sees Contemporary Architecture

If you’ve ridden the NYC subway at all in 2018, you’ve probably seen the StreetEasy ads that entice New Yorkers to “find your place,” be it in a neighborhood or in a building. Here’s a case of the latter, where the “sweet spot,” to use StreetEasy’s term, is closer to the street, which is probably loud during the day, than the party roof.

I snapped the above photo in a subway car I was riding this morning, though elsewhere in the car was a StreetEasy ad that struck me as much more revealing. Instead of a traditional, 19th-century rowhouse, the below ad depicts a contemporary apartment building, clearly modeled on Neil Denari’s HL23 (at bottom, for comparison’s sake) next to the High Line at 23rd Street.

Common in both ads is the guy in the brown bathrobe shaking his fist at the party on the roof and … the sky? The contemporary design? The balcony above him? I’m not sure what he’s doing, but that’s besides the point. What bugs me is the design. There are some minor differences between this HL23 and the original HL23 (balconies or lack thereof, core location, missing High Line, number of floors), but what bothers me are the diagonals on the facade. While Denari’s diagonals are a clear expression of the structure needed to keep the cantilevered building from falling onto the High Line, the StreetEasy version is decorative, arbitrary, illogical — which must be the way some people see contemporary architecture. I’d argue that even the most formally daring buildings in New York City have some logic underlying them. But that is something this ad fails to appreciate, and worse it perpetuates the opposite.

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BIG’s ORB

Earlier this summer, BIG’s Jakob Lange launched an Indiegogo campaign for the ORB, a giant reflective art piece planned for Burning Man. As of today, they’re about $15,000 shy of their goal of $50,000, with only three days to go. Regardless, having just watched the live webcast of Burning Man for a few minutes this morning, it looks like the ORB exists:

Wanna see the ORB and other large-scale desert artworks from the comfort of your air-conditioned home or office? Check out the live webcast here.

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Today’s archidose #1014

Here are a couple photos of Red Cross Volunteer House (2017) in Copenhagen, Denmark, by COBO. (Photographs by Ken Lee.)

Danish Red Cross Volunteer House, Copenhagen, Denmark
Danish Red Cross Volunteer House, Copenhagen, Denmark

To contribute your Flickr images for consideration, just:

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Today’s archidose #1014

Here are a couple photos of Red Cross Volunteer House (2017) in Copenhagen, Denmark, by COBO. (Photographs by Ken Lee.)

Danish Red Cross Volunteer House, Copenhagen, Denmark
Danish Red Cross Volunteer House, Copenhagen, Denmark

To contribute your Flickr images for consideration, just:

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Today’s archidose #1014

Here are a couple photos of Red Cross Volunteer House (2017) in Copenhagen, Denmark, by COBO. (Photographs by Ken Lee.)

Danish Red Cross Volunteer House, Copenhagen, Denmark
Danish Red Cross Volunteer House, Copenhagen, Denmark

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Today’s archidose #1013

Here are some photos of Sky SOHO (2014) in Shanghai, China, by Zaha Hadid Architects. (Photographs by Fernando Herrera.)

Sky SOHO
Sky SOHO
Sky SOHO
Sky SOHO
Sky SOHO
Sky SOHO
Sky SOHO
Sky SOHO

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Book Briefs #37

“Book Briefs” are an ongoing series of posts with short first-hand descriptions of some of the numerous books that make their way into my library. These briefs are not full-blown reviews (though some might go on to get that treatment), but they are a way to share more books worthy of attention than find their way into reviews on this blog. This installment features six books grouped into three pairs with similar subjects and/or contributors.


Two California-centric collections:

LA Forum Reader: From the Archives of the Los Angeles Forum for Architecture and Urban Design edited by Rob Berry, Victor Jones, Michael Sweeney, Mimi Zeiger and Chava Danielson, Joe Day, Thurman Grant, Duane McLemore | Actar | 2018 | Amazon
Made Up: Design’s Fictions edited by Tim Durfee, Mimi Zeiger | ArtCenter Graduate Press | 2017 | Amazon
Further linking these two titles, one produced by the L.A. Forum and the other by Pasadena’s ArtCenter College of Design, are brown duotone designs and the presence of critic Mimi Zeiger, who serves as an editor on both. The contents of each are divergent, though. As the title indicates, the LA Forum Reader digs out some essays, interviews and other content from the organization’s first 30 years. The pieces alternate between texts set in various fonts and archives printed as they were originally (but in duotone); this gives a flip through the whole, appropriately enough, the feel of digging through an archive. Recommended most for people with a strong interest in the Los Angeles architecture scene.
Made Up documents an exhibition and series of lectures under the same name held at the ArtCenter’s Wind Tunnel Gallery back in January 2011. With a publisher’s release date of December 2017, that’s quite a long time between event and publication. With content now seven years old, Made Up runs the risk of being immediately obsolete. But given the publication’s focus on “critical design with overlapping interests in science fiction, world building, speculation, and futuring,” I’m not so sure there’s been much advancement in these areas since the original event. Of course, this statement may say less about the publication than my skepticism on the role of fiction as explored in academia and other places these days.


Two technology/network books:

The City and the Architecture of Change: The Work and Radical Visions of Cedric Price by Tanja Herdt | Park Books | 2017 | Amazon
Code and Clay, Data and Dirt: Five Thousand Years of Urban Media by Shannon Mattern | University of Minnesota Press | 2017 | Amazon
If most architects are known for buildings, then having realized only one permanent structure – the Snowdon Aviary – Cedric Price was far from a typical architect. Known instead for forward-thinking plans that considered information technologies and the impact of technology upon society, Price’s many unbuilt projects, most with great names (the Fun Palace, Potteries Thinkbelt, McAppy), are ironically lauded by architects today. Last year the AA and CCA jointly published a massive two-volume Forward-Minded Retrospective on Price, but for those with an interest in Price but without enough disposable income, The City and the Architecture of Change is a good alternative. It has loads of illustrations that are handsomely packaged and fitted into an intellectual argument aimed at “[making] the widespread idea of Cedric Price as an ‘anti-architect’ appear in a new light.”
When I attended the Urban Design Program at City College more than ten years ago, one of the lessons I absorbed was to be skeptical of technology in solving problems on an urban scale. Yet as we barrel forward into a future fueled by digital technologies, every month seems to bring some new technological “fix” for cities: driverless cars, tunnels for cars, and the many, many iterations of big data infiltrating urban infrastructure. I remain skeptical of these and other advances, so I’m glad to see media professor Shannon Mattern take the steam out of “the next big thing” by showing how “smart” information has shaped cities for thousands of years. With chapters organized by media and matter (waves and wires, steel and ink, writing and urbanization, speaking stones), my favorite focuses on the printed word, revealing how it is as much social as (or more than) solitary, with words being written across cities for centuries and shaping the architecture within them.


Two Society of Architectural Historians (SAH) guidebooks:

Buildings of Arkansas by Cyrus A. Sutherland and Contributors | University of Virginia Press | 2018 | Amazon
Buildings of New Orleans by Karen Kingsley, Lake Douglas | University of Virginia Press | 2018 | Amazon
Although both of these books come from SAH and are published by University of Virginia Press, they are quite different from each other. Buildings of Arkansas, which obviously tackles a whole state rather than just a city, is larger than your average guidebook. Complete with a hardcover, it makes a good side table book; if it had color photos, it might even be appropriate for the coffee table. I wish it was around a year ago, when I spent a couple days in Northwest Arkansas. The guide, organized by counties and part of SAH’s “Buildings of the United States” series, makes it clear there’s more to the area than Crystal Bridges and churches by E. Fay Jones. The book makes me want to return, with an eye on modern and historical buildings in the area.
Buildings of New Orleans falls into the “SAH/BUS City Guide series” and is therefore a compact book that is easy to carry around; if it were around in 2011 when I was in town for the AIA Convention, I would have been able to try it out. Looking up some of the few places I made it to and those I wanted to visit but didn’t, the book comes across as hit or miss. The information on Piazza d’Italia is thorough and helpful (and it comes with a photo), but information on Brad Pitt’s Make It Right Houses is thin, with no attribution to the architects, a mystery photo, and more criticism than background. Perhaps the last point is why there’s a discrepancy between these and other entries. Although produced by SAH, it should be noted (if not already obvious) that both of these guides feature modern and contemporary buildings as well as historical ones.

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Idyllic Gehry

On Saturday, Thomas Kahn-kade (@robyniko) posted a string of his “Thomas Kinkade + Modernism mashups” to Twitter. Here is one of Frank Gehry’s residence in Santa Monica, California.

Others icons of modern residential architecture include Philip Johnson’s Glass House, Louis I. Kahn’s Fisher House, Le Corbusier’s Villa Savoye, and Mies van der Rohe’s Farnsworth House. Check ’em out.

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Idyllic Gehry

On Saturday, Thomas Kahn-kade (@robyniko) posted a string of his “Thomas Kinkade + Modernism mashups” to Twitter. Here is one of Frank Gehry’s residence in Santa Monica, California.

Others icons of modern residential architecture include Philip Johnson’s Glass House, Louis I. Kahn’s Fisher House, Le Corbusier’s Villa Savoye, and Mies van der Rohe’s Farnsworth House. Check ’em out.

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