Today’s archidose #1024

Here are some photos of Midtown Center (2018) in Washington, DC, by SHoP Architects. (Photographs by Trevor Patt.)

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Book Briefs #39: More Biennale Publications

“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

On Sunday, November 25th, the 2018 Venice Architecture Biennale wraps up its six-month run. Back in June I featured a half-dozen publications, including the main catalog, from my visit to the Biennale when it opened in May. Not all exhibition catalogs were available at the time, so here are a few that followed (with one from the 2016 Biennale): on the Australian, Chinese, Catalan, and Spanish pavilions.

Repair: Australian Pavilion, 16th International Architecture Exhibition, La Biennale di Venezia 2018 edited by Mauro Baracco, Louise Wright | Actar | 2018 | Amazon / IndieBound
How does one translate an exhibition or installation into book form? It’s a particularly pertinent question for the Australian Pavilion, one of my favorite pavilions from this year’s Biennale. Called Repair, the pavilion focuses on the role of architecture in repairing natural systems and generally creating “good” environments. Baracco+Wright Architects, with Linda Tegg, filled the pavilion in the Giardini with transplanted grasslands, drawings attention to the threatened plant community in Australia. Accompanying the plants are lights that enable the plants to thrive indoors and Tegg’s short films about buildings projected on the walls when the lights are down. It’s a highly immersive exhibit that involves sight but also movement, touch, thermal comfort, and interactions with others exploring the planted interior.

Baracco and Wright didn’t strive to create a catalog to the pavilion. They used it to go beyond “the limitations of exhibition” and unpack the Repair theme “through the diverse lens” of their team and some invited authors. Essays and interviews make up the first half of the book; strands of ecological thinking and indigenous culture permeate these texts. Following them are fifteen projects as well as more information on the Repair exhibition’s design and realization. The projects are documented fairly traditionally, but they do include stills from Tegg’s videos, linking the book and exhibition. My favorite project is the oldest one: Robin Boyd’s Featherston House from 1967. Boyd brought nature indoors, creating a series of platforms over the sloping landscape and beneath the translucent roof: a clear precedent for Repair‘s transplanted landscape.

Architecture China: Building a Future Countryside by Li Xiangning, Mo Wanli, Rebecca Gros | Images Publishing | 2018 | Amazon / IndieBound
Another 2018 favorite, the Chinese Pavilion, (located at one end of the Arsenale), focuses on the rural, presenting many projects that run counter to the common view of China as the land of “weird” contemporary architecture. These are my kind of projects: AZL’s Internet Conference Center, Rural Urban Framework’s Angdong Hospital, Vector Architects’ Captain’s House, and other buildings that fit sensitively into their contexts rather than standing out from them, screaming for attention. The catalog documents many such projects (most built) in six typological categories (dwellings, production, cultural, etc.) plus the same number of installations built especially for the exhibition.

RCR Dream and Nature: Catalonia in Venice by Pati Núñez, Estel Ortega | Actar | 2018 | Amazon / IndieBound
Each Venice Architecture Biennale is made up of three components: the International Architecture Exhibition, the national pavilions, and collateral events. Since Catalonia is a region of Spain, its contribution falls under the last category. Situated on the island of San Pietro di Castello — halfway between the Giardini and the end of the Arsenale where the Chinese Pavilion is found — the Catalan “pavilion” is removed from the rest of the Biennale. In turn, the 2018 contribution is an immersive installation that further removes visitors from the exhibition and the city to express how Pritzker Prize-winning RCR (the trio of Rafael Aranda, Carme Pigem, and Ramon Vilalta) views dreams and nature in one project: La Vila. In June I described RCR Dreams and Nature as a “somewhat hazy environment crafted from various plastics” with low levels of illumination and videos projected on suspended discs. It’s a tricky exhibition to translate into book form.

The book starts with some color photos of a few RCR projects followed by a handful of essays from the curators and some big names in architecture: Glenn Murcutt, Juhani Pallasmaa, Pedro Gadanho and William J. R. Curtis. The longest essay is by Jordi Pigem (none are very long, since the book is English, Spanish, and Catalan), who looks at the cosmology, or “flowing, creative, dynamic and living process,” of RCR at La Vila. The last half of the book consists of the “visual episodes” that were suspended in the “hazy environment” at the Biennale. Although the circular, bubble-like images are removed from the immersive space, as pages in a book the images allow readers to spend more time with them, poring over the imagery but also the words accompanying them. Even so, these glimpses into the dreams of RCR are still impenetrable at times — as they probably should be.

Unfinished: Ideas, Images, and Projects from the Spanish Pavilion at the 15th Venice Architecture Biennale by Iñaqui Carnicero, Carlos Quintáns | Actar | 2018 | Amazon / IndieBound

Back in 2016, the Spanish Pavilion won the Golden Lion for Best National Participation with Unfinished. The exhibition compiled unfinished projects in order to provoke reflection on how Spain  had responded to the post-boom real estate crisis. Curators Iñaqui Carnicero and Carlos Quintáns wanted to generate debates on new strategies that have emerged within this period. Accordingly, some of the images were mounted on an armature that would raise to facilitate presentations and discussions. What stood out for me were projects like the Restoration of the Old Church of Corbera D’Ebre, which consisted of an ETFE roof over the ruins of the old church. This and other projects are documented in the book through photos and drawings, making up about half of the catalog, with the rest featuring photographic responses to the crisis, essays by some Spanish critics (unfortunately bios are not included in the book), and interviews with architectural voices from outside of Spain (Barry Bergdoll, Kenneth Frampton, Sou Fujimoto, Martino Stierli, etc.). Like the Chinese Pavilion, Unfinished veers away from the high-profile projects that garnered the most attention but detracted from the more sensible solutions born from history and crisis.

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Today’s archidose #1023

Here are some photos of 520 West 28th Street (2017) in New York City by Zaha Hadid Architects. (Photographs by Maciek Lulko.)

520 West 28th by Zaha Hadid
520 West 28th by Zaha Hadid
520 West 28th by Zaha Hadid
520 West 28th by Zaha Hadid

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Today’s archidose #1022

Here are some photos of Muzeum Ognia (2014) in Żory, Poland, by OVO Grąbczewscy Architekci. (Photographs by M. M. Czarnecki.)

Muzem Ognia
Muzem Ognia
Muzem Ognia

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Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Much less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.

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Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Much less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.

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Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Much less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.

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via IFTTT

Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Much less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.

from A Daily Dose of Architecture https://ift.tt/2zhOHei
via IFTTT

Stop the Presses!

Seeing a TV commercial for Verzenio the other day, I was reminded of that day I made the cover of my local newspaper after getting an architectural commission.

Oh, wait. That never happened. Because architects DON’T MAKE IT ON THE FRONT PAGE OF NEWSPAPERS! Buch less above the fold – and with a photo, a smiling photo.

Sure, there are exceptions: your name is Frank Gehry; the newspaper is The Architect’s Newspaper; or the design contract being awarded is the most coveted one in the entire world, and you’re a young architect from a small “central community” nobody’s ever heard of. In that case, this example of architectural advertising is, unlike others, spot-on.

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So You Want To Learn About: Michael Sorkin

The “So You Want to Learn About” series highlights books focused on a particular theme: think “socially responsible architecture” and “Le Corbusier,” rather than broad themes like “housing” or “modern architects.” Therefore the series aims to be a resource for finding decent reading materials on certain topics, born of a desire to further define noticeable areas of interest in the books I review. And while I haven’t reviewed every title, I am familiar with each one; these are not blind recommendations.

This year’s release of Michael Sorkin’s latest collection of critical essays, What Goes Up: The Rights and Wrongs to the City, prompted me to put together a “learn about” post on the influential critic, educator, and designer of buildings and cities. An outspoken critic of misguided architecture, urban inequality, oppressive ideologies, and other impediments to truly egalitarian and sustainable societies, Sorkin is principal of Michael Sorkin Studio, president of the non-profit Terreform, and director of the Graduate Program in Urban Design at City College of New York (CCNY). Need a Sorkin primer? This 2010 interview on CUNY TV, at the time of Twenty Minutes in Manhattan, is a good start.

Considering how much Sorkin has written, I’ve categorized his print output into six categories: criticism, design, New York City, editing, education, and UR (Urban Research). All titles are authored or edited by Sorkin, unless noted otherwise. Full disclaimer: I attended the Urban Design Program at CCNY under Sorkin (2006-07) and have helped him with UR.

Criticism:

What Goes Up: The Right and Wrongs to the City | Verso | 2018 | Amazon / IndieBound
This title is the fourth collection of Sorkin’s critical essays, covering the years 2010 to 2017. Many of the pieces come from The Nation, where he served as Architecture Critic from 2013 to 2016. Still, not quite half of the 48 essays originated there, meaning a mix of lectures, articles for other publications, book excerpts, and a few unpublished pieces fill the rest of the pages. Not surprisingly, the majority focuses on New York City, with the rest covering “Elsewhere and Otherwise.” Only one essay is dated after Donald Trump’s election win, and it doesn’t even broach that elephant in the room; thankfully, Sorkin’s introduction takes on Trump, albeit briefly.

All Over the Map: Writing on Buildings and Cities | Verso | 2011 | Amazon / IndieBound
It’s hard to believe that the predecessor to What Goes Up was released seven years ago; it seems like just the other day that I wrote my review. All Over the Map packs in 76 essays (nearly twice as many as the new collection) that fall between 2000 and early 2011. Most were culled from Sorkin’s Commentary columns in Architectural Record. I read those on a nearly monthly basis, given my subscription to the magazine, so I ended up gravitating to the articles from other publications. Given the timing of the book, September 11 and the responses of the 2001 terrorist attacks shaped the content of Sorkin’s essays — but not his progressive takes on architecture, cities, culture, politics, and society.

Some Assembly Required | University of Minnesota Press | 2001 | Amazon / IndieBound
Continuing backward in time, the second installment of Sorkin’s criticism covers the years 1995 to 1999. Most of the 36 essays were pulled from two sources: Architectural Record and Metropolis. At only around 250 pages, it is the shortest of the four collection of Sorkin’s criticism, though with great essays such as “Eleven Tasks for Urban Design,” first published in Yale’s Perspecta, quantity here is not an indicator of quality.

Exquisite Corpse: Writing on Buildings | Verso | 1991 | Amazon / IndieBound
Which brings us to the one that begat the rest: the compendium of Sorkin’s articles from his ten-year tenure (1978-88) at New York’s Village Voice. The paper, which halted print publication last year and then sadly ceased publication entirely a couple months ago, was the ideal pulpit for Sorkin’s progressive views. He could rail against Philip Johnson and other overrated architects, draw attention to ones he liked but were otherwise little known, and proffer alternative points of view on important developments in New York City. Although the book is subtitled “Writings on Buildings,” it’s clear that Sorkin was already focused as much on cities as on the buildings filling them.

Design:

Pamphlet Architecture 22: Other Plans: University of Chicago Studies, 1998-2000 | Princeton Architectural Press | 2002 | Amazon / IndieBound
I’ll admit to being shocked that Sorkin was the author of one of the annual Pamphlet Architectures, since I tend to think of the roughly yearly publication as a forums for up-and-coming voices rather than established names. But Sorkin the designer had built little (if nothing) at the time, and #22 enabled him to showcase a project that should have led to a building commission. Sorkin’s studio was hired by University of Chicago, one of his alma maters, to produce an alternative to its official master plan. Dropped as quickly as he was hired, his studio nevertheless trudged along on the task, foreshadowing the “voluntary” work of Terreform, established in 2005. As I wrote earlier this year when I unpacked the book: “They produced a plan that is undeniably ‘Sorkin,’ with wonky buildings curving among the old buildings on campus. But they expanded the canvas well beyond the U of C footprint, envisioning how commercial and residential development could aid not just the client.”

Michael Sorkin Studio: Wiggle | The Monacelli Press | 1998 | Amazon
Four years before PA22, Sorkin put out a monograph emblazoned with, not one of his projects, but a cluster (army?) of frogs. The cover image and the book’s title, Wiggle, certainly aren’t at odds with each other, but it’s clear to me that idea trumps image, particularly when compared to other architecture monographs. What those ideas or visions are is not spelled out in an essay; instead the projects — with some short but honest and helpful explanatory text — speak for themselves. They range from small exhibitions to city plans. Tying them together are Sorkin’s distinctive “wiggly” designs and his beautiful (and underappreciated, I think) drawings. Most striking are the plans, which are dense with lines, have nary a right angle, and give the impression that social life would be much more intimate if we lived in Sorkin World.

Local Code: The Constitution of a City at 42°N Latitude | Princeton Architectural Press | 1993 | Amazon
Design for Sorkin is much more than lines on paper or a scale model. It is also the codes that determine to a large degree what those lines must follow and what shape those models will become. For most architects building and zoning codes are mandates to follow. But what if they could develop their own? What would they dictate? How would they be written? And what would be their underlying goals? Sorkin did what most architects and urban designers would never spend the time on: he developed a code, complete with a Bill of Rights and designed for a Utopia that will never exist. Hardly a text to be read cover to cover, Local Code is more a template for students of urban design to use in their projects; best I can recall, it was used that way in the past.

New York City:

Twenty Minutes in Manhattan | Reaktion Books | 2009 | Amazon / IndieBound
It’s hardly a surprise that the New York-based Sorkin has dedicated hundreds of thousands of words to his home city. The best of his NYC books uses his short walk from home to office, both in Lower Manhattan, as a starting point for expounding on myriad things about cities in general, NYC in particular. As I wrote in my review in The Architect’s Newspaper back in 2010: “Each realm of social interaction [in the walk] is a looping mix of descriptions, recollections, histories, critiques, and explications, with the tangential offshoots always returning to the walk, as if to acknowledge and elevate the importance of the individual’s experience in the city, both physically and mentally.” Although much of the content was pulled from Voice and Record over a period of more than a decade, it reads as a fluid narrative rather than essays disconnected in time and setting.

Starting From Zero: Reconstructing Downtown New York | Routledge | 2003 | Amazon / IndieBound
Being not just a critic, September 11 was an opportunity for Sorkin to imagine Lower Manhattan with designs that veered far from the business-as-usual that eventually — but not surprisingly — filled the WTC site. There’s still plenty of critique in the form of essays in Starting from Zero, but it’s accompanied by numerous designs for the sixteen-acre site (including a memorial design) and a visual analysis of the WTC within the larger urban context. Best is when Sorkin treated the site as a green void rather than something to be built upon. The former makes sense in a later proposal in which Sorkin proposed (logically, I think) shifting the 10 million square feet of office space to be rebuilt to other parts of the city, infusing neighborhoods in Brooklyn and Queens, among others, with money typically limited to Lower Manhattan and Midtown. (Unfortunately I can’t find a link to that proposal so am not sure if I’m remembering it 100% accurately.)

After the World Trade Center: Rethinking New York City edited by Sorkin with Sharon Zukin | Routledge | 2002 | Amazon / IndieBound
Before Sorkin assembled critiques and designs into Starting from Zero, he teamed up with fellow CUNY (CCNY is part of the City University) professor Sharon Zukin. The urbanist and sociologist together are, in my mind at least, a heavenly match; I absorb and enjoy Zukin’s book as much as I do Sorkin’s. The two co-authored the introduction, but after that they express their own takes on post-9/11 New York City alongside a slew of other great minds: Marshall Berman, M. Christine Boyer, Keller Easterling, David Harvey, Neil Smith, and Mike Wallace, among many others. I didn’t pick up this book until last year, much too long after its publication to have enthusiasm for the topic; like other New Yorkers, I’ve moved on, swept along by the city’s Bloomberg-era transformations.

Editing:

Indefensible Space: The Architecture of the National Insecurity State | Routledge | 2008 | Amazon / IndieBound
In addition to lots of writing, teaching, and designing, Sorkin finds time for the occasional editorial project. This seems to consist of setting a theme, writing an introduction and essay, and pulling in acquaintances from a wide sphere of academics and practitioners with aligned interests. Accordingly, there tends to be some overlap in terms of contributors and some consistency in terms of themes. Given how much Sorkin railed against the fortification of cities after 9/11, he was ideal for editing some essays about the erosion of public space and rights to the city in the face of increased security. The list of contributors is powerful and fitting for the topic: Teddy Cruz, Mike Davis, Stephen Graham, Dean MacCannell, Eyal Weizman, etc.

Giving Ground: The Politics of Propinquity edited by Sorkin with Joan Copjec | Verso | 1999 | Amazon / IndieBound
Although he edited this book with his wife, Sorkin’s only contribution is the introduction, while Copjec pens one of the nine essays that follow it. Perhaps stemming from the two minds at editorial work, the book’s theme is a bit more obscure and unclear than the titles above and below it; in turn, it’s not as rewarding to me as other Sorkin titles. My favorite essay is Dean MacCannell’s “‘New Urbanism’ and Its Discontents,” which tackles a movement I love to hate.

Variations on a Theme Park: The New American City and the End of Public Space | Hill & Wang | 1992 | Amazon / IndieBound
Like Exquisite Corpse, this book is classic Sorkin. It’s a timely and influential collection of essays on  a well-honed topic: critiquing the urbanism of the late 1980s and early 1990s that was marked by “megamalls, corporate enclaves, gentrified zones, and pseudo-historic marketplaces.” Sorkin penned the introduction and the memorable essay “See You in Disneyland,” which is accompanied by a photo of the sky above the theme park, given Disney’s “litigiousness” and therefore difficulty in taking photos for publication inside. He’s joined by names that would become usual suspects in his growing sphere of publications: M. Christine Boyer, Mike Davis, and Neil Smith, to name just three. At more than 35 years old, the book is ripe for an update — or maybe a 21st-century remake, where Boyer’s analysis of South Street Seaport, for instance, morphs with its rebranding as Seaport District and “pseudo-historic marketplaces” give way to glass-box marketplaces.

Education:

Beyond Petropolis: Designing a Practical Utopia in Nueva Loja edited by Sorkin wtih Ana María Durán Calisto and Matthias Altwicker | Oscar Riera Ojeda Publishers | 2017 | Amazon / IndieBound
Sorkin’s role at CCNY has led to some books coming out of the Urban Design program, including one on the year I attended. My classmates and I spent two semesters focused on creating a sustainable, post-oil master plan for Lago Agrio, the oil boomtown in Ecuador’s rainforest. (My photos from a trip there in November 2006 were posted to this blog.) The project also roped in some architecture and landscape architecture students, and the book documents all of our contributions and includes some additional materials, including an article from The New Yorker on the drawn-out lawsuit against Chevron. Although the book, as most do, took much longer than anticipated, I’m glad to have such a nice documentation of close to a year of hard work — and fun.

The New York 2030 Notebook edited by Jeff Byles and Olympia Kazi | Institute for Urban Design| 2008 | Amazon
Sorkin is Vice-President of the Urban Design Forum, the “independent membership organization that advances bold solutions to urban challenges.” It was formed a few years ago from a merger of the Forum for Urban Design and the Institute for Urban Design; Sorkin served as President of the latter, which was founded in 1979 by Ann Ferebee. In November 2007, the Institute hosted New York 2030, a day-long symposium that dissected Mayor Bloomberg’s PlaNYC, “an ambitious project to turn New York into the world’s most sustainable metropolis.” Out of that event came this slim, 72-page book, with far-too-short contributions by Sorkin, Marshall Berman, Teddy Cruz, Richard Sennett, Sharon Zukin, and many more. Running along the bottom of each page, like a ticker, are the 127 initiatives of PlaNYC, most too broad or ambitious to be realized or even considered in the ensuing eleven years.

The Aarhus Protocols: The Michael Sorkin Workshop at the Arkitektskolen Aarhus by Anette Brunsvig Sørensen | Arkitekturtidsskrift B | 2006 | Amazon
If I didn’t come across this book while digging through the shelves of a local bookstore, I wouldn’t have known anything about it. I was intrigued because of Sorkin’s role, but also because my wife spent a semester at the Aarhus School of Architecture. The Sorkin Workshop of the book’s title was carried out across one week in October 2005, aimed at envisioning possibilities for Aarhus Harbor, the potential setting for the school’s new building. (Twelve years later, the school selected a scheme in a competition [PDF link] for a new building in Godsbanearealerne, in the heart of Aarhus.) I’ve misplaced this pocket-sized book, but I recall the workshop paralleling the exquisite-corpse format that Sorkin taught us at CCNY, in which individuals create plots but then modify them based on a series of transformations. The result is a plan created by a variety of designers following certain rules and negotiating with each other along the way.

UR (Urban Research):

UR (Urban Research), the publishing imprint of Sorkin’s non-profit Terreform, was launched in 2016 as “a book series devoted to cities and their futures.” There are a dozen titles to date (six are pictured here), including one on the late, great Marshall Berman and three on various aspects of New York City. I’m familiar with the two titles highlighted below.

Downward Spiral: El Helicoide’s Descent from Mall to Prison edited by Celeste Olalquiaga and Lisa Blackmore | UR | 2018 | Amazon
Although Downward Spiral was not published in time for the companion 2017 exhibition, El Helicoide: From Mall to Prison, at the Center for Architecture in New York, the book does not disappoint. In my review from earlier this year, I describe the book as “the definitive cultural history of El Helicoide,” a spiraling inside-out mall built atop a hilltop in Caracas. Following from the diminutive exhibition’s numerous artifacts, the book tells the historical story of the building, which would have enabled people to drive up to the store they wanted to patronize, but also its later use by the police as a prison. It’s a perfect subject for UR: politically charged and fairly obscure beyond its local context — and therefore in need of a wider audience.

Letters to the Leaders of China: Kongjian Yu and the Future of the Chinese City edited by Terreform | UR | 2018 | Amazon
This is the book I’m reading right now (a full review is forthcoming): a collection of letters and other essays by Kongjian Yu, founder of Turenscape. These texts were, as far as I know, only available in Chinese beforehand, and some weren’t published until Letters to the Leaders of China. Accompanying Yu’s texts are critical essays by a half-dozen scholars and a great, rambling interview (the first thing I read) between Yu and artist Ai Weiwei. Those looking for pretty pictures of Yu’s amazing “sponge cities” and other landscape projects will be disappointed, but those familiar with Turenscape should be pleased with some insightful background on what led to their thousands of groundbreaking designs all over China.

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Today’s archidose #1021

Here are some photos of the Campinarana House in Manaus, Brazil, by Laurent Troost and Raquel Reis. See also photographs by Leonardo Finotti.

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Kongjian Yu at GSAPP

On Monday, October 29 at 6:30pm, Kongjian Yu, founder of Turenscape, is giving the 2018 Kenneth Frampton Endowed Lecture at Columbia GSAPP. The lecture is a must. Michael Van Valkenburgh describes Yu, on the back cover of the new Terreform UR book, Letters to the Leaders of China: Kongjian Yu and the Future of the Chinese City, as “the Olmsted of China.”


[Harbin Qunli Stormwater Park in Haerbin City, Heilongjiang Province, China, by Turenscape]

From Columbia GSAPP’s website:

Creating Deep Connections and Deep Forms
A lecture by Kongjian Yu, founder of Turenscape, Beijing.
Response by Kenneth Frampton.

Kongjian Yu is the Dean of the College of Architecture and Landscape at Peking University and the founder of the award-winning landscape and architecture firm Turenscape, based in Beijing. His pioneering research on ‘ecological security patterns’ and ‘sponge cities’ have been adopted by the Chinese government as the guiding theory for national land use planning, eco-city campaigns, and urban ecological restoration. […] A native of China’s Zhejiang Province, his guiding design principles are the appreciation of the ordinary, such as rural agricultural landscapes, and a deep embrace of nature, even in its potentially destructive aspects, such as urban flooding. His projects include Shanghai Houtan Park, Harbin Qunli Stormwater Park, the Qinhuangdao Red Ribbon Park, Zhongshan Shipyard Park, the Rice Campus for Shenyang Jianzhu University, Tianjin Quaoyuan Park, Qian’an Sanlihe Greenway, Jinhua Yanweizhou Park, and Quzhou Luming Park. […]

The Kenneth Frampton Endowed lecture series, now in its eighth year, is a premier annual lecture given at Columbia GSAPP by a distinguished architect scholar honoring Ware Professor Kenneth Frampton for his lifetime of teaching and research.

Chosen by Ware Professor Kenneth Frampton and the Dean of Columbia GSAPP, previous speakers include Juhanni Pallasmaa, Eduardo Souto de Moura, Angelo Bucci, Grafton Architects, Bijoy Jain, and Rahul Mehrotra. All have given public lectures addressing some of the key issues central to Professor Frampton’s thinking about the field of architecture.

The Kenneth Frampton Lecture was established in 2010 by a generous group of Columbia GSAPP alumni and friends.

Free and open to the public.
Organized by Columbia GSAPP.

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Today’s archidose #1020

Here are some photos of Wrightwood 659 (2018) in Chicago, Illinois, by Tadao Ando. (Photographs by Chris Hainer.)

Tadao Andi Designed Wrightwood Gallery, Chicago, IL
Tadao Andi Designed Wrightwood Gallery, Chicago, IL
Tadao Andi Designed Wrightwood Gallery, Chicago, IL
Tadao Andi Designed Wrightwood Gallery, Chicago, IL

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Book Review: Exposed Architecture

Exposed Architecture: Exhibitions, Interludes and Essays by LIGA
Park Books, 2018
Paperback, 312 pages

Five years ago, coinciding with a couple conferences on architectural exhibitions, I did a short survey of venues devoted to architecture for World-Architects. With only eleven institutions, the survey was far from comprehensive, though it made up for this with a diversity of locales and approaches to displaying architecture. One of the youngest – two years old at the time of publication – of the bunch was LIGA, Space for Architecture in Mexico City, which I had only marginal knowledge of at the time. An “uneven balance between lots of construction and no discussion” in Latin America led to the creation of LIGA and made it “a necessary platform to create a local architectural culture.” Amazingly, the ambitious impetus of LIGA and its diverse seasonal programming (four exhibitions per year) took place in a corner storefront of only 160 square meters (photos below, though LIGA’s website hints at an impending move to, I’m assuming, larger digs elsewhere in Mexico City).


[LIGA at Av. Insurgentes Sur 348, Mexico City CP 06700. Photo: Ramiro Chaves]

Exposed Architecture documents three years of exhibitions at LIGA – from LIGA 11 to LIGA 22 (all exhibitions have been prefaced by LIGA and the number of the exhibition) – but does it in a way that is partial yet exploratory. It’s partial, because the critical texts provided in the book are extracts from the longer texts provided at the time of the exhibition and archived on their website (well, hopefully the full archives will be there after LIGA’s new website goes live). The book is exploratory because it is not limited to documentation of the exhibitions; it also includes information on the Interludes, the “series of events which explores specific themes” and take LIGA beyond it’s small 160-square-meter footprint; ten short essay from fellow curators of architecture exhibitions, many outside Mexico; and “an archipelago of historical references” inserted between the three other sections.


[Inside LIGA: OPAQUE SOUND: Eduardo Castillo, 2013. Photo: Ramiro Chaves]

Of Exposing Architecture‘s various parts: the presentations of LIGA 11-22 illustrate just how much the exhibitions rely upon the space of LIGA for their display and impact, thereby making any book documentation only partial; the Interludes make it clear that LIGA is as much about art as architecture (reminding me of New York’s Storefront for Art and Architecture); the essays reveal the complexity of curating architecture exhibitions today, when so much is expected of the many venues for architecture; and the historical references reveal how that complexity is nothing new. Together these parts describe a place, LIGA, that considers the content and display of architecture exhibitions much more than their diminutive footprint would make it seem.

(Note: Books purchased via these links send a few cents or dollars to this blog, keeping it afloat.)

Support Independent Bookstores - Visit IndieBound.org

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Book Review: Exposed Architecture

Exposed Architecture: Exhibitions, Interludes and Essays by LIGA
Park Books, 2018
Paperback, 312 pages

Five years ago, coinciding with a couple conferences on architectural exhibitions, I did a short survey of venues devoted to architecture for World-Architects. With only eleven institutions, the survey was far from comprehensive, though it made up for this with a diversity of locales and approaches to displaying architecture. One of the youngest – two years old at the time of publication – of the bunch was LIGA, Space for Architecture in Mexico City, which I had only marginal knowledge of at the time. An “uneven balance between lots of construction and no discussion” in Latin America led to the creation of LIGA and made it “a necessary platform to create a local architectural culture.” Amazingly, the ambitious impetus of LIGA and its diverse seasonal programming (four exhibitions per year) took place in a corner storefront of only 160 square meters (photos below, though LIGA’s website hints at an impending move to, I’m assuming, larger digs elsewhere in Mexico City).


[LIGA at Av. Insurgentes Sur 348, Mexico City CP 06700. Photo: Ramiro Chaves]

Exposed Architecture documents three years of exhibitions at LIGA – from LIGA 11 to LIGA 22 (all exhibitions have been prefaced by LIGA and the number of the exhibition) – but does it in a way that is partial yet exploratory. It’s partial, because the critical texts provided in the book are extracts from the longer texts provided at the time of the exhibition and archived on their website (well, hopefully the full archives will be there after LIGA’s new website goes live). The book is exploratory because it is not limited to documentation of the exhibitions; it also includes information on the Interludes, the “series of events which explores specific themes” and take LIGA beyond it’s small 160-square-meter footprint; ten short essay from fellow curators of architecture exhibitions, many outside Mexico; and “an archipelago of historical references” inserted between the three other sections.


[Inside LIGA: OPAQUE SOUND: Eduardo Castillo, 2013. Photo: Ramiro Chaves]

Of Exposing Architecture‘s various parts: the presentations of LIGA 11-22 illustrate just how much the exhibitions rely upon the space of LIGA for their display and impact, thereby making any book documentation only partial; the Interludes make it clear that LIGA is as much about art as architecture (reminding me of New York’s Storefront for Art and Architecture); the essays reveal the complexity of curating architecture exhibitions today, when so much is expected of the many venues for architecture; and the historical references reveal how that complexity is nothing new. Together these parts describe a place, LIGA, that considers the content and display of architecture exhibitions much more than their diminutive footprint would make it seem.

(Note: Books purchased via these links send a few cents or dollars to this blog, keeping it afloat.)

Support Independent Bookstores - Visit IndieBound.org

from A Daily Dose of Architecture https://ift.tt/2PgrvqN
via IFTTT

Book Review: Exposed Architecture

Exposed Architecture: Exhibitions, Interludes and Essays by LIGA
Park Books, 2018
Paperback, 312 pages

Five years ago, coinciding with a couple conferences on architectural exhibitions, I did a short survey of venues devoted to architecture for World-Architects. With only eleven institutions, the survey was far from comprehensive, though it made up for this with a diversity of locales and approaches to displaying architecture. One of the youngest – two years old at the time of publication – of the bunch was LIGA, Space for Architecture in Mexico City, which I had only marginal knowledge of at the time. An “uneven balance between lots of construction and no discussion” in Latin America led to the creation of LIGA and made it “a necessary platform to create a local architectural culture.” Amazingly, the ambitious impetus of LIGA and its diverse seasonal programming (four exhibitions per year) took place in a corner storefront of only 160 square meters (photos below, though LIGA’s website hints at an impending move to, I’m assuming, larger digs elsewhere in Mexico City).


[LIGA at Av. Insurgentes Sur 348, Mexico City CP 06700. Photo: Ramiro Chaves]

Exposed Architecture documents three years of exhibitions at LIGA – from LIGA 11 to LIGA 22 (all exhibitions have been prefaced by LIGA and the number of the exhibition) – but does it in a way that is partial yet exploratory. It’s partial, because the critical texts provided in the book are extracts from the longer texts provided at the time of the exhibition and archived on their website (well, hopefully the full archives will be there after LIGA’s new website goes live). The book is exploratory because it is not limited to documentation of the exhibitions; it also includes information on the Interludes, the “series of events which explores specific themes” and take LIGA beyond it’s small 160-square-meter footprint; ten short essay from fellow curators of architecture exhibitions, many outside Mexico; and “an archipelago of historical references” inserted between the three other sections.


[Inside LIGA: OPAQUE SOUND: Eduardo Castillo, 2013. Photo: Ramiro Chaves]

Of Exposing Architecture‘s various parts: the presentations of LIGA 11-22 illustrate just how much the exhibitions rely upon the space of LIGA for their display and impact, thereby making any book documentation only partial; the Interludes make it clear that LIGA is as much about art as architecture (reminding me of New York’s Storefront for Art and Architecture); the essays reveal the complexity of curating architecture exhibitions today, when so much is expected of the many venues for architecture; and the historical references reveal how that complexity is nothing new. Together these parts describe a place, LIGA, that considers the content and display of architecture exhibitions much more than their diminutive footprint would make it seem.

(Note: Books purchased via these links send a few cents or dollars to this blog, keeping it afloat.)

Support Independent Bookstores - Visit IndieBound.org

from A Daily Dose of Architecture https://ift.tt/2PgrvqN
via IFTTT

Book Review: Exposed Architecture

Exposed Architecture: Exhibitions, Interludes and Essays by LIGA
Park Books, 2018
Paperback, 312 pages

Five years ago, coinciding with a couple conferences on architectural exhibitions, I did a short survey of venues devoted to architecture for World-Architects. With only eleven institutions, the survey was far from comprehensive, though it made up for this with a diversity of locales and approaches to displaying architecture. One of the youngest – two years old at the time of publication – of the bunch was LIGA, Space for Architecture in Mexico City, which I had only marginal knowledge of at the time. An “uneven balance between lots of construction and no discussion” in Latin America led to the creation of LIGA and made it “a necessary platform to create a local architectural culture.” Amazingly, the ambitious impetus of LIGA and its diverse seasonal programming (four exhibitions per year) took place in a corner storefront of only 160 square meters (photos below, though LIGA’s website hints at an impending move to, I’m assuming, larger digs elsewhere in Mexico City).


[LIGA at Av. Insurgentes Sur 348, Mexico City CP 06700. Photo: Ramiro Chaves]

Exposed Architecture documents three years of exhibitions at LIGA – from LIGA 11 to LIGA 22 (all exhibitions have been prefaced by LIGA and the number of the exhibition) – but does it in a way that is partial yet exploratory. It’s partial, because the critical texts provided in the book are extracts from the longer texts provided at the time of the exhibition and archived on their website (well, hopefully the full archives will be there after LIGA’s new website goes live). The book is exploratory because it is not limited to documentation of the exhibitions; it also includes information on the Interludes, the “series of events which explores specific themes” and take LIGA beyond it’s small 160-square-meter footprint; ten short essay from fellow curators of architecture exhibitions, many outside Mexico; and “an archipelago of historical references” inserted between the three other sections.


[Inside LIGA: OPAQUE SOUND: Eduardo Castillo, 2013. Photo: Ramiro Chaves]

Of Exposing Architecture‘s various parts: the presentations of LIGA 11-22 illustrate just how much the exhibitions rely upon the space of LIGA for their display and impact, thereby making any book documentation only partial; the Interludes make it clear that LIGA is as much about art as architecture (reminding me of New York’s Storefront for Art and Architecture); the essays reveal the complexity of curating architecture exhibitions today, when so much is expected of the many venues for architecture; and the historical references reveal how that complexity is nothing new. Together these parts describe a place, LIGA, that considers the content and display of architecture exhibitions much more than their diminutive footprint would make it seem.

(Note: Books purchased via these links send a few cents or dollars to this blog, keeping it afloat.)

Support Independent Bookstores - Visit IndieBound.org

from A Daily Dose of Architecture https://ift.tt/2PgrvqN
via IFTTT

Jenny Sabin Studio at House of Peroni

Last night I attended the opening of LUSTER, an installation designed by Jenny Sabin Studio and curated by Art Production Fund for House of Peroni. LUSTER transformed the top floor at 463 West Street (part of Westbeth Artist Housing – PDF link) into a pop-up bar for a few days, after which the piece will travel to LA, Miami, and DC this fall. Before the party got going Jenny Sabin spoke with Christoph a. Kumpusch about the installation and the work of her studio based in Ithaca.

LUSTER

Sabin’s work came to my attention, like most people I’m guessing, when she won the MoMA PS1 YAP last year with Lumen, a lightweight canopy of digitally knitted, robotically woven, photo-luminescent, solar-active yarns. Unfortunately, I only saw Lumen during the day, not at night when it glowed in various colors. Thankfully, last night’s discussion took place just after sunset, when LUSTER‘s color-changing lighting kicked in, distracting me from whatever Sabin and Kumpusch were saying. See the roughly one-hour color-transformation in the slideshow below.

LUSTER

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Jenny Sabin Studio at House of Peroni

Last night I attended the opening of LUSTER, an installation designed by Jenny Sabin Studio and curated by Art Production Fund for House of Peroni. LUSTER transformed the top floor at 463 West Street (part of Westbeth Artist Housing – PDF link) into a pop-up bar for a few days, after which the piece will travel to LA, Miami, and DC this fall. Before the party got going Jenny Sabin spoke with Christoph a. Kumpusch about the installation and the work of her studio based in Ithaca.

LUSTER

Sabin’s work came to my attention, like most people I’m guessing, when she won the MoMA PS1 YAP last year with Lumen, a lightweight canopy of digitally knitted, robotically woven, photo-luminescent, solar-active yarns. Unfortunately, I only saw Lumen during the day, not at night when it glowed in various colors. Thankfully, last night’s discussion took place just after sunset, when LUSTER‘s color-changing lighting kicked in, distracting me from whatever Sabin and Kumpusch were saying. See the roughly one-hour color-transformation in the slideshow below.

LUSTER

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Liberty’s New Museum; a Hard Hat Tour


[All photographs by John Hill, unless noted otherwise]

Twelve years I’ve lived in New York City and Wednesday morning was my first visit to Liberty Island, home to the most famous statue in the world. I didn’t go to walk up the 350-plus steps to the crown of the Statue of Liberty though. I was there for a hard hat tour of the Statue of Liberty Museum. Designed by FXCollaborative, with exhibitions by ESI Design, the building is expected to open in May 2019.


[Rendering of Statue of Liberty Museum by FXCollaborative]

The current museum is housed in the base of the Statue of Liberty at the eastern end of the island. This location means that many people don’t visit the museum, since thousands more people take a ferry to the island than get inside the statue’s base. The new freestanding museum, located next to the existing Flagpole Plaza on the western end of the island, will enable more people to visit the museum and it should alleviate congestion on the island. Its galleries will have three main parts (Immersive Theater, Engagement Gallery, and Inspiration Gallery) to tell the story of the Statue of Liberty, but I’m guessing most people who head inside will do so to see the original torch (visible in the rendering above); it was replaced in the 1980s when the statue was restored for its centennial.

The one-story building – elevated for post-Sandy FEMA requirements – is basically an irregular trapezoid that is cut at an angle by exterior steps that span from the plaza to the roof of the museum. Halfway up the granite steps is a walkway that leads to the museum entrance. An accessible route consists of an exterior ramp to the entrance (the vantage point of the photo above) and an elevator accessed from an exterior walkway for going up to the roof.

While it was easy to make the leap from construction site to completed building in my mind in regards to the building’s exterior, the same was a bit trickier inside, where tools were much more prevalent than displays, which were basically non-existent. Regardless, the flow of the fairly open interior and three-part exhibition spaces were easy to grasp, starting with the entrance and its patina-green donor walls (above). From there, visitors follow undulating walls to watch projections of short films in the Immersive Theater, then find themselves at an exhibit of artifacts before ending up at the torch. ESI’s design will tell the history of the statue but also of the idea of liberty, bringing it to the present through an interactive gallery beneath the exterior steps, where visitors can snap selfies and merge them with selected images that say “liberty” to them. The exhibits’ success will have to wait until May, but suffice to say the museum is aiming to do a heck of a lot in its small, 26,000-sf footprint.

The museum’s irregular footprint makes a bit more sense when considered relative to the building’s immediate site and distant views. The plan contorts itself into its corner of the island and then opens itself to the east and north toward views of the Statue of Liberty, Lower Manhattan, and Ellis Island. Inside the museum, both views will be taken in from the room housing the original torch. This is partially grasped in the above photo, which is a bit misleading since the opaque panels are temporary (there to allow the torch to be brought into the museum) and will be glazed once the torch is in place.

Back outside, the roof of the museum is split into three: the steps in the middle; grass to the south, with views toward New Jersey (photo above); and a paved surface on the north, with it’s panoramic views from the Statue of Liberty to Lower Manhattan and Ellis Island (photos below).

The panoramic views from the roof would lead us to believe the museum has been designed with a prescriptive architectural promenade, but routes through the building are loose and it’s very likely that some visitors will head up to the roof and skip the interior exhibits altogether. Such is liberty today: the freedom to move about the island and museum after going through airport-style security and riding a crowded boat to get there.

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