1   b   c   d   e   f   g   h   i   j   k   l   m   n   o   p   q   r   s   t   u   v   w   x   y   z   2   b   c   d   e   f   g   h   i   j   k   l

2014.01.06 21:48
In terms of set-piece or process, I'd say multiple choice as in:
column A
column B
column C

2014.01.16 21:32
Christopher Hawthorne interviews Elizabeth Diller regarding MoMA plans
Le Corbusier's Maison Dom-ino diagram is 100 years old this year, and I've been wondering whether 2014 might herald a similar paradigm-shifting concept/event for architecture. Witnessing all the recent controversy over the new MoMA design and the planned demolition of the quondam Museum of American Folk Art, I'm now wondering whether I'm seeing the makings of the new 'new' as well as the makings of the new 'old-fashioned'.

2014.01.24 12:47
Sam Lubell examines the U.S.'s trouble keeping top design talent
And is today's "critical Architecture culture" even all it could be? It too seems pre-conceived in it's idea(s) of what is right, what is good. What if 'good' design was like 2014.01.24 12.12?

2014.01.25 15:15
25 January
Finished reading Manfredo Tafuri: Choosing History this morning, and Leach is quite a good analyst and writer. I'd like to relate two passages, one from the beginning and one from the end. On page seven: "Beginning his studies in October 1953, Tafuri faced the disconcerting reality that the University [of Rome] remained stocked with professors appointed under the Fascist regime. Over the duration of his diploma studies, he came to openly oppose several of these. His "hit-list" included Enrico Del Debbio, Ballio Morpurgo, Vincenzo Fasolo and, most explicitly, Saverio Muratori. He complained of their lack of interest in teaching, their distance from the classroom and their reliance on assistants to deliver the curriculum. He begrudged their prejudice against modern architecture: "The operative principal was that contemporary architecture must not enter the curriculum. It was considered a heresy." It thus is now easy to speculate that Tafuri specifically set out to "modernize" Fasolo's analysis of Piranesi's Campo Marzio. If such is the case, then Tafuri also just continued Fasolo's mistakes. On pages 269-270: "In "The loneliness of the Project", Groys argues that the work practices of artists, philosophers, writers, scientists, and so on assume a fundamentally existentialist stance in the relation to their project to the external conditions of day to day life. He conceives of the project as intellectual work that is isolated and independent; its manifestations represent the project, but remain distinct from it. The very notion of the project, as Groys portrays it, invokes a fine balance between a common scale of time shared by all and a temporal field inhabited by an artist. In each instance that an artist proposes a project--to an ethical panel, funding committee, gallery, etc.--he or she advances a scheme for the future. To begin the project is to commence the realization of that programme. Anchored not to the vicissitudes of the present world, their vision is imbued with critique, hope of the anticipation of consequence. It is thus fundamentally utopian, an expression of the need to surpass the present: 'each project in fast represents a draft for a particular view of the future, and each case can be fascinating and instructive.' Despite the completeness with which the artist might conceive of this future, from the outside one may simple engage with its "evidence"." Choosing to "build" a virtual museum of architecture is definitely a project.

2014.01.26 19:13
Sam Lubell examines the U.S.'s trouble keeping top design talent
When exactly hasn't it been "a suum cuique (to each his own) style of American Architecture"?

2014.02.03 09:47
This Your Father's License
"In the future, all education will be an advertisement."
"In the future, every generation will be defined by product placement."



Quondam © 2016.10.18