2014.07.12 17:33
Art + Architecture: Schumacher vs. Post-Net
Presently, I design Quondam more along the lines of #1.
Although I'd rather be designing along the lines of number #2.
If I actually started to work at designing the way I'd like too, then perhaps I'll arrive at #3.
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2014.09.05 09:33
Why Modern Architecture Struggles to Inspire Catholics
The "the pursuit of reductionist aesthetics" in Roman Catholic church architecture is more due to the suggestions of the Second Vatican Council than to "architects [being] uncomfortable with symbolic content and figurative art." Look carefully at the dates of the "uninspired" churches and you'll more likely find them from the mid-1960s onward. Plus there is the whole issue of cost versus budget--the money to build large/elaborate churches just isn't there anymore, along with the fact that the cost of building large/elaborate churches rose exponentially. The notion that architects and their modernist education is the blame for uninspired churches is simplistic at best.
2015.05.09 12:34
Architecture Critic Mark Lamster: "We systemically encourage bad building."
If anything, it put a damper on the perennial discontented. Perhaps a contented approach will always dampen a discontented one.
2015.06.17 20:16
Hearts of the City: Herbert Muschamp will always be one of them
I read about half of Hearts of the City about four years ago now. The book was borrowed from the Free Library, so I don't own a copy, and every once in a while I think I should borrow it again to finish reading it. I remember finding the content extremely readable, meaning it was always engaging and comfortably informative. As I continued to read (every night), the density of it all became more and more apparent, and I think that's part of why I stopped before finishing the book. I felt like I needed a break.
2015.08.17 13:21
World Trade Center Plans
It's not a matter of possessing the "drawings;" it's a matter of legally making money from the drawings. (My guess is...) If a judge deems the contents of the 'drawings' to be intellectual property protected under copyright law, then the possessor of the intellectual property rights has rights to any money made from the sale of such intellectual property.
2015.09.24 11:25
In the future, everything will be a museum.
atypical: content for a museum
2015.09.24 19:53
In the future, everything will be a museum.
museums as content of a museum?
Does that mean that, in the future, everything will be a museum in a museum?
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2015.09.25 11:59
In the future, everything will be a museum.
...the notion that "most buildings used to be part museums or at least art galleries when they were built with the inclusion of "ornament" (i.e. art) either applied or an integral part of their structure" is very provocative and even inspired. It's like, forget the notion of "in the future everything will be a museum" because, in fact, most buildings already were museums.
[And, I have to ask, and not at all to detract from your contribution here but, did this notion occur to you within the context of this thread, or is this something already 'discussed' elsewhere and I've just missed it?]
Since Victor Hugo there's been the notion that historic buildings were texts, but it seems the notion of buildings as museums in themselves seems something new and even beyond that. Over a decade ago now I discussed the notion of art being appositional to architecture, and also, back then, the notion of architecture being a delivery of content, yet I never associated the 'applied' art and 'content' as then also manifesting a type of museum. I don't know if it means much to anyone else, but what you wrote above produced a huge a-ha moment for me, and the prospect of now again designing buildings as museums themselves seems to offer a fruitful new approach toward future architecture.
ps Excuse any hyperbole on my part; I just really like this idea.
2021.09.05 13:16
read last night--delivery of content
"I think of pavilions very much as laboratories. Julia Payton-Jones invented the program in 2000 when sho invited Zaha hadid to do the first pavilion. It was initially built for a fundraising event and was meant to last only for an evening. It was quickly decided, however, that it could stay up a bit longer. I joined the gallery six years later and have since co-commissioned the pavilions. It was interesting for me because I have always worked with architects in the context of exhibitions, but I had never really worked with an architect as a client. It was a very exciting new experience--its a very different thing to be a client! In 2006 we invited Rem Koolhaas along with Cecil Balmond. Rem felt that a pavilion without content would be nothing more than a meaningless shape, so he wanted to make the building a content machine. Yet as it turned out, it was not only the content that was a experiment but the form as well. This is often the case: many of architecture's most important inventions have come from temporary pavilions."
Hans Ulrich Obrist, "In Conversation: Hans Ulrich Obrist" in Perspecta 48: Amnesia (Cambridge, MA: MIT Press, 2015), p. 229.
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