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Le Corbusier: An Atlas of Modern Landscapes runs from 15 June - 23 September 2013 at the Museum of Modern Art (MoMA) in New York City. It is the museum's first comprehensive exhibition on Le Corbusier (Charles-Édouard Jeanneret, 1887-1965), and is billed as "the largest exhibition ever produced in New York of [his] protean and influential oeuvre"; in 2014 it will travel to Madrid and Barcelona. Exhibition curator Jean-Louis Cohen, an architectural historian at New York University, gave a tour of the exhibition as part of the "Le Corbusier/New York" symposium at the Center for Architecture on June 8. World-Architects was in attendance, so here we present some insight into the exhibition, accompanied by highlights from the symposium at right.
One of the most striking features about daily life in China is how much of what one encounters has been appropriated from elsewhere. It’s not just the fake iPhones or luxury watches . . . . Above all are the physical spaces. . . . New architecture, when it is notable, is nearly always by foreigners or copying foreign styles, a tendency that has led Western architects to flood into China, often with second-rate projects for sale. . . . These are not just individual buildings but entire streetscapes, with cobblestone alleys, faux churches (often used as concert halls), towers, and landscaping designed to reproduce the feel of European and North American cities. The city of Huizhou features a replica of the Austrian village of Hallstatt; while Hangzhou, a city famous for its own waterfront culture, now includes a “Venice Water Town” that has Italian-style buildings, canals, and gondolas. Other cities in China now feature Dutch colonial-style townhouses, German row houses, and Spanish-style developments.Architectural Mimicry in Contemporary China from the NYRB blog.
With collections to rival the Smithsonian and the British Museums, it isn't just a storehouse of countless artifacts from the world over. The building seems to be a tiny world, an island in the midst of a busy street. The tall gates with their spikes are the doorways to different recorded ages. All those entering through the high steps are travelers in a time machine. But this is not all that Kolkata's Jadughar or "House of Magic" has to offer. Its jadu lies in the magic with which it houses portions of man's past. The high ceilings seem to stretch to infinity. Amid the silence there is vibrant life. Showcasing essential elements of different cultures, the dark, often dank, interiors show up the objects more sharply. Gradually the eyes grow used to the absence of light; the smell seems natural. It is this ambience that gently draws you in and makes the textbook history we are used to, a tangible living reality.It remains a wonderful time-warp with plenty of mangy-looking stuffed animals, fish and birds, together with fossils so beloved of Victorian collectors, as well as fascinating Indian friezes, bas-reliefs and stone carvings and art.
Geoff Carter's radical view of building in the ancient world, especially the archaeology of the lost timber built environment of Southern England. It is new research into of prehistory of architectureWith the ultimate conclusion that Stonehenge is the remains of a roofed shelter. [more inside]
Sian Jarvis, the supermarket’s head of corporate affairs, had undermined her claims to care about the health of her customers and let slip one of the secrets of a multi-billion-pound industry ... she revealed that one in three Asda checkouts “are what we call guilt-free checkouts”. Jarvis insisted “guilt-free” was merely “a term that’s commonly used in retail”. But it was too late, and her “guilt” gaffe quickly invited scorn in the industry and among public health professionals. Whatever the damage, she had already opened a door to the arcane science of supermarket psychology. To the designers of the modern store, shoppers are lab rats with trolleys, guided through a maze of aisles by the promise of rewards they never knew they sought The Secrets Of Our Supermarkets[more inside]
Bertrand Goldberg is widely known as the architect who builds round buildings, but little is known about his innovative theories of space and his utopian ideas that have generated these sculptural forms. His work speaks with a vocabulary that is still unfamiliar to some and unappreciated by many. Goldberg’s often repeated statement, "for the first time in the history of the world we can build whatever we can think," seems to have been the beacon guiding his career. While many projects have been fully realized, some others have been only partially implemented, but all have grown out of Goldberg’s unique philosophical, aesthetic, and technological thinking.From the preface to the Oral History of Bertrand Goldberg [more inside]
Robert de Montesquiou - "Tall, black-haired, rouged, Kaiser-moustached, he cackled and screamed in weird attitudes, giggling in high soprano, hiding his little black teeth behind an exquisitely gloved hand – the poseur absolute. He was said to have slept with Sarah Bernhardt and vomited for a week afterwards."
Lord Berners - "As a child, having heard that if you throw a dog into water it will learn how to swim, he threw his mother's canine companion out of the window on the grounds that if one applies the same logic it should learn how to fly. (The dog was unharmed, and he was "thrashed" by his mother.)"