Carlos Brillembourg

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Meyer Vaisman by Carlos Brillembourg
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Self-portraiture, architecture, and the divine.

Dilly-Dally: Keith Sonnier’s Sculptures by Carlos Brillembourg
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Architect Carlos Brillembourg’s poetic meditation on Keith Sonnier’s sculptures at Mary Boone Gallery

Hal Foster’s The Art-Architecture Complex by Carlos Brillembourg
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Commodity fetishism or a city as art? Architect Richard Serra and others add to the panoply of voices in Hal Foster’s new collection of essays, The Art-Architecure Complex.

Peter Eisenman by Carlos Brillembourg
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Peter Eisenman prefers Milan to Istanbul. He is an architect and theorist whose work is firmly grounded in the European classical tradition from the Italian Renaissance to the present. 

George Negroponte by Carlos Brillembourg
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George Negroponte’s new work has substituted the expression of the brush with that of the knife.

Joseph Grima’s Instant Asia by Carlos Brillembourg
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Just when we thought of Asia as fertile territory for the monumental interventions of a handful of star architects, Joseph Grima features a few projects that let us in on the true nature of the architecture shaping contemporary China, South Korea, and Japan. Although Grima’s methodology, which he calls a “Polaroid of a changing continent,” is fragmentary, the result is holistic. 

Adam Bartos’s Boulevard by Carlos Brillembourg

The photographs in Adam Bartos’s Boulevard, taken in Paris and Los Angeles, document places that are at once ubiquitous and hidden. 

José Castillo by Carlos Brillembourg
Guillermo Kuitca by Carlos Brillembourg
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BOMB architecture editor Carlos Brillembourg parses the varied subjects and themes of artist Guillermo Kuitca’s 1991 MoMA show.

City Without a Ghetto, Center for Urban Pedagogy by Carlos Brillembourg
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The shortcomings of New York’s Housing Act of 1949 are examined in City without a Ghetto, an exhibition at the Center for Urban Pedagogy.

Jesús Tenreiro-Degwitz by Carlos Brillembourg
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Jesús Tenreiro-Degwitz and I “spoke” via email from fall 2001 to late summer 2002. I have known Jesús most of my life; we became close in 1979 when we and 15 other architects founded the Instituto de Architectura Urbana (IAU) in Caracas.

Maria Elena González by Carlos Brillembourg
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Brazil: Body and Soul at the Guggenheim by Carlos Brillembourg
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Reviewer Carlos Brillembourg finds the absurd task of representing 500 years of Brazilian history in a single exhibit further hampered by Jean Nouvel’s Guggenheim redesign and the franchising of the museum brand.

Raimund Abraham by Carlos Brillembourg
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Terry Winters, The Anti-Collaboration: A Painter and an Architect by Carlos Brillembourg

While some artists are now using “architectural objects” for their art, some architects are claiming “artistic objects”; Set Diagram, a collaboration between Terry Winters and Rem Koolhaas, attempts to highlight the unique roles of both architecture and painting, while at the same time achieving an integration of the two artistic disciplines.

José Antonio Hernandez-Diez by Carlos Brillembourg
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José Antonio Hernandez-Diez poses an inversion of the ordinary, an inversion that makes the viewer complicit in the humor that constructs his artwork.

A Day in Brasilia  by Carlos Brillembourg
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The Museum of Modern Art by Carlos Brillembourg
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The only International style building in New York, The Museum of Modern Art of 1939, designed by Philip Goodwin and Edward Durrel Stone, is once again scheduled for renovation and expansion

The Tarrugiz on Fifth Avenue by Carlos Brillembourg
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Before the Guggeheim museum opened on October 21, 1959, some of New York’s prominent contemporary artists protested against its construction because “of its disregard of the fundamental rectilinear frame of reference.”

A Visit With God: Luis Barragan’s Chapel at the Convent in Talplan Mexico by Carlos Brillembourg
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From the street, only a wall is visible, flanked by anonymous windows and a large wooden door. We press the doorbell and a young boy answers. We explain that Mother Delecta is waiting for us to assist the seven o’clock mass today—All Souls Day.

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