Home of the Bill T. Jones / Arnie Zane Company
The artistic directors of the Chicago Architecture Biennial discuss their new Menil Drawing Institute and the role of history in contemporary architecture.
An architect conjures the ghosts of New York’s unbuilt past.
This year’s Architectural League Prize for Young Architects & Designers convenes work that probes an “unstable environment.”
What began as an art project with the overt purpose of confronting and confounding “straight” society ended up as something resembling a pro football game for people on psychedelics, and nearly as profitable.
Buildings are big, expensive, and they have a tendency to stick around a long time. So what’s an artist who wants to disturb “the repressive architecture of bureaucracy and luxury” to do?
“The idea of misunderstanding is very much part of our time. In our firm, we are from all these different backgrounds, working in this Babylonian city, so we are also interested in process and the unintentional things emerging from that. It acknowledges our contemporary chaos.”
For Tatiana Bilbao, an architectural project’s limitations are opportunities to experiment with new approaches. With artist Terence Gower she revisits recent ventures and Mexico’s architectural tradition.
A swarm of biotechnological robot drones defends a fragile Eden from invasive species. The Earth’s hydrology cycles through a vast suspended infrastructure; 2,000 synchronized parts dance for droughts, rains, and floods.
Stan Allen’s seminal essay, “Field Conditions,” written almost 15 years ago, still resonates among architects. He confers with Nader Tehrani on landscape urbanism as well as building and teaching “from a position of uncertainty.”
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.
Terence Gower opens the gray flannel cover of Stan Allen and Marc McQuade’s Landform Building, an architectural manifesto that rethinks “organic” as “geologic.”
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.
Drifts and Derivations: Experiences, Journeys and Morphologies, an exhibition currently at the Reina Sofía in Madrid, documents Brazilian and Chilean architectural concepts that all espouse ideas concerning ties between public space and collective life.
Anti urban segregation through zoning.
Aunque tenemos amigos en común, Smiljan Radic y yo nunca nos hemos conocido en persona; tampoco hemos hablado por teléfono.
Though we share acquaintances, Smiljan Radic and I have never met in person, nor spoken over the phone. This interview is the result of a series of email exchanges between Smiljan in Santiago and myself in Mexico City during October of 2008.
Based on a workshop and exhibition at the Banff Centre in 2007, Informal Architectures is more a compilation of documents (artist statements, interviews, and articles by workshop participants and exhibitors) than a typical work of architectural history or criticism.
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.
Urban planning and the Edenic garden, from Cicero to Borges; and universal knowledge and the public library, from Boulee to Kalach’s own soaring Vasconcelos Library.