Contending with Robin Evans and the limits of architectural drawing.
The artistic directors of the Chicago Architecture Biennial discuss their new Menil Drawing Institute and the role of history in contemporary architecture.
An architect talks about her data maps of urban conflict from Brooklyn to Aleppo.
Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.
The nth volume of interviews by curator Hans Ulrich Obrist gathers fourteen conversations with surviving luminaries of an era of Mexican culture that in hindsight is nothing short of magnificent, despite its under-recognized or somewhat forgotten status abroad.
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.”
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.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
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.
Sixteen Polish installation artists take on the titular theme of Architectures of Gender in varied ways, from confronting viewers with oversized statistics to transforming Bauhaus design principles into a utopic living room.
In the last two decades, Stella’s commitment to literal rather than pictorial space has lead him to an involvement with not only sculpture but architecture.
For me, though, what is most engaging about Gordon is the way his mind unravels a thought.
Metz explores the public work and solitary life of Dan Graham.
Michael Bidlo shares his relation to the “masters” as a copyist of the Modernist canon and at times looses himself in the process, not sure even of his own voice or thoughts at times.