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MARWAN AL-SAYED house of earth + light
Habitrail hamster homes
ball, bubble and egg chairs
CONRAIL Cabins & Cabooses
the Japanese architectural collective of Atelier Bow-Wow plays in the margins. Their designs for Tokyo are for the areas left undeveloped under freeways and bridges and between buildings. They see their role as architects as not adding more buildings to an already overbuilt urban environment, but to explore utilizing the left over spaces
From (Im)possible to Virtual Architecture
Serge Gainsbourg French Provocateur
shakes and shingles
International Communities
How Not To Build Your Community Home
It's a scene right out of Tolkien. Elves and gnomes must have come out of the mist to create these dwellings--curved cottages of tree poles and cedar shakes, sculpted earthen walls, convoluted stone foundations. Roofs curve and soar like fronds or bird wings; some are topped by grass or moss. They rise like mushrooms in a 12-acre meadow on a ridge in northwest Washington, surrounded by a fir and cedar forest that looks west across the Skagit River Valley to Puget Sound and the Olympic Mountains beyond. Amidst conifers, apple orchards, berry patches, and vegetable gardens, the structures in this Ecotopian fantasy world were not built by elves and dwarves at all, but bySunRay Kelly
Purple Martin house
Lenticular Photography
a true Adirondack chair is homemade of scrap wood and there are millions of design mutations / Norm's features a horizontal arm, so your drink won't slide off
Rose O'Neil kewpie
Velvet Underground NYC
R M Schindler LA MOCA
against the nightmare of sameness
designed in 1938 by Argentinian architects Jorge Ferrari-Hardoy, Juan Kurchan and Antonio Bonet / manufactured by Knoll International, Inc USA, later by Stohr Import-Export GmbH, Germany / material: tubular steel frame, cloth cover / The butterfly chair was inspired by a chair used by British army officers in the 19th century. Unlicensed knock-offs and the loss of a Knoll copyright suit have made this one of the most copied chairs of the modern era
free jazz
set the controls for the center of the sun
origami modules
Fugs box
Kaufmann Kaufmann
engineer's aesthetic
rodder Norm Grabowski
Bubblegum music
Marimekko Helsinki
Building Forum
"Some have dubbed it the "Bilbao Effect"; others, "the rise of design." However one refers to it, the relationship between art and architecture has undergone significant change in recent years. Though the association dates back to the very origins of both fields, a number of factors have recently conspired to raise new questions about their boundaries, premises, and cultural goals.
The theoretical principles defining modern art and architecture as self-sufficient, sustainable fields have come into question anew in the '90s. In the place of "isms," an eclectic complex of ideas and working methods have arisen, perhaps supplanting "theory" or, at the very least, relying on unstated rather than stated theoretical premises. Part of this transformation, the rise of "design" as an intellectual and pragmatic concern in art and architecture, has been aided by the emergence of new media, which have opened up new spaces of convergence and interaction. "Virtual design" may already be a decade old and remains as fuzzy a concept as "new economics," but it continues to challenge old notions in both art and architecture and significant creative energy continues to be invested in its development. Asymptote Architecture, for one, is currently designing the Guggenheim's "Virtual Museum." Yet what a virtual museum might mean remains to be understood.
Moreover—and not for the first time—artists and architects have infiltrated each others traditional spheres of activity: Architects and designers such as LOT/EK, Karim Rashid, Diller + Scofidio, Rem Koolhaas, M/M Design in Paris, and Open Office have been exhibiting in galleries, while artists such as Rachel Whiteread, Michael Elmgreen and Ingar Dragset, Franz West, Liam Gillick, Mike Nelson, Atelier Van Lieshout, and Jorge Pardo—to mention just a few—have followed in the footsteps of Dan Graham and Vito Acconci by turning to architecture and design in search of new agendas and vocabularies for contemporary art. Finally, all this has been unfolding in the wake of Frank Gehry's Guggenheim Bilbao, which is only one of several prominent museums that have become iconic architectural showpieces, and as such, another point of contact between art and architecture.
In order to consider the causes and consequences of some of these interchanges, Artforum has invited the following critics, curators, artists, and architects to participate in a twelve-day online symposium: John Rajchman, philosopher and critic; Jeffrey Kipnis, architecture curator at the Wexner Center for the Arts, Ohio; Hans-Ulrich Obrist, curator and critic; Ronald Jones, Provost, Art Center College of Design; Catherine Ingraham, critic, professor of architecture, Pratt School of Design; Henry Urbach, gallerist and writer; Michael Elmgreen and Ingar Dragset, artists; Galia Solomonoff, partner at Open Office Art and Architecture Projects; and Vito Acconci, artist and designer. The symposium is moderated by Philip Nobel, contributing editor for Metropolis magazine. Nobel has written on art and architecture for the New York Times, Architectural Digest, Artforum, and other magazines. He is currently writing an essay for a forthcoming book from the Princeton Architectural Press on the New York firm LOT/EK."
—The Editors
Eduardo Catalano House Raleigh NC