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"While it may be reasonable to assume that the items featured in a museum exhibition be small enough to fit into a room (or at least into the museum itself), or that they would actually, well, exist, such is not always the case.
This summer, for example, the Museum of Modern Art has been casting a curator's eye on skyscrapers - few of which are finished structures, and none of which would fit through the front door. In the MoMA's temporary Queen's headquarters, this dilemma was solved with the use of models. On the companion website, the solution included, but was not limited to, the 2-D world of artists' conceptions - and given the necessarily virtual nature of the artifacts in both locations, and the opportunity for leisurely at-home viewing online, MoMA: Tall Buildings may be one of those few exhibits which is actually better surveyed on the web."
This is some good Herbert gossip (note: Aric Chen, quoted below, is the gossip columnist for The Architect's Newspaper. And this lawsuit is apparently 'the straw that broke the camel's back' with Herbert and his leading role at the Times). He is so self-destructive. I actually find it sad:
"And now, a word from Off the Record [NY Observer] architecture correspondent Gabriel Sherman:
On Sept. 12, Suzanne Stephens, a special correspondent for Architectural Record, was boarding Delta Airlines Flight 145 traveling back to New York from the Venice Biennale, and found she was seated in the same middle row as 56-year-old former architecture critic of The New York Times Herbert Muschamp.
Ms. Stephens, author of the just-published Imagining Ground Zero: The Official and Unofficial Proposals for the World Trade Center Site, and Mr. Muschamp came to blows earlier this year, when Ms. Stephens tried to include in her book architects who had contributed to a special issue of The New York Times Magazine that pulled together plans for the World Trade Center site, and which Mr. Muschamp had curated. Fellow Times reporter Julie Iovine was seated one row behind.
According to Ms. Stephens, upon realizing the pending seating arrangements, Mr. Muschamp promptly turned to Ms. Stephens and declared: "Would you mind switching seats with Julie [Iovine] so I don’t have to look at your fucking face?"
To which Ms. Stephens said she retorted, "Certainly, and may you rot in hell!"
The verbal volleys drew the attention of nearby passengers, according to sources on the flight. A woman from Croatia jumped up and said, "Well, it looks like you all know each other!" Other passengers sneaked curious looks towards Mr. Muschamp and Ms. Stephens.
"Herbert was already sitting down when I got to my row, and he turned and without saying hello, that’s when it happened," Ms. Stephens told Off the Record. "He told me, ‘Do you mind switching seats with Julie, so I don’t have to look at your fucking face?’ That’s when I answered back."
Neither Mr. Muschamp nor Ms. Iovine returned calls for comment before press time.
Eventually, Ms. Stephens and Ms. Iovine swapped seats, and then Mr. Muschamp and Ms. Iovine traded seats again before take off. Once the musical chairs between the smarting journalists subsided, the parties settled in for the flight, in which architects Jessie Reiser, Nanako Umemoto, Enrique Norten, Preston Scott Cohen, MoMA curator Paola Antonelli and director Spike Lee were also on board.
Aric Chen, a contributing editor at Surface Magazine and a design writer who has penned pieces for GQ and Elle Decor, was also on the plane, seated in the aisle across from the developing fracas.
"Throughout the entire flight, Herbert had this creepy smirk on his face. He had the look of someone who was unraveling," Mr. Chen said. "It was kind of a zombie-ish, smug little smirk."
According to a source familiar with the dispute between Ms. Stephens and Mr. Muschamp, it all began in February of this year, when Mr. Muschamp learned Ms. Stephens was preparing the book. Mr. Muschamp was reportedly furious that Ms. Stephens had contacted the architects in the Times Magazine spread—many of them his personal friends—without approaching him first. This winter, the two sides ratcheted up the legal rhetoric, with Ms. Stephens’ lawyer issuing a letter threatening to sue Mr. Muschamp for tortious interference and Mr. Muschamp threatening legal action of his own. The two sides finally reached an accord this spring, but by that time, most of the architects in the Times Magazine package declined to participate in Imagining Ground Zero.
"The Times was prevented from being represented in the book by one of their employees, and the project couldn’t show all the work of something The Times had sponsored, because of the machinations of one of their employees," a source involved in the proceedings said.
"You know, it’s funny—I guess I felt I was doing the right thing all along, no matter how horrible it got," said Ms. Stephens. "I wasn’t doing something I didn’t think was right. These architects had done a lot of work, and they deserved to be in this project." Then she added: "But I’m not confused or upset. For Herbert, it’s a power thing."
via (frequent contributer to this page) Selma
ten things your architect wont tell you
"Dan Yack and The Confessions of Dan Yack, both by Blaise Cendrars ...small but packed with detail, and some of the best descriptive passages regarding drunken-ness ever. Not new, but the writing is timeless. also, Fernando Pessoa- The Book of Disquiet, set in Lisbon, reads kind of like Joyce...praise to obscurity,failure,initelligence,difficulty and silence." via vz
"He hired Richard Meier as an adviser, and they selected venerable figures such as Graves, Cobb, Richard Rogers, and Philip Johnson, along with younger celebrity architects—Zaha Hadid, Steven Holl, Shigeru Ban, and Eric Owen Moss—to design houses. They also chose several architects who are less well known to the general public but have substantial reputations in the academic world—people like Stan Allen, Lindy Roy, Winy Maas, Jesse Reiser, Nanako Umemoto, and the sisters Gisue and Mojgan Hariri. This project may be the closest such architects will ever come to designing a freestanding house."
"These days, when he’s not hanging out with Brad Pitt or posing for American Express ads (give the guy a break; he deserves a little fun now and then), Frank Gehry might be practicing to sound more like, well, Frank Gehry. We hear the architect is set to make a cameo appearance, as himself, on an episode of The Simpsons this upcoming season. While Gehry’s rep could not provide specifics, we understand that, despite that institution’s interest in the location (as well as everywhere else), Gehry will not be designing a Guggenheim for Springfield."
from the architects newspaper via selma
pods, monsters, blobs, gimmicks and computer-aided design
Few architects have transform their cities so much for the better as the stonemason-turned-architect Andrea Palladio did in Venice 500 years ago. It is hard to turn one's back on this city-on-water, basking in the summer sunshine, and plunge into the largely obscurantist national pavilions and dark dockyard exhibition venues of the ninth Architecture Biennale. Not least because the theme of this year's show is metamorphosis: how contemporary architecture is bursting out of the chrysalis of rectlinear (Palladian) design into something more fluid.
alone in the wilderness
"In 1968, Richard Proenneke (1917–2003) chose an idyllic site at Twin Lakes in Alaska's Lake Clark National Park, cut trees, built a log cabin, and became a self-sufficient craftsman, making what was needed from materials available. He recorded his observations there for almost 30 years, until 1995. This program follows Proenneke's day-to-day explorations and the activities he carried out alone, as well as the chain of nature's events that kept him company."
A $25 million restoration is under way at the Darwin D. Martin House, part of a red-brick Prairie-style complex that rose in 1905, a year before the Larkin office building was completed. Already workers have torn down a boxy apartment building that was shoehorned into the Martin House site in 1962 and have patched the house's masonry.
hidden looney tunes gags
"It is a nomadic project for in- and outdoors,
that’s why I had to think about a power supply
which doesn't make use of domestic electrical power.
I got the hint from a traditional japanese lamp,
which is called CHOCHIN - a portable lamp,
used with a candle in the EDO period.
in my work, the candle flame changes into a LED,
the candle wax to lithium cell and the paper shade to a
standard rubber balloon... arigato! ‘
says the japanese music artist BEKKOU aka kouichi okamoto. ’the LED does not generate heat like other lights sources,
such as incandescent lamps. that’s why LEDs do not need
air circulation. the LED gives bright illumination and the balloon
creates a diffuse light.’
warhol foundation apologist