Category Archives: ARCHITECTURE


The Feminist Architecture CollaborativeVirginia Black, Gabrielle Printz, and Rosana Elkhatib—is “interested in designed ways of being: a woman, a citizen, a patient, a pile of compost. They approach these states as unstable constitutions, taking inventory of the matter and media that condition life under the law, capital, and a protracted hetero-patriarchy. What are the interceding artifacts, devices, and scripts that allow for survival under—and subversion of—such truly busted circumstances? Can we configure other realities from this mess with sharper critique and greater care?”

f-architecture has “sought something truer in fakeness, indulging in its delights (eyelash extensions, fake IDs and fan-fic) while also demanding closer scrutiny of the definitive measures that reify more powerful myths (the nation and how we belong to it, for instance). Self-authorizing identity documents, virginity simulations, and reconstructions of the clinic interior are among the objects of f-architecture s practice in reproduction. “

This week, f-architecture will give a talk at the Massachusetts Institute of Technology, “illuminating several recent projects that center embodied experience and demonstrate ways of working through feminist critique.”


Thursday, February 27, at 6 pm.

Long Lounge

MIT School of Architecture and Planning

77 Massachusetts Avenue, Cambridge.

Images courtesy and © the Feminist Architecture Collaborative.


The comprehensive exhibition CHARLOTTE PERRIAND—INVENTING A NEW WORLD is in its last weeks in Paris.


Through February 24.

Fondation Louis Vuitton

8 avenue du Mahatma Gandhi, 16th, Paris.

From top: Charlotte Perriand in the Chaise longue basculante B 306, 1929; Perriand, Agence Air France, 1957, photograph by Gaston Karquel; Le Corbusier, Pierre Jeanneret, and Perriand, Dining Room 28, included her tubular steel chair; Perriand, sketch of house elevation, 1993; Fernand Léger (left), Perriand, Le Corbusier (Charles Edouard Jeanneret), Albert Jeanneret, Pierre Jeanneret, and Matila Ghyka, Athens, 1933; Le monde nouveau de Charlotte Perriand exhibition catalog, Fondation Louis Vuitton and Gallimard; Perriand, Work and Sport, 1927–1929; Perriand, revolving chair, 1927; Dining Room 28 reproduction, Fondation Louis Vuitton. Images courtesy and © Adagp, Paris, 2019, the Vitra Design Museum, and the Archives Charlotte Perriand.


The MAK Center for Art and Architecture at the Schindler House presents the group exhibition SOFT SCHINDLER, curated by Mimi Zeiger.

The show features works by Agenda, Tanya Aguiñiga, Pedro Alonso and Hugo Palmarola, Laurel Consuelo Broughton, Bryony Roberts Studio, Design Bitches, Sonja Gerdes, Bettina Hubby, Alice Lang, Leong Leong, and Anna Puigjaner.

SOFT SCHINDLER participants, through their respective practices and presented works, show the incompleteness of binary ideas in architecture, sculpture, and design— femininity vs. masculinity, inside vs. outside, heavy vs. light, rational vs. emotional—framing such notions outmoded. Each of these practitioners makes non-conforming aesthetics and ideologies manifest in space.*


Through February 16.

Schindler House

835 North Kings Road, West Hollywood.

Soft Schindler, October 12, 2019–February 16, 2020, Schindler House, from top: works by, left to right, Jorge Otero-Pailos and Design, Bitches; Sonja GerdesPie of Trouble. Stays Trouble. Belly on Belly. Let’s Hang. Breathe you infinite. Animal Creature Plant Breath Soul. The Energy Plan. Amorphous Hypersensibility. Do Spiders Breathe? Mothersmilk. The Multiple Amorphous Us. Air For Free., 2019; Bettina Hubby, Don’t Stifle Your Emotions, Appease the Monkey Mind, 2015, and Relax, Etc., Release Tensions Regularly, 2015; Design, Bitches, Drawing Rooms, 2019; Bettina Hubby, The Response to a Hard Edge, 2019; Leong Leong, Fermentation 1, 2019, (2), with fermentations by Jessica Wang and Ai Fujimoto; Laurel Consuelo BroughtonWelcome Projects, Four Prototypes for Los Angeles, 2017–2019; works by, from left, Tanya Aguiñiga, Design, Bitches, and Bryony Roberts Studio; sculptures by Alice Lang; Pedro Alonso and Hugo Palmarola, Choreographies, 2016; Agenda, The Garden of Earthly Delights, 2019. Photographs by Taiyo Watanabe, images courtesy and © the photographer and MAK Center for Art and Architecture.


In conjunction with BAUHAUS BEGINNINGS, open for one more week at Getty Center, BAUHAUS—BUILDING THE NEW ARTIST is an online exhibition that “offers an in-depth look into the school’s novel pedagogy.”*

Following the end of World War I, the provisional government of the short-lived Free State of Saxe-Weimar-Eisenach in Germany initiated an effort to reestablish two schools, the Weimar School of Applied Arts (Weimar Kunstgewerbeschule) and the neighboring Academy of Fine Arts (Hochschule für bildende Kunst), as a single, unified institution…

Upon the recommendation of Belgian architect Henry van de Velde, who had previously directed the Weimar School of Applied Arts, the Berlin architect Walter Gropius was invited to head the new school. Gropius’ request to rechristen the institution under a new name, BAUHAUS STATE SCHOOL (Staatliches Bauhaus), was approved in March 1919.*


Online exhibition in conjunction with


Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Postcard sent to Jan Tschichold with aerial photograph of Bauhaus Dessau, Walter Gropius, architect, 1926, photograph by Junkers Luftbild, 1926, gelatin silver print on postcard, Jan and Edith Tschichold Papers, 1899–1979; Vassily Kandinsky, Color Triangle, circa 1925–1933, graphite and gouache on paper, Vassily Kandinsky Papers, 1911–1940; students in a workshop at the Bauhaus Dessau (2), photographer(s) unknown, undated, gelatin silver prints; Erich Mzozek, Still-life drawing with analytical overlay, circa 1930, graphite on paper and vellum, © Estate Erich Mrozek; Geometric study of spiral form, artist unknown, undated, graphite and colored graphite on paper; Friedl Dicker, Light-dark contrast study for Johannes Itten’s Preliminary Course, 1919, charcoal and pastel collage on black paper. ; Pamphlet for Farben Licht-Spiele (Color-light plays), Ludwig Hirschfeld-Mack, 1925, letterpress, Bauhaus Typography Collection, 1919–1937, © Kaj Delugan; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek. All images courtesy and © the Bauhaus-Archiv and the Getty Research Institute.


For [Alvin] Baltrop, who for a time lived in a van parked along New York City’s Hudson River, the waterfront was more like a second home. Looking at photographs of so many naked bodies sprawled out on the docks on a summer day, we might think we were witnessing the radical democratization of men. We can be sure that some of the waterfront pleasure seekers experienced it that way, but Baltrop was always keenly aware of the inequalities embedded in queer life and in the gay civil rights movement.Jonathan Weinberg, Pier Groups

“Although initially terrified of the piers, I began to take these photos as a voyeur [and] soon grew determined to preserve the frightening, mad, unbelievable, violent, and beautiful things that were going on at that time. To get certain shots, I hung from the ceilings of several warehouses utilizing a makeshift harness, watching and waiting for hours to record the lives that these people led (friends, acquaintances, and strangers), and the unfortunate ends that they sometimes met…

“The casual sex and nonchalant narcotizing, the creation of artwork and music, sunbathing, dancing, merrymaking, and the like habitually gave way to muggings, callous yet detached violence, rape, suicide, and, in some instances, murder. The rapid emergence and expansion of AIDS in the 1980s further reduced the number of people going to and living at the piers, and the sporadic joys that could be found there.” — Alvin Baltrop*

[Baltrop] photographed constantly at the Hudson River piers from 1975 to 1986, and the thousands of negatives from that project constitute his chief photographic legacy. He risked much to work there. In order to spend more time at the piers, he gave up his job as a taxi driver and became a self-employed mover. Often he stayed for days on end, living out of his moving van parked nearby. In spite of the remarkable documentary and aesthetic value of what he accomplished, Baltrop was almost completely unsuccessful at getting his work exhibited during his lifetime.Douglas Crimp

The Bronx Museum show THE LIFE AND TIMES OF ALVIN BALTROP features over 200 photographs as well as the first public exhibition of Baltrop’s personal archive. The show was curated by Sergio Bessa, and a catalog is available from Skira.


Through February 9, 2020.

Bronx Museum of the Arts

1040 Grand Concourse, The Bronx.

*Alvin Baltrop, manuscript for Ashes from a Flame: Photographs by Alvin Baltrop, edited by Randal Wilcox.

See Ed Halter on Baltrop.

Alvin Baltrop, from top: The Piers (Man Sitting and Smoking), circa1975–1986, gelatin silver print; The Piers (Collapsed Warehouse), circa 1975–1986; The Piers, circa 1975–1986; The Piers (Male Drinking with Cigarette), circa 1975-1986; The Piers, circa 1975–1986; The Piers (Man from Behind), 1977–1978, silver gelatin print; The Piers (exterior view of Day’s End), 1975-8; Pier 52 (Gordon Matta-Clark’s Day’s End), 1975–1986, silver gelatin print, Bronx Museum of the Arts permanent collection; The Piers (4), circa 1975–1986; The Piers (Open Window), circa 1975-86. Images courtesy and © the Alvin Baltrop Trust, Galerie Buchholz, Berlin/Cologne/New York, Bronx Museum of the Arts, and Third Streaming, New York.