Category Archives: ARCHITECTURE

LINDA SHI ON GREEN INFRASTRUCTURE

Linda Shi—urban environment planner and assistant professor at Cornell—will give a virtual talk exploring “explores whether it is possible to achieve both social justice and environmental sustainability in efforts to mitigate urban flood risk.”

The event is presented by the Harvard University Graduate School of Design. See link below to register.

LINDA SHI—GREEN INFRASTRUCTURE BEYOND FLOOD RISK REDUCTION

Thursday, September 10.

4:30 pm on the West Coast: 7:30 pm East Coast.

Top: Linda Shi, image courtesy and © Shi. Below: Pond at Chantilly Ecological Sanctuary from the remaining portion of the Doral Apartment complex in Charlotte, North Carlina, photograph by Hannah Wilson, image courtesy and © the photographer.

EILEEN GRAY

The Bard Graduate Center Gallery presents a virtual tour of their current exhibition EILEEN GRAY.

Curated by Gray expert Cloé Pitiot, this is the first comprehensive exhibition in the United States of the work of the pioneer designer and architect.

See link below for details.

EILEEN GRAY

Bard Graduate Center Gallery

New York City.

Eileen Gray, from top: Tempe a Pailla, Castellar, France; dressing cabinet in aluminum and cork, 1926-29, courtesy and © Centre Pompidou; Au Cap Martin Roquebrune, 1926–1929, from L’Architecture Vivante, no. 26, courtesy and © Centre Pompidou, Bibliothèque Kandinsky, Paris, Eileen Gray collection; exhibition pavilion, final design, 1937, composite plan, section, and elevation, pen and ink (and inscription by Le Corbusier in red and orange crayon) on tracing paper, courtesy and © Victoria and Albert Museum, London; dining room serving table, 1926–1929, courtesy and © Centre Pompidou; Transat chair, 1926–1929, varnished sycamore, tubular steel, synthetic leather, courtesy and © Centre Pompidou; Berenice Abbott, Eileen Gray, 1926, courtesy and © the National Museum of Ireland; extendable metal wardrobe at Tempe a Pailla, 1934; dressing table, circa 1920; breakfast table, 1927; E 1027, courtesy and © Centre Pompidou, Bibliothèque Kandinsky, Eileen Gray collection.

A MADELINE GINS READER

In the 1960s] Madeline Gins… was exploring states of extreme influence, even possession, by literary language. Her way of “deal[ing] with” the displacement of her self by an influx of words was to write in the very space of delay and estrangement that reading and writing produce, to continue this delay, this interruption. She seemed truly not to aspire to any sort of fixed meaning—or, rather, to aspire to unfixing meaning—even as she was quite insistent that she wrote in the novel form. — Lucy Ives

Madeline Gins was marooned here, on Earth, and made the best of it, using what was available to her, like words. This book is a splendid testament to how far she pushed them, and us, to realize what she already knew. That this, all this, is not it. Not. Even. Close. — Paul Chan

The new anthology THE SADDEST THING IS THAT I HAVE HAD TO USE WORDS: A MADELINE GINS READER—published by Siglio—”brings never-before-published poems and essays together with a complete facsimile reproduction of Gins’ WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G,R,E,T,A, G,A,R,B,O, It Says) (1969), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins’s poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics.”*

See link below for details.

THE SADDEST THING IS THAT I HAVE HAD TO USE WORDS: A MADELINE GINS READER, edited and with an introduction by Lucy Ives (Catskill, NY: Siglio Press, 2020).*

From top: Madeline Gins in Tokyo, 1998, image courtesy and © the Reversible Destiny Foundation; Arakawa and Gins, Study for Critical Holder, 1990, image courtesy and © 2018 the Estate of Madeline Gins; Gins, Untitled, n.d.; Gins, Untitled, 1969, published in the Street Works edition of 0 TO 9; The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader, edited by Lucy Ives, image courtesy and © Siglio Press; Arakawa and Gins, Screen-Valve, 1985–1987, image courtesy and © 2018 the Estate of Madeline Gins; Gins, 2007. Images courtesy and © the Reversible Destiny Foundation Archives.

BEATE GÜTSCHOW — S SERIES IN BERLIN

Selections from Beate Gütschow’s S series—her photomontages of monumental urban scenes—are back on view in Berlin.

BEATE GÜTSCHOW

Through May 25.

Berlinische Galerie

Alte Jakobstrasse 124–128, Berlin.

Beate Gütschow, S series, images courtesy and © the artist. Beate Gütschow: S (2009) courtesy Hatje Cantz.

IMAGINE LACMA

If [Peter Zumthor’s] new design is built, LACMA can no longer be associated with other encyclopedic museums in the United States that shaped their collections in the 19th and 20th centuries, including the Metropolitan Museum of Art in New York, the Chicago Art Institute, and the Detroit Institute of Arts Museum. Zumthor’s diminished plan would force it to shed the encyclopedic collections that are the very soul of the museum. It commits the original architectural sin of narcissism, of architecture for the sake of architecture.

This let-the-public-chew-concrete moment is all the more shameful because LACMA has gone ahead with demolition just as COVID-19 has taken over the country, state, county, and city, closing down all but essential activities. The administrations of two other museums under construction in Los Angeles — the Academy Museum of Motion Pictures and the Lucas Museum of Narrative Art in Exposition Park — have had the common decency to stop construction, admitting they are non-essential projects, and, hence, not worth risking the health of construction workers. Under the phony pretense that it suddenly cares for the public after having ignored public opinion for over a decade, LACMA claims its intent is to infuse (mostly public) money into the local economy, as though suddenly this deeply selfish boondoggle had an altruistic purpose: job creation. — Joseph Giovannini*

As an imaginary counter to what Giovannini calls LACMA director Michael Govan’s “fait accompli,” the Citizens’ Brigade to Save LACMA accepted proposals from twenty-eight international architectural firms and collections, choosing six final designs in two categories: “Existing Buildings” and “Ground Up.”

The six designs are by Barkow Leibinger, Berlin, with Lillian Montalvo Landscape Design; Coop Himmelb(l)au, Vienna; Kaya Design, London; Paul Murdoch Architects, Los Angeles; Reiser + Umemoto, New York City; and TheeAe (The Evolved Architectural Eclectic), Hong Kong.

See link below for details.

LACMA not LackMA

*Joseph Giovannini, “Demolition Under Cover of Covid-19,” Los Angeles Review of Books, May, 1, 2020.

This week, Los Angeles Times art critic Christopher Knight won the Pulitzer Prize for his series of articles criticizing Zumthor’s design and Govan’s advocacy of it.

From top, designs by: Re(in)novating LACMA, by Reiser + Umemoto, New York (2); Unified Campus, by Paul Murdoch Architects, Los Angeles (2); HILLACMA, by TheeAe (The Evolved Architectural Eclectic), Hong Kong (2); LACMA Wing, by Coop Himmelb(l)au, Vienna; Reimagining / Restructuring, by Saffet Kaya Design, London (2); Tabula LACMA, by Barkow Leibinger, Berlin, with Lillian Montalvo Landscape Design (2). Images courtesy and © the architects and the Citizens’ Brigade to Save LACMA.