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  </channel><item rdf:about="https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/">
    <title>Contemporary art: Progressive or pointless? - Doha Debates</title>
    <dc:date>2026-07-07T15:50:04+00:00</dc:date>
    <link>https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do we define great art in the 21st century?

Some critics argue that contemporary art has lost touch with the universal principles and artistic traditions that define its greatness. Others see its break with tradition as liberating, a move toward more inclusion, experimentation and personal and political expression.

This conversation is an exploration of what makes great art, particularly in this century. Is it defined by adherence to tradition, or disruption and reinvention? Is artistic beauty understood across time and culture, or does each generation need to redefine it? And with the AI era upon us, what even constitutes art in the first place?"

[direct link to video on YouTube:

"Doha Debates: Is it time to reconsider contemporary art?"
https://www.youtube.com/watch?v=352DIUX4QMk

"Is contemporary art relevant today?

In this episode of @DohaDebates podcast, host Nadir Nahdi is joined by Wafaa Bilal, Samar Younes, Fen de Villiers and Molly Crabapple to discuss whether contemporary art remains relevant in today’s world, as well as the role of artists in addressing social issues. 

The views expressed in this episode are the guests’ own and do not necessarily reflect Al Jazeera’s editorial stance. Visit the @DohaDebates YouTube channel for the extended version."

on Apple Podcasts:

https://podcasts.apple.com/lu/podcast/is-contemporary-art-relevant-today/id1867847336?i=1000767406512

also here:
https://omny.fm/shows/doha-debates/is-contemporary-art-relevant-today

mentioned (but not linked) here:
https://www.frontporchrepublic.com/2026/07/consuming-swatch-or-valuing-craftsmanship/ ]]]></description>
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    <dc:date>2026-07-06T10:56:02+00:00</dc:date>
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<item rdf:about="https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi">
    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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    <dc:date>2026-07-03T01:27:36+00:00</dc:date>
    <link>https://www.sourcetype.com/store/51534/dictionary-of-the-illegible</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dictionary of the Illegible explores the limits of language—its beginnings and its ends—from humanity’s earliest marks to the dissolution of modern alphabets before our eyes. Mapping more than 400 examples of illegibility drawn from Indigenous cultures to imagined future civilizations, the book spans contemporary art, science fiction, politics, architecture, and technology. Dictionary of the Illegible proposes illegibility as a strategy for navigating a world increasingly governed by visibility, efficiency, and total surveillance."]]></description>
<dc:subject>illegibility typography language indigeneity indigenous visibility legibility laurenzbrunner 2026 efficiency surveillance art sciencefiction scifi architecture politics technology dictionaries</dc:subject>
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<dc:subject>losangeles museums architecture art entertainment urbanism joeday lacma academymuseumofmotionpictures lucasmuseum lucasmuseumofnarrativeart academymuseum geffengalleries gettycenter moca hammermuseum broadmuseum peterzumthor clementgreenberg renzopiano mayansong mad frankgehry disneyconcerthall zahahadid aliyevcenter expositionpark wilshireboulevard sanaa reynerbanham kunsthaus graz petercook colinfournier archigram remkoolhaas davidgeffen georgelucas publicspace mikedavis 2026</dc:subject>
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    <dc:date>2026-06-12T21:54:19+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/can-the-unseen-speak-maria-putri-and-ali-napier-on-plantation-ecologies-and-colonial-afterlives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What traces do colonial infrastructures leave behind? In this conversation, architectural researcher and filmmaker Maria Putri joins architect, writer and editor Ali Napier to discuss Can the Unseen Speak? — a film that follows the intertwined histories of plantation economies, environmental violence and land conflict in Sumatra, while exploring how architecture, performance and storytelling might render visible their enduring aftermaths."]]></description>
<dc:subject>mariaputri alinapier sumatra architecture performance storytelling colonialism decolonization postcolonialism colonization landscape infrastructure film 2026 filmmaking seeing unseen indigeneity indigenous</dc:subject>
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<item rdf:about="https://www.koozarch.com/columns/building-stories-gran-acuario-mazatlan-with-tatiana-bilbao-estudio">
    <title>Building Stories: Gran Acuario Mazatlan with Tatiana Bilbao ESTUDIO – KoozArch</title>
    <dc:date>2026-06-06T05:13:24+00:00</dc:date>
    <link>https://www.koozarch.com/columns/building-stories-gran-acuario-mazatlan-with-tatiana-bilbao-estudio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The process of building is rarely linear. Things change: the impetus for design, the ideas of the client, even the stability of the ground. Tatiana Bilbao and Alba Cortes share the challenges of realising the monumental Marine Research Center in the Sea of Cortez, Mexico while offering nature the lead role."

[See also:
https://www.stirworld.com/see-features-sea-of-cortez-research-center-by-tatiana-bilbao-estudio-reimagines-mexican-ruins 

https://www.archdaily.com/1001935/cortes-sea-research-center-tatiana-bilbao

https://tatianabilbao.com/projects/mazatlan-aquarium ]]]></description>
<dc:subject>tatianabilbao seaofcortex albacortes 2026 architecture design mazatlán sinaloa</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:0616098a2e68/</dc:identifier>
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<item rdf:about="https://www.lars-mueller-publishers.com/are-we-human">
    <title>Are We Human? | Lars Müller Publishers</title>
    <dc:date>2026-06-01T04:34:28+00:00</dc:date>
    <link>https://www.lars-mueller-publishers.com/are-we-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are We Human? Notes on an Archaeology of Design
Beatriz Colomina and Mark Wigley

The question Are We Human? is both urgent and ancient. Beatriz Colomina and Mark Wigley offer a multi-layered exploration of the intimate relationship between human and design and rethink the philosophy of design in a multi-dimensional exploration from the very ﬁrst tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design.

Colomina’s and Wigley’s field notes offer an archaeology of the way design has gone viral and is now bigger than the world. They range across the last few hundred thousand years and the last few seconds to scrutinize the uniquely plastic relation between brain and artifact. A vivid portrait emerges.

Design is what makes the human. It becomes the way humans ask questions and thereby continuously redesign themselves.

"[The book] holds important potential to reframe the history of design for the age of the interface."  
– Avery Review

"A multifaceted and multisensory essay [...] a brilliant book that will satisfy the most curious minds."
– Arts et Culture

Author(s): Beatriz Colomina and Mark Wigley
Design: Okay Karadayilar
11 × 18 cm, 4 ¼ × 7 in
288 pages, 181 illustrations
paperback
2016, 978-3-03778-511-9, English

Mark Wigley (*1956) is a Professor and Dean Emeritus at the Columbia Graduate School of Architecture, Planning and Preservation. As an architectural theorist and historian, Wigley explores the intersection of architecture, art, philosophy, culture, and technology. His publications include “Buckminster Fuller Inc.: Architecture in the Age of Radio” (2016), “Cutting Matta-Clark: The Anarchitecture Investigation” (2018) and “Are We Human: Notes on an Archaeology of Design” that he published together with Beatriz Colomina in association with their curation of the 3rd Istanbul Design Biennial. Wigley was born in New Zealand, where trained as an architect, and lives in New York.
Beatriz Colomina

Beatriz Colomina is the Howard Crosby Butler Professor of the History of Architecture and the founding director of the Media and Modernity program at Princeton University. She has written extensively on questions of architecture, art, sexuality and media. Her books include “Sexuality and Space” (1992), “Privacy and Publicity: Modern Architecture as Mass Media” (1994), “Domesticity at War” (2007), “Clip/Stamp/Fold” (2010), “Are We Human? Notes on an Archaeology of Design” (2016), with Mark Wigley, “X-Ray Architecture” (2019) and “Radical Pedagogies” (2022)."

[See also:
https://www.lars-mueller-publishers.com/we-bacteria

"We the Bacteria: Notes Toward Biotic Architecture
Beatriz Colomina, Mark Wigley

The sequel to the authors’ “Are We Human?”, this provocative book is an urgent manifesto for an alternative architectural philosophy. It treats bacteria as the real architects, construction workers, maintenance crews and inhabitants of buildings. Colomina and Wigley draw on the latest research into microbes to rethink the past and possible futures of the built environment. The book explores the intimate entanglements of the microbes within bodies and buildings over the last 10,000 years, culminating in the antibiotic philosophy of contemporary architecture.

The diseases of our time are diseases of the built environment. The deadly combination of rapidly declining microbial diversity and rising antibiotic-resistant bacteria is as great a threat as climate change. Hostility to bacteria has to give way to new forms of hospitality from a more symbiotic architecture that learns from bacteria, embracing them and reconnecting with soil, plants and other species. Buildings based on fear of bacteria, which is to say fear of life itself, must give way to buildings learning from models of coexistence based on bacteria themselves. The main goal of the book is to rethink the very idea of shelter in terms of forms of inclusion rather than prophylactic forms of exclusion.

"A wildly original and deeply fascinating book" 
– Thomas C.G. Bosch, scientist

"We the Bacteria turns architecture upside down, questioning the very foundations of the discipline established since Vitruvius." 
– Nikolaus Hirsch, Artistic Director of CIVA, Brussels 

"An alternative history of architecture"
– A Weekly Dose of Architecture

Author(s): Beatriz Colomina, Mark Wigley
Design: Lars Müller Publishers
11 × 18 cm, 4 ¼ × 7 in
352 pages, 319 illustrations
paperback
2025, 978-3-03778-783-0, English"]]]></description>
<dc:subject>beatrizcolomina markwigley design architecture archaeology 2016 books philosophy bacteria builtenvironment vitruvius microbes multisensory sense interface fieldnotes geology time geologicaltime human humans humanism</dc:subject>
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<item rdf:about="https://placesjournal.org/article/modernist-schools-for-disabled-children-new-deal-era/">
    <title>Disabling Modernism</title>
    <dc:date>2026-05-30T22:54:41+00:00</dc:date>
    <link>https://placesjournal.org/article/modernist-schools-for-disabled-children-new-deal-era/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the first decade of the New Deal, modernist architects designed schools for disabled children that proposed radical visions of civic care."]]></description>
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<item rdf:about="https://radioambulante.org/en/audio-en/the-glass-house">
    <title>The Glass House | Radio Ambulante</title>
    <dc:date>2026-05-27T00:30:11+00:00</dc:date>
    <link>https://radioambulante.org/en/audio-en/the-glass-house</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the early 2000s, Daniella Tobar, a 20-year-old actress, joined a cutting-edge artistic and architectural project: living in a glass house right in the heart of Santiago, Chile. Anyone passing by could see her doing what we all do: sleeping, cooking, showering. It wouldn’t be long before a scandal broke out.

Find the English transcript of “The Glass House” here [https://radioambulante.org/en/translation/the-glass-house-translation ]. Or check out the Spanish transcript here. [https://radioambulante.org/transcripcion/la-casa-de-vidrio-transcripcion ]"]]></description>
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    <title>Around North America, Community Members Are Stitching Nearly 11,000 Birds — Colossal</title>
    <dc:date>2026-05-22T10:32:16+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/05/holly-greenberg-bird-collisions-in-the-anthropocene-community-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every year, there are two major migration events. Birds, insects, fish, and other mammals head north in the spring to nest and breed and return south in the winter to feed and raise their young. Using BirdCast, a tool that’s active seasonally and allows anyone to see bird migration “heat maps” around the U.S., ornithologists tracked a record-breaking one billion birds migrating on a single October night in 2023 (last year, that number reached 1.2 billion). But on the night spanning October 4 to 5, something else really big happened: nearly 1,000 birds died in Chicago after hitting a single building.

McCormick Place Lakeside Center is situated along the Lake Michigan shoreline, set apart from many other buildings in a park-like space, and it has roughly enough windows to cover two football fields. As birds cruise along the shore, flitting over greenery, they sometimes mistake the reflections of nature in glass for the real thing. On the morning of October 5, hundreds of birds fell victim to architecture.

[image: "a hand holds a handmade fabric bird that has been tagged with the species name it's modeled after"]

When artist and educator Holly Greenberg heard this news, she was stunned. No stranger to nature and long interested in sustainability and the environment, she was nevertheless totally unaware of the scale of bird collisions in the U.S. During a day out in a Chicagoland arboretum, during a sabbatical from her role as assistant professor at Syracuse University, she worked with a group to remove invasive buckthorn and make room for native trees. A fellow volunteer rued the sad irony of planting new bird habitat when the feathered creatures try to fly into their reflections in glass instead.

“That was the first time that I’d heard that these birds were crashing into windows in Chicago,” Greenberg says. When she later read about the mass collision at McCormick Place, she thought, “Oh man, something needs to be done.” That’s when the multi-year project Bird Collisions in the Anthropocene was born.

Greenberg launched the initiative in 2024 to not only raise awareness of the problem but also to educate people about preventing incidents. Using data from the Chicago Field Museum and with the help of its lead ornithologist Dave Willard, Greenberg landed on a specific number: 10,863. That’s how many were found dead after hitting Chicago buildings in 2023 alone.

It’s estimated that around one billion birds die in window collisions annually throughout North America. One of the organizations working to collect this data and—just as importantly—to protect, rescue, and advocate for avians is the Chicago Bird Collision Monitors (CBCM) program. Every morning, volunteers walk the streets of the city to count and collect fallen individuals, taking them to wildlife sanctuaries for treatment or rehabilitation where possible. Most, however, don’t survive the impact.

[images: "a museum storage drawer at the Field Museum in Chicago with dozens of birds that have been collected after dying from window collisions" / "Bird specimens at the Field Museum"]

Paul Groleau, president of a company called Feather Friendly that makes bird-safe window treatments, suggests that many more die from window impacts than we realize. Greenberg hears people at her workshops say things like, “I heard a bird hit my window, but it flew off, so it’s fine.” Groleau, however, posits that about 60 percent of birds that are stunned do not survive. Their skulls are paper-thin, and if they don’t hemorrhage, they may sit under some shrubbery as they try to recover, which makes them more vulnerable as prey.

When the CBCM volunteers find dead specimens, they take them to the Field Museum, where the bodies become part of an archive Willard has overseen for decades. Many are preserved in the museum collection, each tagged and identified. At the very least, they are added to a carefully tended data set, which lists thousands upon thousands specifically killed by impacting windows at speed.

10,863 is the number Willard had recorded in 2023. Of course, the actual number of birds that collided with windows that year is exponentially higher, but the figure reflects the number that Willard and the CBCM volunteers found. And it’s the exact number that Greenberg is getting thousands of people to help recreate from fabric and glue. At the same time, she’s sharing knowledge about collisions with others through craft, science, advocacy, and social practice.

Starting with a small grant and a group of interns at Syracuse University, Bird Collisions in the Anthropocene began with the list of avians from the Field Museum, some basic crafting supplies, and photographs of individual birds so that makers could replicate the actual species. Eventually, Greenberg relocated to Evanston, Illinois, a suburb of Chicago, and opened a studio where she hosts workshops and processes birds that are sent in from all over North America.

[image: "people work around a table making birds from fabric and glue"]

Workshops are facilitated across the U.S. and Canada, and so far, a total of more than 140 have been held. Materials can be downloaded from the website, and anyone can host a workshop. Popular locations include public libraries and schools. Cornell Lab of Ornithology, which is behind the BirdCast tool, has even launched a pilot program to send hundreds of sew-a-bird kits to biology teachers in New York State in order to complete a core education requirement.

The hands-on, participatory, and very communal aspect of the bird workshops is fundamental to the project’s success. Greenberg opens her studio to the public on the first Saturday of every month as part of the Evanston Made program, and private gatherings can be organized, too. “People get into the flow, no one is touching their phone, and everyone is super concentrated,” Greenberg says. “They’re working with awkward materials, and it’s a mess, but it’s a good creative mindset.”

Studies have shown that hands-on or experiential learning is linked to greater knowledge retention, attentiveness, experimentation, and more. As people create their house sparrows, dark-eyed juncos, golden-crowned kinglets, and many more—and one’s level of technical skill is no matter—a sense of camaraderie builds around a common pursuit. Greenberg then provides resources about how to help prevent bird collisions, such as information about remediation technologies.

Businesses like Feather Friendly make products that can be applied directly to any window, most commonly in the form of small vinyl dots. It also offers Bird Divert, which uses clear dots that are actually hard for us to see, but due to the way birds’ vision works, the application helps them to differentiate between architecture and nature. Fritted glass is another method, which involves ceramic details baked right onto the surface of the glass.

[image: "artist Taro Takizawa stands on a ladder in front of his window painting on the top of artist Holly Greenberg's studio in Evanston, Illinois" / "Artist Taro Takizawa in front of the ‘Bird Collisions in the Anthropocene’ studio in Evanston"

Greenberg sees the artistic potential in the remedial window coverings, and she has previously invited artist Taro Takizawa to apply beautiful organic lines made of hand-cut vinyl on the top windows of her Evanston studio. For a forthcoming social project this summer, Greenberg plans to install different types of remediation dots on the large storefront windows of the space, plus an installation by artist Alice Hargrave, who creates abstract works using the sound waves of bird calls.

While the official number of finished birds is currently at 3,451, Greenberg estimates there are at least 1,000 more awaiting tagging and entry into the project’s handwritten ledger, which is reminiscent of museum catalogues before computerized records came into widespread use. With the help of a team of interns, she labels each bird individually with its species name, its artist, and where it “flew” in from. And installation opportunities abound.

Eventually, the birds will create one giant “carpet” to illustrate not only the poignant and urgent reality of bird collision deaths, but the power of collective action. In the meantime, groups of the fabric critters go on view occasionally in other exhibitions. One of these is Chicago Architecture Center’s forthcoming show, Flyway City, which “aims to catalyze positive change on making cities safer and more welcoming for birds and diverse wildlife” by focusing on how architecture can help to protect avians from the get-go.

The exhibition is organized by Studio Gang, whose lead architect, Jeanne Gang, has also encouraged the city of Chicago to enact building codes that are more bird-friendly. While Evanston has an ordinance that requires bird-friendly building design, Chicago does not yet, although it’s been on the table many times. Greenberg hopes that continued advocacy and information-sharing empowers others to speak up, too, so that these types of changes will be seen in more communities all over North America.

Flyway City runs from June 11 to January 3, 2027, in Chicago. Keep updated about workshops and other ways to get involved by following Greenberg’s Instagram.

[additional photos]"]]></description>
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    <title>How studying friendship has changed the way I understand my own loneliness</title>
    <dc:date>2026-05-20T06:20:59+00:00</dc:date>
    <link>https://theconversation.com/how-studying-friendship-has-changed-the-way-i-understand-my-own-loneliness-281767</link>
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    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
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</item>
<item rdf:about="https://thebeautifultruth.org/life/psychology/iain-mcgilchrist-brains-hemispheres/">
    <title>Iain McGilchrist: Re-enchanting the Brain's Hemispheres — The Beautiful Truth</title>
    <dc:date>2026-05-05T18:00:34+00:00</dc:date>
    <link>https://thebeautifultruth.org/life/psychology/iain-mcgilchrist-brains-hemispheres/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can we re-enchant our view of the world by re-engaging a ‘right hemispheric’ view of life, love and faith?"

[via Mo Bitar:
https://www.youtube.com/watch?v=h9dgeM_KuB8 ]]]></description>
<dc:subject>iainmcgilchrist 2026 rightbrain leftbrain neuroscience life living love faith religion spirituality perspective justinbrierley belletindall philippullman acgrayling rowanwilliams psychology truth reality art poetry myth ritual rationalism science academia thinking howwethink enlightnement governance power architecture music distance bureaucracy society trust complexity sacredness interconnected interconnectedness uniqueness relationships meaning meaningmaking awareness unknown unknowing civilization knowledge connection philosophy enchantment reenchantment wonder</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:909231d0e1c9/</dc:identifier>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0a421ccc8594/</dc:identifier>
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</item>
<item rdf:about="https://www.unrulyplay.com/">
    <title>Unruly Play — Curated by Imagination of Things</title>
    <dc:date>2026-04-26T08:27:51+00:00</dc:date>
    <link>https://www.unrulyplay.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of 169 works of play in unlikely places. Games about unusual things. Unexpected encounters. Curated by Imagination of Things."

[via:
https://www.thisiscolossal.com/2026/04/unruly-play-digital-archive/

"“Play is how we give permission,” says Vitor Freire, co-founder of the Amsterdam-based studio Imagination of Things. “Permission to challenge what’s fixed, rehearse what doesn’t exist yet, and close the distance between people who wouldn’t otherwise meet.”

Freire and co-founder Monique Grimord take play seriously and, in a new project, their studio created a vast repository of 169 artworks, designs, games, and more that have offered an unexpected encounter with imagination and joy. From Rael San Fratello’s award-winning “Teeter-Totter Wall” to the healing Wind Phone project to a 12-foot puppet walking the world, Unruly Play is a multi-decade archive of participatory projects, public spaces, and digital creations that invite surprise and camaraderie.

“Our collaborators have always asked us where our ideas come from,” Gimrod says, “and the truth is that they come from references that rarely talk to each other—it can be a seesaw through a border wall or a phone booth connected to the dead… We wanted to create unusual dialogues and support new creative practices, and Unruly Play was our answer for that.”

Fully interactive, the project is searchable by theme or browsable through a shuffle feature. To dive deeper into the power of play, check out this compendium of artist-designed spaces."]]]></description>
<dc:subject>play playgrounds games children nature publicart architecture archive digital installation performance public art sculpture</dc:subject>
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<item rdf:about="https://aeon.co/essays/lessons-from-the-fairness-of-african-fractal-societies">
    <title>Lessons from the fairness of African fractal societies | Aeon Essays</title>
    <dc:date>2026-04-22T03:41:24+00:00</dc:date>
    <link>https://aeon.co/essays/lessons-from-the-fairness-of-african-fractal-societies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where centralised societies excel at extraction, African fractal systems allow for circulation, reciprocity and return"]]></description>
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<item rdf:about="https://www.koozarch.com/interviews/the-care-chair">
    <title>The Care Chair: Anna Puigjaner, Ethel Baraona Pohl, Pol Esteve Castelló – KoozArch</title>
    <dc:date>2026-04-10T03:39:48+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/the-care-chair</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The glossary of architecture has its fashions, rising and ebbing to reflect social, political and professional concerns; right now, at the top of the list is Care."]]></description>
<dc:subject>polestevecastelló 2026 care caring architecture furniture design shumibose annapuigjaner education academia highered highereducation society ethelbaraonapohl ethelbaraona</dc:subject>
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<item rdf:about="https://psyche.co/guides/how-to-get-to-know-your-neighbourhood">
    <title>How to get to know your neighbourhood | Psyche Guides</title>
    <dc:date>2026-04-09T05:31:04+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-get-to-know-your-neighbourhood</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whether you are a newcomer or you’ve lived there for years, learn to look closer and deepen your connection"

...

"Maybe you just moved to the neighbourhood or just started working there. Maybe you’re a visitor who’s staying awhile. Or a teen exploring on your own for the first time. You could even be a longtime resident. If any of these describes you, there are aspects of your neighbourhood that you don’t know. And because knowing each other, knowing our history and taking part in local institutions is what strengthens our communities, rooting ourselves in place has never been more necessary. This Guide offers some strategies for knowing your neighbourhood in a new and deeper way.

A neighbourhood is the product of people and culture. It’s as much a feeling as it is an area on a map: many people can sense it in their bodies when they cross into their own neighbourhood. No neighbourhood has just one story, nor even just one neighbourhood. People often disagree on its boundaries or names; there are overlapping neighbourhoods and micro-neighbourhoods. And throughout, there are multiple, even contradictory histories, imaginings, claims and meanings.

While neighbourhoods are often written about from an urban point of view, rural and suburban places have their own shapes of neighbourhood. These might be geographically larger than some urban neighbourhoods if they involve the reach of a car – though this can be true in cities, too – and they might intersect more with natural or agricultural spaces in addition to built ones. Wherever we live, most of us have a need to connect with the people around us, to feel that we belong where we find ourselves. I invite you to interpret this Guide for wherever you are, wherever you go.

Why you should take a closer look at your neighbourhood

Whenever I move to, work in or visit a new neighbourhood, I’m curious to know what other people are seeing and feeling in this place, without judgment or constraint. I want to know how it works. To see all the layers. This is partly because researching and photographing neighbourhoods is what I do professionally – but the impulse is also personal, and one I’ve had since childhood. Maybe it’s one you share?

Beyond satisfying our curiosity, getting to know a neighbourhood is a way to build capacity for compassion, to avoid that all-too-human inclination to see others as less real than ourselves. Really being with the people who live around you is an essential part of recognising our shared humanity, even our shared fate, recognising that we each belong to something larger than ourselves. In this time of loneliness and division, getting to know your neighbourhood and neighbours might be something close to an existential necessity. Overcoming collective crises requires negotiation and collaboration across differences, and it isn’t easy work. The muscles for it need to be built. So, think of getting to know your neighbourhood – through small talk, listening, learning history, contributing – as a low-stakes way to build those muscles, to be ready when the stakes are much higher.
A man sitting in a diner booth Looking at various papers. He is surrounded by windows with a view of the street outside.

Lotto, Golden Gate Donuts, Telegraph Avenue, Oakland, US, 2006

Even in a neighbourhood you think you already know, you can learn completely new things. This happened for me on New York’s Lower East Side. I grew up nearby, lived there, and worked in a community centre there. But I never knew the story of its contested 14-square-block area until I was teaching a class in which I collaborated with housing activists and public historians. Only then did I find out that the parking lots I’d long skirted on my walks were the site of homes torn down in the late 1960s, the result of a failed urban renewal project. The displaced residents, I learned, were promised that they could return to new apartments. Instead, the site sat vacant, an open wound of discrimination and deceit.

Knowing this story changed my life. I worked on projects in this place for almost a decade, even writing a book, Contested City (2019), about it. More importantly, in knowing that history and talking with those directly impacted by it, I came to understand where people’s deep emotions about the place came from, why the 50-year fight to get affordable housing built there mattered so much, and why I should contribute what I could.

Getting to know a neighbourhood is about taking the time to listen, notice and ask questions, to take part, to risk something of yourself. It’s about recognising that you exist in a particular place and time, shaped by other places and other times. In part, of course, this process happens naturally as you make your daily way through a place, as long as you’re paying attention. But to help you go deeper, I’ll share some specific practices that grow from the work of urban researchers, artists and community organisers – people whose job it is to see the invisible linkages in a place. Because that’s part of what it is to know a place: to see what isn’t there, but also very much is.

Key points

1. Knowing your neighbourhood better is good for you and the community. It’s a way to pursue your curiosity, build knowledge and connection, and grow your capacity for compassion.

2. Read the neighbourhood. Use all your senses to explore what its signs (official and unofficial), sounds, traces left by neighbours, buildings, boundaries and books can tell you about its people and history.

3. Explore the neighbourhood at different times. Break out of your routine and observe the crowds, activities and features that emerge at different hours, days and seasons.

4. Take part. Spend time in local gathering places and pay attention to people’s concerns and interests.

5. Give something of yourself. Share something you make with neighbours, join a local group, volunteer, or find other ways to have a stake in the neighbourhood."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=7gKEnfXi6AU">
    <title>Chinese architect Xu Tiantian: “It’s not about starchitecture anymore.” - YouTube</title>
    <dc:date>2026-04-05T06:34:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7gKEnfXi6AU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["”It's not about the area of starchitecture anymore.”

We met Chinese architect Xu Tiantian, who believes in architectural acupuncture and minimal intervention.

”Architecture is for people, right? It's not for the architects. So you want to have the involvement and the ownership of the local people.”

”The mainstream concept of architecture is that one day you're going to build these large-scale high-rises or monuments. I think there's now a very different concept and understanding of architecture. We live in a new time, facing all these difficulties, global challenges, climate change, and disparity everywhere around the world. I think the younger generation may already approach architecture differently today. It's more about what architecture can do instead of what I could make. So, it's probably to take yourself out of this thinking.”

”Architectural acupuncture means that the engagement of architecture is rather minimal. It's not looking for the large-scale monuments, but really working with the necessity, really working with the locally available materials, elements, and cultural contexts. Belonging to the place instead of introducing something completely alien.”

Xu Tiantian (b. 1975 in Fujian) is the founding principal of DnA _Design and Architecture. In recent years, Xu has focused on architecture in China’s rural regions. Her practice is dedicated to rural revitalization through a strategy she describes as “architectural acupuncture”—small-scale, site-specific interventions designed to activate local culture, agriculture, and tourism. In 2019, the United Nations Human Settlements Programme (UN-Habitat) recognized her Songyang “architectural acupuncture” initiative as a global model for urban–rural integration.

Xu received her Bachelor of Architecture from Tsinghua in 1997 and went on to earn a Master of Architecture in Urban Design from Harvard University’s Graduate School of Design (GSD) in 2000. She is currently a professor at the School of Architecture, Tsinghua University. Xu was named an International Honorary Fellow of the American Institute of Architects (AIA) in 2020 and elected a member of the German Academy of Arts (Akademie der Künste) in 2024. In addition, Xu has held visiting professorships at Yale University and the Mendrisio Academy of Architecture in Switzerland.

Her work has been recognized with numerous prestigious awards, including the 2025 Wolf Prize in Architecture, the Berlin Art Prize (2023), the Swiss Architectural Award (2022), the Marcus Prize for Architecture (USA), the Holcim Gold Award for Asia-Pacific, and the UNESCO Global Award for Sustainable Architecture. 
Xu Tiantian was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art in Humlebæk, Denmark. The conversation took place in January 2026 in connection with the opening of the exhibition Memoryscapes at the Louisiana Museum of Modern Art.

Camera: Jarl Therkelsen Kaldan
Edit: Jarl Therkelsen Kaldan
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Museum of Modern Art, 2026"]]></description>
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<item rdf:about="https://www.park-books.com/en/product/antifascist-architecture/1605">
    <title>Antifascist Architecture | Park Books</title>
    <dc:date>2026-04-02T05:45:47+00:00</dc:date>
    <link>https://www.park-books.com/en/product/antifascist-architecture/1605</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does built antifascism look like? And who builds antifascist architecture?

Architects, historians, and theorists have had a weird obsession with fascist architecture since postmodernism. Why? And who are the antifascist architects? What does antifascist architecture look like? Antifascist Architecture is the first attempt at creating a working definition of antifascist architecture after academia has spent decades fetishizing fascist architecture.

Brilliant scholarship has of course been presented about anti-colonial architecture, liberation architecture, and so forth. Yet antifascist architecture is an avenue that remains to be explored. This book does just that, offering a kaleidoscopic, peripatetic bricolage of architects who heroically aligned themselves with antifascist struggles, buildings made in the name of antifascism, and a call to arms for antifascist utopian futures. It is written for students and practitioners of architecture, but also activists and scholars in the social sciences who are interested in antifascist history, theory, and practice.

“The book is a timely anti-fascist wake-up call. [ … ] The scholars masterfully blend architectural history and theory, philosophy, and political economy into a kind of standard work on anti-fascist aesthetics. A pioneering academic achievement, it is required reading not only for critical urbanists of all backgrounds, opening up entirely new dimensions. What makes this work—excellently documented, richly illustrated with Lane Rick’s red chalk drawings, and titled in Gothic script in the spirit of Laibach’s “over-affirmation” of fascist iconology—so useful is that it does not stop at a defensive battle cry, but outlines a theoretical concept of its field” Ingo Arend, taz"]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2021/09/27/richard-neutras-architectural-vanishing-act">
    <title>Richard Neutra’s Architectural Vanishing Act | The New Yorker</title>
    <dc:date>2026-03-30T05:47:50+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2021/09/27/richard-neutras-architectural-vanishing-act</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Austrian-born designer perfected a signature Los Angeles look: houses that erase the boundary between inside and outside."]]></description>
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<item rdf:about="https://www.koozarch.com/interviews/post-industrial-hardcore-lot-eks-love-of-leftovers">
    <title>Post-Industrial Hardcore: LOT-EK’s love of leftovers – KoozArch</title>
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    <link>https://www.koozarch.com/interviews/post-industrial-hardcore-lot-eks-love-of-leftovers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a conversation spanning three decades of creative disobedience, LOT-EK's Ada Tolla and Giuseppe Lignano ask what it means to serve not power, but people and planet. The studio enacts an architectural imagination rooted in friction, reuse and radical joy, insisting that protest and service are inseparable acts."]]></description>
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<item rdf:about="https://www.nybooks.com/articles/2010/03/11/in-love-with-trains/">
    <title>In Love with Trains | Tony Judt | The New York Review of Books</title>
    <dc:date>2026-03-19T07:01:07+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2010/03/11/in-love-with-trains/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Bring Back the Rails!"
https://www.nybooks.com/articles/2011/01/13/bring-back-rails/
https://archive.is/B21jx ]

"According to the literary theorist René Girard, we come to yearn for and eventually love those who are loved by others. I cannot confirm this from personal experience—I have a history of frustrated longings for objects and women who were palpably unavailable to me but of no particular interest to anyone else. But there is one sphere of my life in which, implausibly, Girard’s theory of mimetic desire could be perfectly adapted to my experience: if by “mimetic” we mean mutuality and symmetry, rather than mimicry and contestation, I can vouch for the credibility of his proposition. I love trains, and they have always loved me back.

What does it mean to be loved by a train? Love, it seems to me, is that condition in which one is most contentedly oneself. If this sounds paradoxical, remember Rilke’s admonition: love consists in leaving the loved one space to be themselves while providing the security within which that self may flourish. As a child, I always felt uneasy and a little constrained around people, my family in particular. Solitude was bliss, but not easily obtained. Being always felt stressful—wherever I was there was something to do, someone to please, a duty to be completed, a role inadequately fulfilled: something amiss. Becoming, on the other hand, was relief. I was never so happy as when I was going somewhere on my own, and the longer it took to get there, the better. Walking was pleasurable, cycling enjoyable, bus journeys fun. But the train was very heaven.

I never bothered to explain this to parents or friends, and was thus constrained to feign objectives: places I wanted to visit, people I wanted to see, things I needed to do. Lies, all of it. In those days a child could safely travel on public transport alone from seven years old or so, and I took solitary tube trips around London from a very young age. If I had a goal it was to cover the whole network, from terminus to terminus, an aspiration I came very close to achieving. What did I do when I reached the end of a line, Edgware as it might be, or Ongar? I stepped out, studied the station rather closely, glanced around me, bought a dessicated London Transport sandwich and a Tizer…and took the next tube back.

The technology, architecture, and working practices of a railway system fascinated me from the outset—I can describe even today the peculiarities of the separate London Underground lines and their station layouts, the heritage of different private companies in their early years. But I was never a “trainspotter.” Even when I graduated to solitary travel on the extensive network of British Railways’ Southern Region I never joined the enthusiastic bands of anorak-clad preteenage boys at the end of platforms, assiduously noting down the numbers of the passing trains. This seemed to me the most asinine of static pursuits—the point of a train was to get on it.

The Southern Region in those days offered rich pickings for the lone traveler. I would park my bike in the luggage wagon at Norbiton Station on the Waterloo line, ride the suburban electric train out into rural Hampshire, descend at some little country halt on the slopes of the Downs, cycle leisurely eastward until I reached the westerly edge of the old London to Brighton Railway, then hop the local into Victoria as far as Clapham Junction. There I had the luxuriant choice of some nineteen platforms—this was, after all, the largest rail junction in the world—and would entertain myself with the choices from which to select my train back home. The whole exercise would last a long summer day; when I got home, tired and contented, my parents would inquire politely as to where I had been and I would dutifully invent some worthy purpose to obviate further discussion. My train trips were private and I wanted to keep them that way.

In the Fifties, train travel was cheap—especially for twelve-year-old boys. I paid for my pleasures from weekly pocket money and still had pennies left over for snacks. The most expensive trip I ever took got me nearly to Dover—Folkestone Central, actually—from where I could look longingly across at the well-remembered rapides of the French national network. More typically, I would save spare cash for the Movietone News Theatre at Waterloo Station: London’s largest terminus and a cornucopia of engines, timetables, newsstands, announcements, and smells. In later years, I would occasionally miss the last regular train home and sit for hours into the night in Waterloo’s drafty waiting halls, listening to the shunting of diesels and the loading of mail, sustained by a single cup of British Rail cocoa and the romance of solitude. God knows what my parents thought I was doing, adrift in London at 2 AM. If they had known, they might have been even more worried.

I was a little too young to capture the thrills of the steam age. The British rail network switched all too soon into diesels (but not electric, a strategic mistake for which it is still paying) and although the great long-distance expresses still swept through Clapham Junction in my early school years, pulled by magnificent late-generation steam engines, most of the trains I took were thoroughly “modern.” Nevertheless, thanks to the chronic underinvestment of Britain’s nationalized railways, much of the rolling stock dated from interwar years and some of it was pre-1914 vintage. There were separate closed compartments (including one in each four-car unit set aside for “Ladies”), no toilets, and windows held up by leather straps with holes into which a hook in the door was inserted. The seats, even in second- and third-class, were upholstered in a vaguely tartan fabric that irritated the naked thighs of shorts-clad schoolboys but that was comfortingly warm in the damp, chilly winters of those years.

That I should have experienced trains as solitude is of course a paradox. They are, in the French phrase, transports en commun: designed from the early-nineteenth-century outset to provide collective travel for persons unable to afford private transportation or, over the years, for the better-heeled who could be attracted to luxurious shared accommodations at a higher price. The railways effectively invented social classes in their modern form, by naming and classifying different levels of comfort, facility, and service: as any early illustration can reveal, trains were for many decades crowded and uncomfortable except for those fortunate enough to travel first-class. But by my time second-class was more than acceptable to the respectable middling sort; and in England such persons keep themselves to themselves. In those blissful days before mobile phones, when it was still unacceptable to play a transistor radio in a public place (and the authority of the train conductor sufficed to repress rebellious spirits), the train was a fine and silent place.

In later years, as Britain’s rail system fell into decline, train travel at home lost some of its appeal. The privatization of the companies, the commercial exploitation of the stations, and the diminished commitment of the staff all contributed to my disenchantment—and the experience of travel by train in the US was hardly calculated to restore one’s memories or enthusiasms. Meanwhile the publicly owned state railways of continental Europe entered a halcyon era of investment and technical innovation, while largely preserving the distinctive qualities inherited from earlier networks and systems.

Thus to travel in Switzerland is to understand the ways in which efficiency and tradition can seamlessly blend to social advantage. Paris’s Gare de l’Est or Milano Centrale, no less than Zurich’s Hauptbahnhof and Budapest’s Keleti Pályaudvar, stand as monuments to nineteenth-century town planning and functional architecture: compare the long-term prospects of New York’s inglorious Pennsylvania Station—or virtually any modern airport. At their best—from St. Pancras to Berlin’s remarkable new central station—railway stations are the very incarnation of modern life, which is why they last so long and still perform so very well the tasks for which they were first designed. As I think back on it—toutes proportions gardées— Waterloo did for me what country churches and Baroque cathedrals did for so many poets and artists: it inspired me. And why not? Were not the great glass-and-metal Victorian stations the cathedrals of the age?

I had long planned to write about trains. I suppose in a way I have already done so, at least in part. If there is something distinctive about my version of contemporary European history in Postwar, it is—I believe—the subliminal emphasis on space: a sense of regions, distances, differences, and contrasts within the limited frame of one small subcontinent. I think I came to that sense of space by staring aimlessly out of train windows and inspecting rather more closely the contrasting sights and sounds of the stations where I alighted. My Europe is measured in train time. The easiest way for me to “think” Austria or Belgium is by meandering around the Westbahnhof or the Gare du Midi and reflecting on the experience, not to mention the distances between. This is certainly not the only way to come to grips with a society and a culture, but it works for me.

Perhaps the most dispiriting consequence of my present disease—more depressing even than its practical, daily manifestations—is the awareness that I shall never again ride the rails. This knowledge weighs on me like a leaden blanket, pressing me ever deeper into that gloom-laden sense of an ending that marks the truly terminal disease: the understanding that some things will never be. This absence is more than just the loss of a pleasure, the deprivation of freedom, much less the exclusion of new experiences. Remembering Rilke, it constitutes the very loss of myself—or at least, that better part of myself that most readily found contentment and peace. No more Waterloo, no more rural country halts, no more solitude: no more becoming, just interminable being."

[archived:
https://archive.is/OM330 ]]]></description>
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<item rdf:about="https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/">
    <title>An Animated Look at Noguchi's Experimental Playgrounds That Were Never Built — Colossal</title>
    <dc:date>2026-03-10T20:30:29+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I think of playgrounds as a primer of shapes and functions; simple, mysterious and evocative; thus educational,” Isamu Noguchi said in a pamphlet about his Playscapes. Perhaps best known for his stone sculptures and Akari lamps, the Japanese artist and designer always had an eye on the spaces that define childhood, particularly public playgrounds and their influence on the young mind.

In 1933, Noguchi proposed redeveloping an entire New York City block into “Play Mountain,” an enormous topographical project that would be unstructured and open-ended. Rather than have swings and swift metal slides, for example, Noguchi wanted earthen steps, a bandshell, and a large hill for sledding and gathering. The idea was that it could be just as fun in the winter as in the summer and stimulate kids’ imaginations more than the prescriptive equipment typical in urban parks. Then-Parks Commissioner Robert Moses rejected the plan, though, and despite efforts to have the project and others of Noguchi’s designs built in New York, none were ever realized in the city.

[embed: notes below]

"A series of short animations recreates this lesser-known history. Using hand-painted celluloid under a Rostrum camera, Eastend Western imagines what these never-built playgrounds would have looked like—and how children may have interacted with the unconventional structures. There are concrete mounds with cavernous openings, labyrinthine sand gardens, and asymmetrical equipment that could teach users that “the rate of swing is determined by the length of the pendulum,” the film says.

The animations were produced in conjunction with the exhibition Noguchi’s New York, which is on view through September 13 at The Noguchi Museum. There’s also a new monograph that dives into the artist’s playgrounds and is a companion to a major retrospective at the High Museum of Art, available for pre-order on Bookshop. Find the full film series on YouTube."

[embed notes:

playlist:

"Noguchi's New York — Animated Playgrounds (2026) - YouTube"
https://www.youtube.com/playlist?list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX

"Eastend Western presents five animated films entirely hand painted over 1,800 celluloids, inspired by Isamu Noguchi's unrealized playground proposals for the city of New York. They were produced as part of the exhibition ‘Noguchi’s New York', curated by Kate Wiener, and on display February 4 — September 13, 2026 at the Noguchi Museum."

The playlist contains the following short animations.

"Play Mountain 1933 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=tRtr6kc_hhM

"Noguchi’s first major proposal for New York City was Play Mountain (1933), an ultimately unrealized design for a mountain playground meant to occupy a full city block or a section of Central Park. Replete with graded steps for climbing, a water slide, a slope for sledding in winter, a bandshell, and an indoor family center, Play Mountain was envisioned as a multifunctional landscape for open-ended play, exploration, and gathering. This animated film imagines how kids would have interacted with Play Mountain on a snowy day.

This film was entirely hand painted on celluloid and captured under a rostrum camera.

Directed by Nicolas Ménard & Jack Cunningham, Eastend Western

Produced as part of the exhibition ‘Noguchi’s New York'
The Noguchi Museum
February 4 — September 13, 2026
Curated by Kate Wiener, Noguchi Museum Curator

https://www.noguchi.org/museum/exhibitions/view/noguchis-new-york/

Composer: James Hatley
Animator: Isaac Holland
Painting Assistants: Laura N-Tamara, Laurence Thérien"

"Playground Equipment 1940 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=XDFV6xOKhxw

"In 1941, Noguchi presented the New York City Parks Department with newly designed models for “playground equipment,” which he had initially conceived for a park in Hawaii. He hoped these playable sculptures would be both fun and educational—the multiple-length swings, for instance, could teach a child that “the rate of swing is determined by the length of the pendulum.” Although these designs were more in line with the conventional playgrounds promoted by Parks Commissioner Robert Moses, they were still deemed too experimental and potentially dangerous. This animated film explores how Noguchi used lines and solid shapes as building blocks for his sculptures' graphic language."

"Contoured Playground 1941 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=3pg0w_ssEh4&list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX&index=4

"In defiant response to the New York City Parks Department’s rejection of his “playground equipment,” which they considered too experimental and potentially dangerous, Noguchi conceived of Contoured Playground (1941). He considered this playable landscape “made entirely of earth modulations” to be “fail-proof for the simple reason that there was nothing to fall off.” Noguchi envisioned children freely exploring Contoured Playground’s mounds and depressions without explicit instructions, empowered to “confront the earth as perhaps early man confronted it.” A photograph of the model shows that Noguchi also experimented with adding play equipment including a seesaw, swing set, and climbable tree. Although there was some initial interest in placing Noguchi’s proposal in Central Park, the outbreak of World War II arrested any progress. After the war, Noguchi continued lobbying Moses to consider Contoured Playground, but to no avail. This animated film is a poetic investigation of Noguchi's vision, a journey from a moon-like landscape to the middle of the city."

"United Nations Playground 1951-52 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=aHffNz0djyY

"In 1951, Noguchi attempted to construct a playground on the New York City campus of the United Nations Headquarters. Working with architect Julian Whittlesey, Noguchi designed a wonderland of mounds, tunnels, caves, slides, and climbing structures for open-ended exploration. Although outside funds had been raised, United Nations officials ultimately caved to pressure to kill the project from Parks Commissioner Robert Moses, who was acting as a liaison between the UN and the city. This animated film explores different angles of some of the most interesting elements from that playground."

"Riverside Playground 1961-65 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=B-7yk1znFBM

"Over the course of five years, Noguchi worked with architect Louis Kahn on designs for a four-block sculptural landscape for Riverside Park. Kahn and Noguchi devised plans for a subterranean community center surrounded by sculptural elements for congregation, exploration, and play, including triangular steps, a maze-like sand garden, an amphitheater, a slide mountain, and a band of concrete play sculptures. The project progressively shrunk in scale as they tried to appease demands from the City Art Commission, the Parks Department, and local community members, some of whom vehemently opposed what they saw as a desecration of parkland. By 1965, Noguchi was the closest he would ever come to fulfilling his decades-long dream of sculpting a playground for the city. Blueprints were drawn, funds secured, and a city contract signed, but the project ultimately fell through. Half the budget was promised from the city, and between a taxpayers’ lawsuit and objections from incoming mayor John V. Lindsay, who had vowed to address New York’s fiscal problems, plans were abandoned. Noguchi would later lament, “My best things have never been built.” This animated film offers a bird's-eye overview of parts of his original plan."

"Post Credit Scene — Noguchi's New York Animations"
https://www.youtube.com/watch?v=vWVkgsXxGik

"Drinking tea with the kids as they rest from a full day of playground activities, by the soft glow of Noguchi's Akari light sculptures."]]]></description>
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    <title>The Radical Tub | The MIT Press Reader</title>
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    <link>https://thereader.mitpress.mit.edu/the-radical-tub/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How bathing spaces, long treated as sterile utilities, can become architectures of intimacy, accessibility, and embodied liberation."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=hLMBK6mtF6g">
    <title>When We Live Alone - YouTube</title>
    <dc:date>2026-02-20T05:50:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=hLMBK6mtF6g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When We Live Alone explores the ways in which we live alone together in contemporary cities. The unprecedented rise of urban dwellers living on their own challenges normative ideas about home and raises questions about how this change in social structure and lifestyle affects cities as a whole. While the causes of living alone seem apparent—shifting social values, the flexibilization of labour, new demographics, increased wealth, and changes to normative gender roles—the effects on society and its spatial configurations remain uncertain. Through a series of interconnected vignettes, the film interrogates this new urban condition, offering glimpses into the lives of individuals inhabiting singleton homes and the extended domestic sphere. Urban dwellers living on their own, architect Takahashi Ippei, and sociologist Yoshikazu Nango navigate the audience through a series of sole spaces in Tokyo. If living alone is our new reality, the film asks what does it look like?

Conceived by Giovanna Borasi
Directed by Daniel Schwartz

When We Live Alone is the second film in a three-part documentary series produced by the CCA.  To learn more on the serie and watch the first documentary: www.cca.qc.ca/tomakeahome "

[See also:

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]]]></description>
<dc:subject>2022 design architecture housing publichousing society giovannaborasi danielschwartz urban cities labor demographics wealth gender yoshikazunango toyo film documentary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=r83X-mtHt8o">
    <title>What It Takes to Make a Home - YouTube</title>
    <dc:date>2026-02-20T05:50:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=r83X-mtHt8o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it mean to live in the city without a place you can call your own? What role can architects have in addressing homelessness? And how can cities become better homes for all? The documentary film What It Takes to Make a Home follows a conversation between architects Michael Maltzan (Los Angeles) and Alexander Hagner (Vienna), who have been grappling with these questions over many years and through various projects. While the cities and the political and economic contexts in which Maltzan and Hagner work differ, both search for long-term strategies for housing instead of reacting with ad hoc solutions. Focussing on some causes and conditions of homelessness, the film questions the role architects can play toward overcoming the stigmatization of people experiencing it, in order to build more inclusive cities.

For more information about this project: https://www.cca.qc.ca/tomakeahome

Conceived by Giovanna Borasi
Directed by Daniel Schwartz

First film of a three-part documentary series

Produced by the CCA"

[See also:

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]]]></description>
<dc:subject>2020 design architecture housing publichousing society giovannaborasi danielschwartz homelessness michaelmaltzan losangeles alexanderhagner vienna cities urban film documentary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=ehczhwUJ4fA">
    <title>Where We Grow Older - YouTube</title>
    <dc:date>2026-02-20T05:50:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ehczhwUJ4fA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where will you live once you grow older? Will your city take care of you? How to design for the elderly, and for those who care for them?

The documentary Where We Grow Older (CCA, 2023, 30 min) looks at how the growing aging population is reshaping architectural and social constructs and questions the role of urban design and politics in facing these challenges. The film investigates two models of how care and housing can be reconceived in light of prolonged lives: public housing as part of municipal policies and infrastructure—where the city is the caretaker—and the creation of a new architectural model that offers care in a single building managed by private entities not only to the elderly but also to their caretakers—where the building becomes the city.

Where We Grow Older concludes a three-part short documentary film series and investigation, conceived by CCA Director Giovanna Borasi, directed by Daniel Schwartz, and produced by the Canadian Centre for Architecture, to examine the ways in which changing societies, new economic pressures, and increasing population density are affecting the homes of various communities. Through the lens of architectural projects, each episode looks at the global scope as well as the local specificities of challenges to urban society and its spatial configuration, informed by changes in lifestyles and demographics. While the first film  What It Takes to Make a Home (CCA, 2019, 29 min) addressed homelessness, and was presented as part of the 58th Session of the Commission for Social Development at the United Nations headquarters in New York City in February 2020, the second film  When We Live Alone (CCA, 2020, 27 min) examines the ways in which people live alone."

[See also: https://www.cca.qc.ca/en/events/90769/where-we-grow-older 

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]
]]></description>
<dc:subject>2026 aging age design architecture housing publichousing society giovannaborasi danielschwartz film documentary cities urban</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8bef140ce763/</dc:identifier>
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<item rdf:about="https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades">
    <title>The Kappe House by Ray Kappe is for sale in Los Angeles | Wallpaper*</title>
    <dc:date>2026-02-18T07:20:14+00:00</dc:date>
    <link>https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The architect Ray Kappe completed his own house in 1967. Owned by the Kappe family until 2025, the Pacific Palisades residence has now gone on the market for the first time. We take a tour"]]></description>
<dc:subject>raykappe architecture modernism midcenturymodernism design losangeles 1967 2026 pacificpalisades realestate 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://architizer.com/blog/practice/materials/new-film-behind-richard-neutras-windshield-house/">
    <title>A Missing Piece of Modernism: Uncovering the Dramatic Story of Richard Neutra’s Lost Windshield House - Architizer Journal</title>
    <dc:date>2026-02-16T01:24:46+00:00</dc:date>
    <link>https://architizer.com/blog/practice/materials/new-film-behind-richard-neutras-windshield-house/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elissa Brown’s directorial debut film, “Windshield: A Vanished Vision,” is an intimate look into her grandparents’ collaboration with modernist architect Richard Neutra."]]></description>
<dc:subject>architecture design documentary richardneutra modernism 2026 sydneyfranklin joannadattilo elissabrown film filmmaking</dc:subject>
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    <title>Inside Japan's Most Influential Architect's Working Studio - YouTube</title>
    <dc:date>2026-02-15T23:27:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=NEhHn8tRL7o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join us for a quiet look inside the workspace of Tadao Ando, offering a brief glimpse into his architectural process.

This studio visit documents the daily rhythms of work and the careful, repetitive making of architectural scale models that sit at the center of his practice. The focus is not on finished buildings, but on process. Time spent refining ideas. Returning to the same forms again and again. Letting work unfold slowly.

Photographed in a restrained, observational way, this project uses still imagery to pay close attention to space, light, and atmosphere. The photographs are not illustrative, but quietly descriptive, allowing the studio to reveal itself as it is.

It is a small window into how creative work happens inside a working architecture studio, and an invitation to slow down and observe the act of making.

-------------------

Where They Create documents the creative process through intimate studio visits with artists, designers, and makers. The project takes a quiet, fly on the wall approach to how creative work actually happens, from daily routines and workspaces to discipline, doubt, and persistence over time.

The channel values the long arc over quick wins, and consistency over spectacle.

Subscribe for new films exploring the reality of creative life and the spaces where work is made.

New book releasing end of 2026
Where They Live: Japanese Creatives at Home 

Sign up for the emailer to receive updates about the book and pre-order. 
https://www.wheretheycreate.com

Contact
paul@paulbarbera.com

Instagram
@wheretheycreate  

Directed & shot by Paul Barbera"]]></description>
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    <title>This 14-Year-Old Is Using Origami to Imagine Emergency Shelters That Are Sturdy, Cost-Efficient and Easy to Deploy</title>
    <dc:date>2026-02-14T06:27:59+00:00</dc:date>
    <link>https://www.smithsonianmag.com/innovation/this-14-year-old-is-using-origami-to-design-emergency-shelters-that-are-sturdy-cost-efficient-and-easy-to-deploy-180988179/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Miles Wu folded a variant of the Miura-ori pattern that can hold 10,000 times its own weight"]]></description>
<dc:subject>miurafold 2026 ramshawaseem mileswu origami paper design construction engineering architecture miura-ori miuraori miura</dc:subject>
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    <title>This Old Ledge: Venice and Santa Monica - YouTube</title>
    <dc:date>2026-02-14T05:12:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fivOjdBGzA0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Everything you'd wanna skate, you'll find on the two-mile stretch from Santa Monica to Venice. From Natas to P-Rod, the sand gaps to the triple set, Ted Barrow outlines the history of this hallowed ground."

[See also:
https://www.thrashermagazine.com/articles/videos/this-old-ledge-venice-and-santa-monica/ ]]]></description>
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<item rdf:about="https://aeon.co/essays/in-solarpunk-cities-of-the-future-tech-follows-natures-lead">
    <title>In solarpunk cities of the future, tech follows nature’s lead | Aeon Essays</title>
    <dc:date>2026-02-10T21:34:30+00:00</dc:date>
    <link>https://aeon.co/essays/in-solarpunk-cities-of-the-future-tech-follows-natures-lead</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The vision of solarpunk: joining nature with technology in vibrantly inclusive ways to create a world that truly blooms"]]></description>
<dc:subject>solarpunk 2026 yogihalehendlin nature technology biophilia glennalbrecht arthurcclarke karlschroeder solar ecosystems environment biomimicry ecology sustainvalues agroecology agriculture culture landscape richardregister ernestcallenbach ecotopia christopheralexander ursulakleguin ursulaleguin paolosoleri architecture design romankrznaric wakanda starhawk robinwallkimmerer braidingsweetgrass pastoralism economics economy adamflynn society andrewism andrewsage neom saudiarabia toronto quayside yukhui hongkong juliawatson lo-tek khasi indigeneity indigenous buddhism self-suffiency urban urbanization futurism urbanplanning peace suffiency enough anthropocene interspecies multispecies morethanhuman sun ingenuity values inclusivity scarcity blackpanther theline</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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</item>
<item rdf:about="https://www.koozarch.com/interviews/exit-is-not-outside-rethinking-institution-at-onomatopee-1">
    <title>The exit is not outside: rethinking the institution at Onomatopee – KoozArch</title>
    <dc:date>2026-02-02T22:27:03+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/exit-is-not-outside-rethinking-institution-at-onomatopee-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In How to Enter from the Exit, a research-driven project reimagining cultural institutions through collaboration, a collective of designers and artists — including Maren Bang, Cecilina Casabona, Pete Fung, Bianca Schick and Noam Y. Son — took the institution apart and put it back together along bold and communal axes, articulating actions that foster co-creation and coexistence."

...

"The exit is not outside the institution but part of its everyday infrastructure. The provocation was to treat this work not as background or support, but as a starting point." — Bianca Schick

...

"Rather than positioning critique as something external or oppositional, we were interested in what happens when you remain inside the institution and work with its constraints."
— Cecilia Casabona

...

"Reconfiguring class relations by recognising cultural institutions as sites of class struggle, rather than marketplaces of cultural capital, is therefore the first step in the work of “rethinking.”
— Noam Youngrak Son

...

"At a fundamental level, it is an experiment in challenging the dominant disciplinary thinking that is often taken for granted within cultural institutions."

...

"Having to imagine the structures behind the mechanisms and dynamics of an institution can be fertile, and it can be fraught."
— Maren Bang

...

"Before we can ask what cultural organisations could do for the commons, first we need to reflect upon whose commons and for whom."
— Pete Fung

...

"Central to this attempt was the intentional blurring of boundaries between curator, artist, designer, institution and audience. Can a “curatorial commons” exist?"
— Cecilia Casabona

...

"'Instituting,' in my understanding, is a mirror we inhabit that renders itself visible."
— Noam Youngrak Son]]></description>
<dc:subject>institutions 2026 marenbang cecilinacoasbona petefung biancaschick noamson collaboration design architecture coexistence cocreation culture commons classstruggle culturalcapital critique infrastructure</dc:subject>
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<item rdf:about="https://www.thenation.com/article/world/the-line-neom-saudi-vision-2030/">
    <title>The Line, a Saudi Megaproject, Is Dead | The Nation</title>
    <dc:date>2026-01-29T04:05:53+00:00</dc:date>
    <link>https://www.thenation.com/article/world/the-line-neom-saudi-vision-2030/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It was always doomed to unravel, but the firms who lent their name to this folly should be held accountable."

[archived:
https://archive.ph/SJQlA ]


"Of all of contemporary architecture’s many sins, perhaps the most pernicious is its continued participation in the follies and fantasies of various undemocratic states. While many architects withdrew from projects in Russia after it began its war of attrition against Ukraine, they have yet to apply such ethical scruples to the Gulf petro-states, each of which has invested trillions upon trillions of dollars in high-profile building projects.

The governments of these countries are guilty of a range of crimes, from unfettered carbon emissions and forced displacements to the use of slave labor and the assassination of journalists. Yet this has not deterred starchitects and their firms from signing their names to various marinas, towers, and shopping plazas. Grand and ambitious architectural projects have largely stalled in the West, but the Gulf states’ lack of regulations and endless flows of cash provide the kind of laissez-faire sandbox that most architects—especially those of the technocratic “big ideas” variety—can only dream of.

Unsurprisingly, when Saudi Arabian Crown Prince Mohammad bin Salman proposed building a 110-mile horizontal urban “skyscraper” called the Line near the border of Jordan and Egypt in 2020—the centerpiece of a vast new planned city called Neom—many of the world’s most prestigious firms clamored to sign up. These ranged from the usual suspects of neoliberal future-making, like Thom Mayne’s aesthetically erratic outfit Morphosis, to firms that inherited the city-building impulses of modernism, such as Peter Cook and an I.M. Pei–less Pei Cobb Freed. All of this, of course, was managed by the notorious architecture-and-construction-slash-defense-contractor AECOM, which also happens to be handling the structural logistics for Donald Trump’s ballroom and Benjamin Netanyahu’s sinister, Neom-esque Gaza 2035 master plan.

For nearly five years, we beleaguered souls in the design world have had to endure innumerable press releases and puff pieces about whatever zany shit was going on out in the Saudi Arabian desert. This included the Line’s supposed sustainability efforts (oh, the oil-funded irony), such as indoor gardens and wind farms, plus a number of gravity-defying proposals that, to anyone with a rudimentary understanding of physics, sounded more like pulpy sci-fi gags (most notoriously, an upside-down skyscraper poised like a keystone over an artificial marina full of stagnant water). Year by year, with little progress made save for the piles prematurely driven into the sand, it became increasingly clear that the damn thing would never be built—that it was what we in the biz call “paper architecture.”

This was recently confirmed in a long Financial Times exposé detailing how the scope of bin Salman’s vision has shrunk to basically nothing. The “chandelier” (the central upside-down skyscraper) was derailed by the fact that the earth spins, the wind blows, and human waste can’t be flushed upward. The Line’s reflective surface and wind-turbine farm basically created a bird-slaughtering machine along one of the world’s most important migratory routes. Meanwhile, amid a culture of secrecy and retribution, architects and planners were basically forced to agree with whatever bin Salman thought was interesting or worthwhile, a process that mostly relied on a nonstop parade of spectacular renderings.

Unlike other paper reveries, the human costs of the Line have been staggering. In 2021, the development occasioned a horrific program of forced displacement for members of the Huwaitat tribe and the imprisonment—even execution—of anyone who dared to resist. A few years later, an ITV documentary revealed that more than 21,000 workers were estimated to have died or disappeared under Saudi Vision 2030, the massive urbanization program that counts Neom as its crown jewel. Human Rights Watch has documented the repeated abuse of migrant workers on Saudi megaprojects. These workers, who are often charged outlandish recruitment fees, have had their phones destroyed and their immigration documents confiscated. Tens of thousands of people have died or suffered abject ruination in the service of a few glossy pictures. The shambolic project that killed or ruined them was made possible not only by a seemingly bottomless supply of oil money, but by the borrowed prestige of some of the West’s leading architecture firms.

The Line’s failure should serve as a warning to other firms seduced by outrageous consulting and design fees—not only for the sheer scale of its barbarism but for the obvious frivolity of its lies. Is it not humiliating to aid and abet a project that is so evidently bullshit? Was it not humiliating to have to pretend that Saudi Arabia’s sustainability goals were legitimate while the construction materials and transportation behind its projects wrested more carbon from the earth than most small countries do in a year?

Architecture is always political. Greed and the promise of creative freedom—which, of course, is always secured at a cost—lure architects toward countries that are looking to culture-wash their bad names through stadiums, cultural centers, luxury shopping districts, and dazzling hotels. The logic behind many of these bad choices is that everyone else is doing the same. Louis Vuitton is doing it. Formula One is doing it. If I don’t do it, somebody else will.

Architecture loves to present itself as a liberal or progressive field, shielding itself from reproach with its forays into sustainability and new, more egalitarian forms of living. And it does so all while taking sordid money and grinding its own workers to dust through overwork and underpayment. The ruins of the Line expose a cold truth, which is that these firms and their fountainheads have never been any different from any other capitalist enterprise. Like many others, they have blood on their hands."]]></description>
<dc:subject>neom theline katewagner 2026 saudiarabia architecture accountability mohammadbinsalman thommayne morphosis petercook impei peicobbfreed donaldtrump benjaminnetanyahu greed design humanrights gaza palestine russia ukraine huwaitat</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=W1dIC287Zz0">
    <title>Tech Billionaires Want Us Dead - YouTube</title>
    <dc:date>2026-01-19T22:29:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=W1dIC287Zz0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tech billionaires are planning for a future where humans don’t exist, and they’re already building it.
  
For decades, tech elites have sold us a shiny future powered by artificial intelligence. But what if the future they’re building doesn’t include us?

I investigated the dangerous worldview known as TESCREALism that has taken hold across the world’s most powerful tech companies, from OpenAI to Tesla. It’s the belief that biological humans are flawed and temporary, and that a post-human future dominated by AGI (artificial general intelligence) is both inevitable and desirable.

Under this ideology, human obsolescence is framed as progress, while billionaires like Elon Musk, Sam Altman, Peter Thiel, and Mark Zuckerberg prepare to outlive the collapse they are helping to create.

KEY CONCEPTS: From the Singularity to billionaire bunkers, TESCREAL ideology is the invisible force driving the AI arms race.

TESCREAL: Transhumanism, Extropianism, Singularitarianism, Cosmism, Rationalism, Effective Altruism, Accelerationism, Longtermism.

Special thanks to Dr. Émile P. Torres for his extensive research on this topic. Follow Dr. Torres: https://x.com/xriskology "]]></description>
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<item rdf:about="https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/">
    <title>Do Buildings Reflect Spiritual Change? - Mockingbird</title>
    <dc:date>2026-01-16T08:24:37+00:00</dc:date>
    <link>https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beauty (and God, for that matter) is something we stumble into."

...

"Living life in the analog world has meant experiencing much of life through cultural lenses: magazines, newspapers, broadcast television — none of these are surviving a direct-demand response via technology to our desires, wherever we are. The same is true of our buildings — movie theaters, museums, churches, shopping malls, town halls, even classrooms are now losing their social necessity.

Churchill was actually wrong when he said “We shape our buildings; thereafter they shape us” at a speech on October 28, 1943, arguing for the traditional rebuilding of the House of Commons after it was destroyed by bombing during World War II. The culture of Britain had shaped the building, and the radical cultural revisions Britain experienced after World War II — including firing Churchill — were not shaped by the fully traditional rebuild of the House of Commons.

Aesthetics in buildings changed after World War II, and modern architecture became the default style of most of our public places. Cultural changes created those changes — designers simply responded to them.

In the midst of the greatest cultural upheaval since the Industrial Revolution — the Internet Explosion — our culture is radically changing as it did then. Part of that are the convulsive changes organized religion is facing — because the humans are changing, what we create changes. The last decade has seen this change in a brutal social dynamic that is causing record levels of human isolation, addiction, and suicide; and in northeast America, new lows in participation in organized religion and in the use of the buildings of organized religion.

I design sacred spaces. And I am a human who goes to church every week. At one of those weekly gatherings, Rector Luk de Volder had to voice what is both obvious and hard to fathom:

    One of the things our culture has lost, it certainly seems a distant memory, is the gift of forgiveness or mercy. Our digital lives don’t know mercy. Anything you search, post, or watch online is forever carved in the memory of the web. God may wash away our sins, but online, nothing will be wiped out. No forgiveness, no mercy. The internet remembers forever and brings back memories, even the ones you hoped to forget.

Those words cut to the devotion to the beauty we feel in our sacred spaces — the places we make that nurture the places we do not. Hearing the presence of God in our day-to-day is harder in traditional spaces amid the disheartening diminishing mercy in our day-to-day lives.

And our buildings reflect that humanity. The overwhelming majority of us knows that there is something far, far, more important than our day-to-day. Organized religion is the assembly of rituals and icons to reflect and elicit that human reality. But our analog organizations are often not so much the extension of us now as they are of the lives we once had — the lives now fully upended by the technological revolution of our culture.

How do designers respond? Well, education is at the forefront of addressing change in our lives: All our human reactions are analyzed, organized, and projected in how we educate ourselves. I teach architectural design at the University of Hartford. As a designer of sacred space, I received two unsolicited cries out in the wilderness from two remote schools of architecture about how design reflects changing perceptions. Both are grappling with the changes in our culture that are affecting how design reflects the perception of the sacred.

Aurora Thompson, a senior at the Interior Architecture and Design program at Western Michigan University, wrote to me. “I am studying generational divides within worship environments and exploring how to design spaces that foster connection, inclusivity, and spiritual growth across all generations.”

Cormac Fitzgerald, a thesis student in architecture at SUNY Alfred is trying to define the “use of multiculturalist practices to enhance interreligious facilities … in response to the abundance of immigration to the US and the influx of new, unfamiliar traditions, with the goal of contributing towards an accepting and holistic society.”

All good. But to me there is more. The “more” is actually the fundamental reality of God that defies all understanding but is as real as “generational divides” and “multiculturalist practices” — places we can try and maybe succeed at understanding our focused impacts. Beauty (and God for that matter) is something we stumble into. It is not something we create, for we have already been created by it. Our lives are, in fact, steeped in beauty beyond our understanding. Hearing what beckons us beyond ourselves — despite ourselves — is given to us by the God who “gives all things their beauty: that he restores fair form to what has lost its shape, that he makes the beautiful more beautiful, and what is more beautiful he makes most beautiful” (Bonaventure Hex. I, 34).

I have come to realize the futility of trying to justify beauty and instead listen to the truth revealed in all of us in the things I help create. Late in life, for the first time, that truth was voiced by a great thought leader in architecture who has now passed. He was a designer too — not specifically of sacred space but in direct connection to the sacred in each of us. Not the intellectually convenient rationalizing of spirituality in a psychiatric syndrome but as a direct connection to God.

He was the author of A Pattern Language — Christopher Alexander, the creator of a program called Building Beauty where I also teach. His widow shared with me the article “Making the Garden” published by First Things in February 2016. At the time, it was a revelation to the world — a voice in a secular, rational, atheist world of academics.

Unlike almost all other publishing architects, Alexander clearly understood the state of decline in the relevance of religion:

<blockquote>There can be little doubt that the idea of God, as brought forth from the nineteenth and twentieth centuries, has slowly become tired … to such an extent that it has difficulty fitting into everyday twenty-first-century discourse. As it stands, it is almost embarrassing to many people, in many walks of life.</blockquote>

His early training revealed that “in an epoch when God was not acknowledged, it became virtually impossible for people to build the kinds of buildings where God appears.” He saw a different way: “I did maintain an inner knowing that the best way to produce good architecture must somehow be linked to God — indeed, that valuable architecture was always about God.”

Alexander justified this conclusion by stating that “there are two approaches to the reality of God. One is faith; the other is reason. Faith works easily when it is present, but it is luck, or one’s early history in family life, or a blinding insight of some kind, that determines whether one has faith. Reason is much harder. One cannot easily approach the reality of God by means of reason. Yet in twentieth- and twenty-first-century discourse, reason is almost the only way we have of explaining a difficult thing so that another can participate.”

Like myself, Alexander concluded, “I could no longer really avoid the topic of God.”

But more than broad oaths of devotion and insight, Alexander offers an insight that is both rare and a more radical basis for architecture than any of his other well-known aesthetic insights. For him, his theories and practices add up to one point:

<blockquote>The tangible substance of architecture, the fact that in good architecture, every tiny piece is (by definition) suffused with God, either more or less, gives the concept of God a meaning essentially translated from the beauty of what may be seen in such a place, and so allows it to disclose God with unique clarity … If we pay attention to the beauty of those places that are suffused with God in each part, then we can conceive of God in a down-to-earth way … the path of architecture thus leads inexorably towards a renewed understanding of God.</blockquote>

And mercy — in grace."]]></description>
<dc:subject>duodicson 2026 buildings spirituality mercy grace architecture design christopheralexander humanity humanism education apatternlanguage cormacfitzgerald aurorathompson religion christianity god churches beauty aesthetics faith winstonchurchill lukdevolder forgiveness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:52d0775bc725/</dc:identifier>
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<item rdf:about="https://www.koozarch.com/library/the-case-for-temporal-ambiguity-critiques-of-sami-architecture">
    <title>When Is Now? The Case for Temporal Ambiguity in Critiques of Sámi Architecture – KoozArch</title>
    <dc:date>2026-01-11T23:23:08+00:00</dc:date>
    <link>https://www.koozarch.com/library/the-case-for-temporal-ambiguity-critiques-of-sami-architecture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architect, historian and Jyväskylä native Sofia Singler challenges the prevailing narrative that Sámi architecture is solely tethered to the past. In the edited extract below, Singler argues for how Indigenous architectural practices can simultaneously embrace and resist both historical and contemporary influences, thereby liberating Sámi architecture from colonial interpretative frameworks."]]></description>
<dc:subject>sofiasingler sámi architecture 2026 indigenous indigeneity</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:8e9a7b106158/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/interactive/2025/12/23/us/trump-white-house-oval-office-gold-decor.html">
    <title>A 3-D Look Inside Trump’s Revamped Oval Office - The New York Times</title>
    <dc:date>2025-12-27T21:31:33+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2025/12/23/us/trump-white-house-oval-office-gold-decor.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New York Times recreated the president’s office in 3-D, using hundreds of photos taken in October."]]></description>
<dc:subject>donaldtrump latefascistaesthetics architecture design 2025 interiors ovaloffice whitehouse trumpism maga fascistaesthetics aesthetics</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:1a46dafb4862/</dc:identifier>
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<item rdf:about="https://www.thisiscolossal.com/2025/12/cardboard-infinite-possibilities-wonzimer-gallery/">
    <title>Artists Embrace an Affordable and Ubiquitous Material in 'Cardboard: Infinite Possibilities' — Colossal</title>
    <dc:date>2025-12-23T03:52:14+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2025/12/cardboard-infinite-possibilities-wonzimer-gallery/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>art materials design architecture cardboard 2025</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:0d3d3fe24075/</dc:identifier>
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<item rdf:about="https://www.openculture.com/2025/12/the-evil-genius-of-fascist-design-how-mussolini-and-hitler-used-art-architecture-to-project-power.html">
    <title>The Evil Genius of Fascist Design: How Mussolini and Hitler Used Art &amp; Architecture to Project Power | Open Culture</title>
    <dc:date>2025-12-18T05:04:36+00:00</dc:date>
    <link>https://www.openculture.com/2025/12/the-evil-genius-of-fascist-design-how-mussolini-and-hitler-used-art-architecture-to-project-power.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the Nazis came to power in 1933, they declared the beginning of a “Thousand-Year Reich” that ultimately came up about 988 years short. Fascism in Italy managed to hold on to power for a couple of decades, which was presumably still much less time than Benito Mussolini imagined he’d get on the throne. History shows us that regimes of this kind suffered a fairly severe stability problem, which is perhaps why they needed to put forth such a solid, formidable image. The IMPERIAL video above explores “the evil genius of fascist design,” focusing on how Hitler and Mussolini rendered their ideologies in art and the built environment, but many of its observations can be generalized to any political movement that seeks total control of a society, especially if that society has a sufficiently glorious-seeming past.

Fascism’s visual language has many inspirations, two of the most important cited in the video being  Romanticism and Futurism. The former offered “a longing for the past, an obsession with nature, and a focus on the sublime”; the latter “worshiped speed, machines, and violence.” Despite their apparent contradiction, these dual currents allowed fascism “a peculiar ability to look both backward and forward, to summon the glory of past empires while promising a radical new future.”

In Italy, such an empire may have been distant in time, but it was nevertheless close at hand. “We dream of a Roman Italy that is wise and strong, disciplined and Imperial.” Even Hitler drew from the glories of ancient Rome and Greece to shape his own aspirational vision of an all-powerful German civilization.

Hence both of those dictators undertaking large-scale Neoclassical-style architectural projects “to bring the aesthetics of ancient Rome to their city streets,” including even muscular statues meant to embody the officially sanctioned human ideal. Of course, the builders of the United States of America had also looked to Roman forms, but they did so at a smaller, more humane scale. Fascist structures were designed not just to be eternal symbols but overwhelming presences, intended “not to elevate the soul, but to crush the individual into the crowd and promote conformity.” This, in theory, would make the citizen feel small and powerless, but with an accompanying quasi-religious longing to be part of a larger project: that of fascism, which subordinates everything to the state. For the likes of Mussolini and Hitler (an artist-turned-politician, as one can hardly fail to note), aesthetics was power — albeit not quite enough, in the event, to ensure their own survival."

[Direct link to video:

"The Evil Genius of Fascist Design"
https://www.youtube.com/watch?v=tjrG7CT3vIg ]]]></description>
<dc:subject>mussolini benitomussolini hitler adolfhitler fascism nazism nazis aesthetics fascistaestherics art architecture italianfuturists futurists romanticism ancientrome ancientgreece neoclassicism italy italia germany design italianfuturism</dc:subject>
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<item rdf:about="https://www.e-flux.com/architecture/palestinian-repairs">
    <title>Palestinian Repairs - e-flux</title>
    <dc:date>2025-12-05T20:42:12+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/palestinian-repairs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In many languages and traditions, “repair” means to find a remedy for what is torn or broken. Yet to speak of repair in the context of Palestine today—after more than two years of genocidal devastation unleashed by Israel in Gaza, and in the shadow of a neocolonial scramble for reconstruction—is to stand before its threshold: to confront its limits, its (im)possibility, suspended between grief and endurance, between what can be restored and what must remain a scar. To ask what is reparable, and what is not, is to ask how to mend destruction and pursue justice; how to reckon with incommensurable loss. It is to ask how life itself might begin again amid the ruins.

Palestinian Repairs is a collaboration between e-flux Architecture and Emilio Distretti supported by RIWAQ – Centre for Architectural Conservation, Birzeit University Museum, and the School of Architecture at the Royal College of Art, London."]]></description>
<dc:subject>palestine gaza repair 2025 nickaxel emiliodistretti nikolaushirsch khaldun Bshara ranabarakat muneerelbaz dimasrouji samirharb yarasharif nassergolzari marionroberts cezarybednarski genocide grief endurance reconstruction memory gazacity eteladnan poetry colonialism colonization architecture maps libraries preservation apocalypse violence ruins refugees time archives history mapping</dc:subject>
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</item>
<item rdf:about="https://www.nottinghilleditions.com/product/outrage-ian-nairn/">
    <title>Outrage by Ian Nairn - Travis Elborough - Notting Hill Editions</title>
    <dc:date>2025-11-14T06:24:11+00:00</dc:date>
    <link>https://www.nottinghilleditions.com/product/outrage-ian-nairn/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://caterina.substack.com/p/the-free-for-all

"To convince you to read Ian Nairn, the great sui generis British architectural critic, I give you the front cover and back cover blurbs of the re-released Outrage, which details Nairn’s voyage through Britain’s suburbia—what he calls, “Subtopia.” He defines this as “a mean and middle state, neither town nor country, an even spread of abandoned aerodromes and fake rusticity, wire fences, traffic roundabouts, gratuitous notice-boards, carparks and Things in Fields.” His book on Paris is superb as well. Find it."]

***

"Acclaimed critic Ian Nairn’s masterpiece, reissued for the first time since 1955 and introduced by Travis Elborough.

In 1955, Britain’s most prestigious architectural magazine, The Architectural Review, published a special issue featuring a single essay by Ian Nairn, a famously opinionated (and untrained) architectural critic. Based on observations made on a journey he took across the UK in a Morris Minor, Outrage by Ian Nairn is a searing critique of urban sprawl, or ‘Subtopia’. In this manifesto, Nairn warns that ‘if what is called development is allowed to multiply at the present rate’, Britain’s natural – and urban – landscapes will lose their individuality and spirit.

A call-to-arms against the ‘greying out’ of our towns and countryside before it’s too late, Outrage by Ian Nairn is widely considered to be his masterpiece.

Contains over fifty of Nairn’s original black-and-white photographs."

***

[See also:

https://www.penguinrandomhouse.com/books/773882/outrage-by-ian-nairn-introduced-by-travis-elborough/

"Acclaimed architectural critic Ian Nairn’s masterpiece, reissued for the first time since 1955.

In June of 1955, The Architectural Review (Britain’s most acclaimed and well-read magazine of architectural criticism) published a special issue featuring one essay called Outrage by Ian Nairn. As one of Britain’s most famously opinionated (and untrained) architectural critics, it came as no surprise that the issue opened with a prophecy of doom: “that if what is called development is allowed to multiply at the present rate,” then all can be expected is the subsequent loss of the individuality and spirit of Britain’s natural, and urban, landscapes.

Nairn coined this phenomenon “Subtopia” and demonstrated it, throughout the issue, with mugshots of offending lampposts, arterial roads, and garrotted trees. For the first time in North America and the first time in decades in the UK, Nairn’s influential essay is newly available, now in a handsome volume complete with the original images. "

https://www.architectural-review.com/essays/outrage

"Following Ian Nairn’s 1955 ‘Outrage’ issue, which decried the UK’s suburban sprawl, this opinion piece has appeared at various moments in the pages of the AR. Since 2015, it maintains a position in every themed issue, as a continuing campaign against the most egregious of architectural misdeeds – from failures of government and property developers to greenwashing, ecological violence and social injustice"

https://www.theguardian.com/artanddesign/2010/may/15/architecture-ian-nairn

"Ian Nairn's voice of outrage: His attacks on the banality of Britain's postwar buildings made Ian Nairn an inspiration for a generation of architectural critics. Jonathan Glancey celebrates the scourge of 'subtopia'"]]]></description>
<dc:subject>iannairn 2025 architecture criticism outrage subtopia sprawl greenwashing ecology suburbs suburbia doom caterinafake</dc:subject>
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</item>
<item rdf:about="https://www.platformspace.net/home/a-conversation-with-paul-groth">
    <title>PLATFORM: A Conversation with Paul Groth</title>
    <dc:date>2025-11-13T19:52:06+00:00</dc:date>
    <link>https://www.platformspace.net/home/a-conversation-with-paul-groth</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 2015,  Paul Groth, professor emeritus of geography and architecture at the University of California, Berkeley spoke with PLATFORM Contributing Editor Sarah Lopez about his career, research methods, and field. A full transcript of their conversation was published in Room One Thousand, a Berkeley student journal. What follows is an abbreviated version, edited for length and clarity. For the original audio recording of this conversation, navigate to the end of this article. For more on Groth’s work, see “Paul Groth: A Festschrift.”"]]></description>
<dc:subject>paulgroth sarahlopez via:javierarbona 2025 geography architecture landscape culture culturallandscape ucberkeley buildings builtenvironment housing jbjackson newdeal piercelewis rogermontgomerty donaldmeinig americanstudies highways roadtrips vernaculararchitecture pedagogy howweteach teaching fieldwork fieldsurveys</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://daily.jstor.org/on-the-meaning-and-value-of-public-spaces/">
    <title>On the Meaning and Value of Public Spaces - JSTOR Daily</title>
    <dc:date>2025-11-12T06:23:41+00:00</dc:date>
    <link>https://daily.jstor.org/on-the-meaning-and-value-of-public-spaces/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is public space? How is it produced, and why is that production important for our social and political lives?"

[See also:

"Perspectives on Public Space: A Reading List

This list introduces some of the main debates about public space, from park politics to political protest, public expressions of sexuality to safety and security."
https://daily.jstor.org/perspectives-on-public-space-a-reading-list/ 

Full series here:
https://daily.jstor.org/series/perspectives-on-public-space/ ]]]></description>
<dc:subject>publicspace 2025 saraivry sethalow libraries streets public plazas parks urbanplanning urban cities latinamerica california nyc costarica culture annabarker atmosphere environment social socialinteraction interaction us architecture hostilearchitecture centralpark privatization gowanuscanal brooklyn grandcentralstation baltimore losangeles washingtondc sanjosé benches pops capitalism ownership hudsonyards covid-19 coronavirus pandemic sanjose</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2945f80eab54/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ECwR7Alm7bg">
    <title>The Belarusian Memorial Chapel - YouTube</title>
    <dc:date>2025-11-11T21:38:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ECwR7Alm7bg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Belarusian Memorial Chapel was the first wooden church built in London since the Great Fire of 1666. It was built for the Belarusian diaspora community in the UK in 2016,  and is dedicated to the memory of victims of the 1986 Chernobyl nuclear disaster.

In our film we hear the Architect of the chapel, Tszwai So, talk about the process of designing this chapel, and what this space means for this community."

[See also:

‘The Church of St. Cyril of Turau and All the Patron Saints of the Belarusian People’ (Belarusian Memorial Chapel, London) by Spheron Architects

https://spheronarchitects.co.uk/belarusian-memorial-chapel/

https://architizer.com/projects/belarusian-memorial-chapel-2/

https://www.dezeen.com/2016/12/17/wooden-belarusian-memorial-chapel-dedicated-chernobyl-nuclear-disaster-spheron-architects-london-england/

https://en.wikipedia.org/wiki/Church_of_St_Cyril_of_Turau_and_All_the_Patron_Saints_of_the_Belarusian_People

https://belaruschurch.org.uk/

https://x.com/owenbroadcast/status/1987898604162330725

via https://angloromanticism.com/2025/11/11/the-church-of-st-cyril/ ]]]></description>
<dc:subject>tszwaiso belarus london churches christianity wood design architecture 2021 uk</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:515e4a1045af/</dc:identifier>
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</item>
<item rdf:about="https://www.e-flux.com/architecture/humanitarianism/6782976/animal-minds-humanitarian-designs-interventions-with-nonhuman-others">
    <title>Humanitarianism - Benjamin Meiches - Animal Minds, Humanitarian Designs: Interventions with Nonhuman Others</title>
    <dc:date>2025-11-04T18:52:30+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/humanitarianism/6782976/animal-minds-humanitarian-designs-interventions-with-nonhuman-others</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>benjaminmeiches animals multispecies morethanhuman 2025 humanitarianism nonhuman ethics human-animalrelations human-animalrelationships architecture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://x.com/stephwakefield_/status/1984657886446850512">
    <title>stephanie wakefield on X: &quot;So interesting that Rem Koolhaas was in Paris for May 68 and made Delirious New York to counter its legacy. He wrote, “After 1968, there was a tremendous moral pressure on architecture to be useful, to be good, to be part of t</title>
    <dc:date>2025-11-02T18:16:01+00:00</dc:date>
    <link>https://x.com/stephwakefield_/status/1984657886446850512</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So interesting that Rem Koolhaas was in Paris for May 68 and made Delirious New York to counter its legacy. He wrote, “After 1968, there was a tremendous moral pressure on architecture to be useful, to be good, to be part of the solution. Architects became social workers…had to atone for their complicity with power.” And: “I was suspicious of that whole regime of usefulness. I wanted to reintroduce a certain irresponsibility, a certain pleasure.” Koolhaas, Conversations with Students"]]></description>
<dc:subject>remkoolhaas 1936 may1968 paris architecture power politics stepahniewakefield legacy deliriousnewyork responsibility complicity design irresponsibility neoliberalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:53c34b28d6b0/</dc:identifier>
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</item>
<item rdf:about="https://www.experimental-history.com/p/the-decline-of-deviance">
    <title>The Decline of Deviance - by Adam Mastroianni</title>
    <dc:date>2025-10-29T04:21:23+00:00</dc:date>
    <link>https://www.experimental-history.com/p/the-decline-of-deviance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where has all the weirdness gone?"]]></description>
<dc:subject>adammastroianni sameness blandness difference differences conformity imagination creativity sociology trends innovation psychology culture art 2025 deviance subcultures safety crime mobility stagnation tedgioia internet web online interestingness homogenization myspace tiktok thumbnails architecture alexmurrell construction kylechayka airbnb design interiors consolidation brands branding science progress ruzandrateslo weirness academia derekthompson change technology susansontag 1965 coleporter names naming babynames henryoliver chrisdallariva katherinedee music pinterest substack danger boringness risk risktaking dangers climatechange nuclearwar authoritarianism inequality caution worry anxiety life living howwelive limitations arturodimodica capitalism choice robertputnam bowlingalone soulcycle fandom swifties taylorswift lububus cults adamaleksic brianklaas modeiocrity tseliot crackerbarrel idiosyncrasy courage wealth</dc:subject>
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</item>
<item rdf:about="https://www.e-flux.com/architecture/spatial-computing/6782991/gps-for-the-brain-cognitive-maps-revisited">
    <title>Spatial Computing - Laura Kurgan - GPS for the Brain: Cognitive Maps Revisited</title>
    <dc:date>2025-10-18T05:41:13+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/spatial-computing/6782991/gps-for-the-brain-cognitive-maps-revisited</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Navigation has typically involved something more technical than biological, especially in relation to traversing and remembering spaces. From compass and map to astrolabe and the Global Positioning System (GPS), humans have long relied on a variety of devices to get themselves or their projectiles from here to there. But these tools are not the only game in town—biological navigation, is crucial for the everyday life, movement, and survival of a myriad of species, not just human. Nowadays, this interplay between technical and biological navigation is increasingly blurry. What are the characteristics of navigation that we encounter along the gradient between the technical and the biological, between positioning and memory? To answer this, it helps to put the discourse of “cognitive mapping” into dialogue with advances in neuroscience and artificial intelligence, where scientists now speak of “an inner GPS.” GPS, in this sense, is a misaligned metaphor for a cognitive map, a figure that has long been operational within the fields of architecture, urbanism, and human-computer interaction. However, this conflation warrants revisiting and critiquing their fundamental concepts once again.

We are living in a moment when artificial intelligence—the technical simulation of a biological brain—threatens to absorb and replace many fields, disciplines, and control systems. Simultaneously, the same technologies and algorithms that aim to simulate biological brains (and want to exceed their capabilities) still can’t map the brain of many species, including human. Researchers claim the human brain is the most complex organ in any living creature—a network of trillions of brain cells or neurons housed in a jello-like framework. But networks are only one way of describing the brain. It is therefore important to interrogate the relationships between the elements of this binary—biology and technology—that build these networks, and their cognitive capacities."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=P2MraKGoS1Y">
    <title>Reimagining cities through a dreamer’s eyes | Architecture &amp; Virtual Reality - YouTube</title>
    <dc:date>2025-10-18T02:31:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=P2MraKGoS1Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Step into the mind of Olalekan Jeyifous, a Nigerian-born, Brooklyn-based artist and architect known for crafting speculative, afrofuturist worlds that reimagine how cities could look, feel, and function, especially for historically marginalized communities.

In this intimate profile, we visit Jeyifous’ studio in the rapidly gentrifying Crown Heights neighborhood of Brooklyn, exploring how he blends architecture, VR, collage, 3D modeling, and public art to create vibrant alternate realities. We take a walk with him to see how he collects everyday urban details— graffiti, ghost signs, surveillance tech, or a patch of overgrown sidewalk— and expands them into immersive visual landscapes where communities thrive on their own terms.

His alternate realities ask, “What if our cities were built with everyone in mind from the start?” He shows us that daydreaming is more than a fantasy; it’s a question of perspective, power, and possibility."]]></description>
<dc:subject>olalekanjeyifous art architecture illustration speculativefiction worldbuilding installation 2025 solarpunk afrofuturism scifi sciencefiction culture cities urban urbanism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://aeon.co/essays/generative-ai-has-access-to-a-small-slice-of-human-knowledge">
    <title>Generative AI has access to a small slice of human knowledge | Aeon Essays</title>
    <dc:date>2025-10-14T01:31:35+00:00</dc:date>
    <link>https://aeon.co/essays/generative-ai-has-access-to-a-small-slice-of-human-knowledge</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Huge swathes of human knowledge are missing from the internet. By definition, generative AI is shockingly ignorant too"

[also here:

"What AI doesn’t know: we could be creating a global ‘knowledge collapse’

As GenAI becomes the primary way to find information, local and traditional wisdom is being lost. And we are only beginning to realise what we’re missing"
https://www.theguardian.com/news/2025/nov/18/what-ai-doesnt-know-global-knowledge-collapse ]]]></description>
<dc:subject>ai artificialintelligence web online internet knowledge 2025 deepakvaruveldennison computers computing culture knowledgeproduction generativeai language languages tamil climate climatechange globalwarming climatecrisis misinformation ecology local peterwohlleben trees interdepence seva perumalvivekanandan environment asia africa khanacademy llms andrewpeterson knowledgecollapse diversity alternative google bias west westernsupremacy siliconvalley english chatgpt openai rlhf humanity humans humanism microsoft lindatuhiwai maori colonialism imperialism colonization india sanfrancisco architecture modernism modernity homogeneity heterogeneity antoniogramsci construction amazonia newguinea hindi inequality humanexperience experience landscape landscapes genai</dc:subject>
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<item rdf:about="https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics">
    <title>How luxury brands engineer desire with behavioural economics | Psyche Ideas</title>
    <dc:date>2025-10-03T16:32:15+00:00</dc:date>
    <link>https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From scarcity to market architecture, luxury fashion is manipulating our tastes. But a vintage countermovement has begun"]]></description>
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    <title>CITY LIGHTS LIVE! Chris Carlsson celebrate the 2nd Edition of &quot;Hidden San Francisco&quot; - YouTube</title>
    <dc:date>2025-10-03T04:42:12+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["City Lights and Shaping San Francisco celebrate the 2nd Edition of

Hidden San Francisco: A Guide to Lost Landscapes, Unsung Heroes, and Radical Histories
by Chris Carlsson
published by Pluto Press

Purchase the book at this link:
https://citylights.com/hidden-san-francisco-gt-lost-landscape

Hidden San Francisco is a guidebook like no other. Structured around the four major themes of ecology, labour, transit and dissent, Chris Carlsson peels back the layers of the city’s history to reveal a storied past: behind old walls and gleaming glass facades lurk former industries, secret music and poetry venues, forgotten terrorist bombings, and much more. Carlsson also delves into the Bay Area’s long prehistory, examining the region’s geography and the lives of its indigenous inhabitants before the 1849 Gold Rush changed everything.

This second edition includes new tours on the wild and natural parts of San Francisco that most tourists never visit, from Glen Canyon to Sutro Forest, as well as a new themed walk on the Summer of Love. There is also a new introduction examining the devastating impact of the pandemic, as well as a mini-history of tech in the city, from the Gold Rush to AI.

Chris Carlsson is a San Francisco historian and award-winning tour guide. He directs ‘Shaping San Francisco’ – an impressive archive of local history, and co-founded the urban cycling movement Critical Mass in 1992. He is the author of four books, including novels and histories about the city. He has lived in San Francisco since 1978. To learn more about Chris’ work visit his website: https://nowtopians.com/

This event was originally broadcast on Thursday, July 24, 2025.

Made possible by support from the City Lights Foundation."]]></description>
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    <dc:date>2025-10-02T16:23:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=38z_JfujXpA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of Tales from the Tribe, MB&F founder Maximilian Büsser sits down with Jonathan Ferrer, founder of Brew Watch & Co. — one of the first true microbrands to make waves in modern independent watchmaking. A conversation about time, creativity, and forging your own path — one meaningful detail at a time."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Los Angeles author/academic/cultural critic Mike Davis leads a panel discussion on imagery of the destruction of Los Angeles in mass media, as well as the Southland's architecture, cultural geography, political and racial turmoil, and mythopoeic presence. Other speakers are historian Kerwin Klein and editor David Reid."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:destruction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apoalypse"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:race"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=xSxoGsSnGi8">
    <title>Tour: A Warm Writers’ House on an Island in the Pacific Northwest - YouTube</title>
    <dc:date>2025-09-22T05:51:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=xSxoGsSnGi8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Writers Ann Medlock and John Graham never expected to build a house. But when they were priced out of their New York apartment, they found themselves on the other side of the continent, with land in the woods on Whidbey Island, Washington—and no house.

Through serendipitous timing, they were able to enlist the help of architect Christopher Alexander and The Center for Environmental Structure to design and build their dream home. The result is a warm embrace of a house, exultant with beauty, playfulness, and spirit, employing many of the patterns described in Alexander’s 1977 book, A Pattern Language. The Medlock-Graham House was later featured in Alexander’s seminal work, The Nature of Order, and cited by Alexander himself as one of his most successful buildings.

Read Ann’s writing about the house at https://annmedlock.com

For more about Christopher Alexander’s work, theory, and to learn his design process, visit https://buildingbeauty.org "]]></description>
<dc:subject>christopheralexander apatternlanguage 2025 1977 whidbeyisland washingtonstate architecture design homes houses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9fe9b26f8ead/</dc:identifier>
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</item>
<item rdf:about="https://www.koozarch.com/essays/fundamentals-on-design-as-a-transformative-process">
    <title>Fundamentals: On Design as a Transformative Process – KoozArch</title>
    <dc:date>2025-09-22T05:48:18+00:00</dc:date>
    <link>https://www.koozarch.com/essays/fundamentals-on-design-as-a-transformative-process</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is uncanny to read how many architecture and design classrooms and studios are still heavily focused on training architects to deliver “completed” objects, from the scale of the spoon to that of the building. Although such pursuits might be imbued with the most high-tech solutions in terms of sustainability, relatively few of these face up to the facts of capitalism's short sighted definition of sustainability to the technosphere. Bound up in economic models of growth and backed by certifications that frequently focus on the operational energy of a building, seldom considering its life cycle, most current construction industry models justify demolishing and erecting new buildings, under the assumed pretext that ‘new’ equals ‘more sustainable’. What this model conveniently forgoes is the extractive hollowing that such “new” endeavours incur, both in terms of the “Carboniferous/Jurassic/Cretaceous; deep/shallow reserves” from which we are extracting1 but also the presumed holes we are shaping which will bury the exhausted shells — now potentially toxic waste — of our supposedly sustainable “completed” buildings, whose life span today is generally designed to be of less than 50 years. A built environment which is made of human-made bricks, mortar, concrete, and glass is not designed to be easily taken apart but rather demolished by brute force2, leaving little much more than useless rubble — to the extent that almost 30% of materials delivered to a construction site ends up as waste. It is of course a fact that worldwide, some 40% of all total solid waste is attributed to the construction industry. As the construction sector is set to grow significantly in the coming years, the number of holes that we will need to bury our sins within the depths of Gaia leaves one reeling."]]></description>
<dc:subject>pedagogy design transformation process materials federicakambeletti koozarch education sustainability unmade unproduct nonproduct subversion assembly disassembly architecture ecology community participation participatory openstudioproject lcproject empowerment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0ac942579cec/</dc:identifier>
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</item>
<item rdf:about="https://ablerism.micro.blog/2025/09/21/refrain.html">
    <title>Sara Hendren - refrain</title>
    <dc:date>2025-09-22T05:43:20+00:00</dc:date>
    <link>https://ablerism.micro.blog/2025/09/21/refrain.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The vertebrae texts of my architecture criticism are now Ruskin, The Nature of Gothic, a Wendell Berry collection called The World-Ending Fire, and Postman, Amusing Ourselves to Death. And lots and lots of short readings and other media in between. I’m pleased with this historical sweep and its gathering of material culture criticism (buildings, landscape and locality, technology) as social criticism, especially by three men who are politically uncategorizeable. My students are open, game, still pliable. I may just recite to them, weekly, the message: it’s never too late to become more of a human being, less of a machine."]]></description>
<dc:subject>sarahendren architecture humanism human johnruskin wendellberry neilpostman design 2025 humanbeings socialcriticism politics aesthetics modernity landscape locality technology buildings curriculum pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5cebb2837f5e/</dc:identifier>
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<item rdf:about="https://mitpress.mit.edu/9780262561334/fire-and-memory/">
    <title>Fire and Memory: On Architecture and Memory, by Luis Fernández-Galiano (2000)</title>
    <dc:date>2025-09-20T20:25:10+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262561334/fire-and-memory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architecture and fire, construction and combustion, meet in this poetic treatise on energy in building.

In Fire and Memory, Luis Fernández-Galiano reconstructs the movement from cold to warm architecture, from building fire to building a building with and for fire, through what he calls a "metaphorical plundering" of disciplines as diverse as anthropology and economics, and in particular of ecology and thermodynamics. Beginning with the mythical fire in the origins of architecture and moving to its symbolic representation in the twentieth century, Galiano develops a theoretical dialogue between combustion and construction that ranges from Vitruvius to Le Corbusier, from the mechanical and organic to time and entropy. Galiano points out that energy, so important to the origin of architectural theory in Vitruvius's time, has been absent from architectural theory since the introduction of the "dictatorship of the eye" over that of the skin. With Fire and Memory, he reintroduces energy to the discussion of architecture and reminds us that the sense of touch is as necessary to an understanding of the environment as the sense of sight."]]></description>
<dc:subject>via:javierarbona architecture energy petroleum vitruvius fire lecorbusier anthropology economics time entropy contruction combustion buildings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b5ab4505146/</dc:identifier>
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<item rdf:about="https://www.sfchronicle.com/opinion/openforum/article/vaillancourt-fountain-embarcadero-san-francisco-20886339.php">
    <title>Save the Vaillancourt Fountain — and SF’s modernist history</title>
    <dc:date>2025-09-06T20:48:21+00:00</dc:date>
    <link>https://www.sfchronicle.com/opinion/openforum/article/vaillancourt-fountain-embarcadero-san-francisco-20886339.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Demolition of the fountain would sever a living link to San Francisco’s modernist history"

...

"San Francisco officials seem intent on destroying the Vaillancourt Fountain — one of its architectural and artistic treasures. 

As he intended, Armand Vaillancourt’s Brutalist fountain has always provoked debate. To destroy it, however, would be to obliterate the last truly insurgent modernist voice left in the Embarcadero Plaza complex.

The fountain, the plaza and the Embarcadero Center were built in an era when San Francisco optimistically invested in challenging its residents through novel spaces and provocative artworks. Landscape architect Lawrence Halprin is widely considered one of the 20th century’s most daring choreographers of civic life, creating spaces for dynamic art that could spark wonder and play. He and Vaillancourt didn’t design for passive spectators. They built a civic stage that demanded movement and curiosity. In an era when many Americans fled the city for the suburbs, Embarcadero Plaza and the fountain were a brash plea for urban cosmopolitanism.

While some canonical works of modernist landscape architecture are cherished and preserved — like Thomas Church’s 1948 Donnell Gardens in Sonoma County or the souriant granite plaza and fountains that lead to Mies van der Rohe and Philip Johnson’s 1958 Seagram Building in New York — urban public works like Embarcadero Plaza have remained controversial. 

Embarcadero Plaza is Donnell’s urban cousin, a truly public space unlike corporate plazas on Park Avenue. Ours is in brusque concrete and brick, unlike the polished granite of privatized public space, defined by dynamic diagonals instead of a Miesian grid, a radically democratic city park in contrast to Donnell’s private backyard. Also anchored by a pool, Vaillancourt’s fountain blasts with Brutalist vim — massive concrete tubes jutting upward, like a kinetic portrait of the city itself in rushing water and bas-relief abstraction. 

For decades, even when the Embarcadero freeway thundered overhead, the plaza thrived as a site of collective gathering, skateboarding, sunbathing and open-ended play. Never static, it has always been a democratic platform, a lasting testament to San Francisco’s distinct urbanity.

The plaza may seem underused today, but the fault does not lie with us. As a regular user who grew up seeing the plaza and its unique fountain in iconic skateboarding videos, I visit the plaza often, on foot and four wheels, and I am never alone.

On any given day, people cross the plaza, pausing in front of the now-empty and fenced-off fountain, and take pictures. People still sunbathe on the steps, with the warm glow of sunlight reflecting off the red bricks of Halprin’s plaza.

Yes, over time, the plaza has indeed been neglected, but it is not blighted: Having weathered half a century of heavy use, it now feels more like a medieval piazza, whose rough-hewn beauty may be under-recognized today. The blame belongs to city agencies and corporate landlords who allowed it to decay, not to the public who continue to use it.

Demolition of the fountain would sever a living link to San Francisco’s modernist history and would obliterate one of the last intact collaborations between world-class art and landscape architecture. The result would likely replace a singular civic work with yet another bland, consultant-designed and over-engineered patch of grass that could not possibly compete with the attractions of the Ferry Building across the Embarcadero. 

The lazy, oft-repeated claim that the fountain “worked” only as a backdrop to the Embarcadero freeway is not only philistine but patently untrue. Halprin and Vaillancourt always intended the fountain to stand on its own, as both plaza and proscenium. It continues to be seen from all sides, even with the new fences that went up this spring, blocking access to the viewing platforms.

Phil Ginsburg, general manager of the San Francisco Recreation and Park Department, has made a career of ramming through big, privatized projects on parkland with minimal public process. Under the previous mayoralty, this tactic would be seen as scandalous, but in this giddy moment of the city’s supposed rebirth under our new developer-friendly Mayor Daniel Lurie, such sketchy gambits are ignored. The plan of selling off public park space to private developers under the guise of “revitalization” is not only cynical — it should be illegal.

In August, the Recreation and Parks Department formally requested the San Francisco Arts Commission’s approval to deaccession (translation: demolish) the Vaillancourt Fountain. While Ginsburg’s letter was shared with select reporters, it was not released to the public in what seems like the department’s strategy of tactical opacity. Independent assessments obtained by the press, the Cultural Landscape Foundation and Docomomo US/NOCA make clear that the fountain is repairable and even eligible for the National Register of Historic Places and California Register of Historical Resources. As an eligible historic resource, the fountain would have additional protections and review processes through the California Environmental Quality Act, something that has been omitted from the public conversation.

Yet the Recreation and Park Department has distorted these findings to manufacture a case for removal. In its own letter, the department dismisses the fountain not as art but as a “design constraint,” a particularly banal term for destroying public art.

The issue isn’t about nostalgia for skateboarders, art lovers and others. It’s about stewardship. Because the city has categorically neglected its responsibility to maintain the fountain, the public risks suffering its loss."]]></description>
<dc:subject>tedbarrow skating skateboarding 2025 sanfrancisco architecture history modernism embarcadero lawrencehalprin armandvaillancourt brutalism daniellurie philginsburg development</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.noemamag.com/the-vanishing-art-of-building-sacred-spaces/">
    <title>Religious Architecture Is Vanishing - NOEMA</title>
    <dc:date>2025-09-02T07:04:46+00:00</dc:date>
    <link>https://www.noemamag.com/the-vanishing-art-of-building-sacred-spaces/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Vanishing Art Of Building Sacred Spaces

In the age of the algorithm, the West has lost its philosophy of spiritual architecture, and with it the language of holy enchantment."]]></description>
<dc:subject>johnlast 2025 religion architecture spirituality churches modernity applestore design sacred worship christianity collectivity neopaganism sacredness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1f15e89865d2/</dc:identifier>
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</item>
<item rdf:about="https://placesjournal.org/article/unbuilding-gender/">
    <title>Unbuilding Gender</title>
    <dc:date>2025-08-19T05:14:44+00:00</dc:date>
    <link>https://placesjournal.org/article/unbuilding-gender/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Trans* Anarchitectures In and Beyond the Work of Gordon Matta-Clark"]]></description>
<dc:subject>jackhalberstam gordonmatta-clark architecture anarchitecture 2018 transgender activism gender gendertheory queer yvelariscohen trans carolinevaneck paulpreciado audrelorde saraahmed buckminsterfuller lecorbusier lucascrawford walterbenjamin teresadelauretis stefanoharney fredmoten joséestabanmuñoz robertstoller kevinmumford stephenwalker douglascrimp jonathanweinberg karenabarad giakourlas christinacrosby francesrichard evahayward athinaangelopoulou joelsanders susanstryker boychild nyc realestate capitalism sexuality cassils namuelvason lgbtq emilyroysdon davidwojmarowicz éricalliez alvinbaltrop herbertmarcuse micheldecerteau incarceration pamelalee gentrification 1972 1974 laurieanderson richardlandry modernism soho absence silence invisibility landscape landscapes anarchy anarchism bodies removal fredherko ernstbloch femininity hudsonnriver homophobia collapse abandonment cruising embodiment representation aesthetics access transphobia 1973 normativity building unbuilding feminism louisebourgeois</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.politesi.polimi.it/handle/10589/166961">
    <title>Alto Camino Favero. Progetto di riabilitazione del Colectivo Favero per la revitalizzazione del contesto. Proyecto de rehabilitacion del caso Colectivo Favero para la revitalizacion del contexto</title>
    <dc:date>2025-08-10T20:17:08+00:00</dc:date>
    <link>https://www.politesi.polimi.it/handle/10589/166961</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The thesis work that follows examines a very lived but forgotten building in the urban labyrinth of streets, stairways and alleys that forms in Valparaiso, Chile. The project is the result of a Double Degree exchange with the Chilean University UTFSM, and is intended to be a building in a South American city with a filter of European and Italian education. The choice of the case study was made easier by having lived for two years in one of the flats that are part of the complex and the experience that derives from it. In 1912 the Colectivo Favero was built as a collective residence for working-class families. The great characteristic that made it different from other buildings of this type was a particular attention to the quality of the spaces in terms of comfort and liveability: the Colectivo gave dignity to those that until then were similar to today’s slums. In the century from its inauguration until 2012, the Favero survived earthquakes and fires, paying a high price. The state it was in until a decade ago was one of decay, disuse and dilapidation. The aim of rehabilitating Colectivo Favero is to give a new role to this example of typical porteña architecture in a context that is no longer its own. In its early years the building was a unique example of a standard to aspire to for social housing, integrating principles of direct lighting and ventilation with a maximisation of saleable and usable space. The Colectivo is positioned on the lower part of a hill, connecting the flat part of the city with the surrounding hills; communications that take place formally with the building developed according to the topography and visually with the façades that change decoration as their height varies. The first phase of the investigation began with the collection of the few documents available on the building and was later enriched with interviews with the residents. These gave rise to ideas on how to integrate and improve today’s situation. It was then decided to focus on strengthening the unique instances that reside here. These include the site of the city’s photography festival (FIFV), the marine pensioners’ club and the micro-communities of generations of residents inside the building. As an activator of the Favero within its context, however, we look at a broader function that can attract people of different ages, education and mould. To this end, spaces for common use and for the community are implemented in the building. The complex’s redevelopment and recovery project seeks to mediate between the new context and the old building, remaining close to the history and heritage of Favero. We stay away from complete demolition or internal remodelling, which would certainly be simpler. The great importance given, during the investigation phase, to how tenants see and live their homes makes it possible to design with a greater level of efficiency. The resulting intervention is certainly specific to this case, but it is tailor-made to work and bring Colectivo Favero back to the centre of the neighbourhood as a catalyst for new initiatives, improvements and interest in what is one of the hidden gems of Valparaiso."]]></description>
<dc:subject>giocondofavero colectivofavero 2020 joaquínmiguelestradatapia valparaíso chile architecture housing history family mauricioschiavetti cerroflorida</dc:subject>
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<item rdf:about="https://www.italiaestera.net/modules.php?name=News&amp;file=article&amp;sid=8489">
    <title>Italiaestera.net - I 150 anni della Sesta Compagnia Pompieri “Cristoforo Colombo” di Valparaiso</title>
    <dc:date>2025-08-10T20:16:40+00:00</dc:date>
    <link>https://www.italiaestera.net/modules.php?name=News&amp;file=article&amp;sid=8489</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>giocondofavero chile valparaíso viñadelmar 1906 bomberos architecture history fire fires firefighters firefighting</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=WIenAw1_-F4">
    <title>Two Ways To Film The Same Scene (#2) - YouTube</title>
    <dc:date>2025-08-02T20:54:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WIenAw1_-F4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SOURCES

Vila, Xavier, and Alice Kuzniar. “Witnessing Narration in ‘Wings of Desire.’” Film Criticism, vol. 16, no. 3, 1992, pp. 53–65. JSTOR, http://www.jstor.org/stable/44075970

Fusco, Coco, and WIM WENDERS. “Angels, History and Poetic Fantasy: AN INTERVIEW WITH WIM WENDERS.” Cinéaste, vol. 16, no. 4, 1988, pp. 14–17. JSTOR, http://www.jstor.org/stable/41687585

Ehrlich, Linda C. “Meditations on Wim Wenders’s ‘Wings of Desire.’” Literature/Film Quarterly, vol. 19, no. 4, 1991, pp. 242–46. JSTOR, http://www.jstor.org/stable/43796511

Casarino, Cesare. “Fragments on ‘Wings of Desire’ (Or, Fragmentary Representation as Historical Necessity).” Social Text, no. 24, 1990, pp. 167–81. JSTOR, https://doi.org/10.2307/827833

Caldwell, David, and Paul W. Rea. “Handke’s and Wenders’s Wings of Desire: Transcending Postmodernism.” The German Quarterly, vol. 64, no. 1, 1991, pp. 46–54. JSTOR, https://doi.org/10.2307/407304

Michael Sexson, "The Storyteller and Wim Wenders' Wings of Desire"
https://thecresset.org/FilmArchive/1993/Sexson_March%201993.html

"Theatres of Architectural Imagination" Edited by Lisa Landrum, Sam Ridgway"
https://www.routledge.com/Theatres-of-Architectural-Imagination/Landrum-Ridgway/p/book/9781032286112

Stuart Jeffries, "The Storm Blowing from Paradise: Walter Benjamin and Klee's Angelus Novus"
https://www.versobooks.com/blogs/news/2791-the-storm-blowing-from-paradise-walter-benjamin-and-klee-s-angelus-novus

Walter Benjamin's Nine Theses On The Philosophy Of History
https://www.sfu.ca/~andrewf/CONCEPT2.html

Ebert's review of City Of Angels
https://www.rogerebert.com/reviews/city-of-angels-1998

MUSIC (via Epidemic Sound)

The Road Less Travelled - Christoffer Moe Ditlevsen
The Seeds We Sow - David Celeste"]]></description>
<dc:subject>nerdwriter1 film filmmaking losangeles berlin libraries architecture meaning wimwenders wingsofdesire hollywood westgermany germany evanpuschak walterbenjamin rogerebert howweread reading howwewrite spirituality comparison storytelling empathy</dc:subject>
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</item>
<item rdf:about="https://architecture-history.org/schools/SUPERMODERNISM.html">
    <title>SUPERMODERNISM</title>
    <dc:date>2025-07-27T02:34:01+00:00</dc:date>
    <link>https://architecture-history.org/schools/SUPERMODERNISM.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Critic and historian Hans Ibelings—borrowing from anthropologist Marc Augé—uses the term “supermodernism” (also called “hypermodernism”) to describe a style of architecture emerging in the 1990s, characterized by structures that are often airy, minimalist or monolithic, and transparent or translucent and that use an abundance of glass. Although supermodern structures exploit technological innovation, they are generally visually and symbolically simple, with clean lines, a minimalist style, and neutral materials.

Theoretically, Ibelings situates supermodernism in relation to Postmodernism and Deconstructivism and in conjunction with some of the aims of modernism. Ibelings noticed common tendencies in several architectural books published in the mid-1990s: Terence Riley’s Light Construction (1995), Rodolfo Machado and Rodolphe el-Khoury’s Monolithic Architecture (1995), Vittorio Savi and Josep Ma Montaner’s Less Is More: Minimalism in Architecture and the Other Arts (1996), and Daniela Colfrancescchi’s Architettura in superfice; Materiali, figure e technologie delle nuove facciate urbane (1995). The almost simultaneous publication of these texts describing a similar aesthetic led Ibelings to condense formal and theoretical tendencies into a description of a coherent architectural style.

Contributors to this style include contemporary international architectural firms such as Rem Koolhaas’s Office of Metropolitan Architecture (OMA), Jean Nouvel, Dominique Perrault, Herzog and De Meuron, and Iñaki Abelos and Juan Herreros. Noteworthy examples of supermodernist architecture include Jean Nouvel’s beautifully transparent Cartier Foundation for Contemporary Art and Head Office of Cartier France (1991–94) in Paris as well as his design for the Tour sans Fin (1989), a glass-topped tower to be built in Paris’s La Défense. Also significant are Dominque Perrault’s new home for the Bibliothèque Nationale (1989–96) in Paris as well as her Hotel Industriel Berlier (1985– 90) in Paris and Koolhaas and OMA’s Educatorium (1997), a multipurpose building designed for Utrecht University in the Netherlands.

Supermodernism is a phenomenological architecture, an architecture that appeals to the experience of place rather than to ideas or symbols. Although postmodernist and deconstructivist approaches to architecture often appeal to intellectual and historical relationships among forms, supermodernism suggested a shift toward (perhaps even a return to) the formal qualities of space and the visual and tactile sensations that accompany them. According to Ibelings, the emphasis on space and place rather than on form (or style as an end it itself) contradicts one of the main tenets of postmodern architecture—that a particular building is an often-contradictory composite of symbols or signs that carry cultural and linguistic meanings. Supermodern architecture rejects the desire or need to decode symbols and instead appeals to a range of physical as well as psychological qualities perceived through the experience of the forms. Supermodern buildings reflect neither the history of architecture nor extraarchitectural ideas.

The supermodern structure in part appeals to universal concerns (a stronghold of modernist ideology of the earlier part of the century). This emphasis on universality reflects the current interest in globalization, which Ibelings links to homogenization and commodification in art and architecture. Global homogenization has generated a rash of chain stores, internationally recognized products, and expressionless, nondescript architecture in world cities that resemble one another as well as architecture that is no longer built by local architects in local styles.

Linked to globalization is the development of what Augé calls “nonspace.” Nonspaces are spaces that “cannot be defined as relational, or historical, or concerned with identity” (Augé, 1995). Rather than social centers where communities gather for collective activity, nonspaces function as common places where groups of people come together yet experience the space separate from others. The current built environment is, according to Augé's somewhat relativist reading, meaningless. However, meaningless space arises as a reaction to three kinds of abundance: an abundance of space, an abundance of signs, and an abundance of individualism. The plethora of nonspaces creates what Augé calls the supermodern condition, an obvious reference to French philosopher Jean-Francois Lyotard’s 1979 seminal study La condition postmoderne: rapport sur le savoir (The Postmodern Condition: A Report on Knowledge).

Because globalization has increased world travel to a phenomenal extent, the airport perhaps functions as the quintessential nonplace, although supermarkets, hotels, and oversized malls could be added to this list. Ibelings argues that the airport structure has evolved into a universal type he describes as “an exposed steel construction (a space-frame or gigantic trusses), a marked preference for vaulted roofs, a colour palette of grey, white, pale blue and light green and, above all, acres and acres of glass” (1998). Examples of this design include Kansai International Airport Terminal, Osaka (Renzo Piano Building Workshop, 1988–1994); Hong Kong International Airport, Hong Kong, Chek Lap Kok (Foster and Partners, 1992–98); Stansted Airport, Essex, England (Foster and Partners, 1981–91); and Europier, Heathrow Airport, London (Richard Rogers Partnership, 1992–95). Functionally, the contemporary airport encompasses services such as shopping in addition to a means of travel, and further serves as an economic center for the surrounding area, a trend that reflects the transition of the symbolic city center to the periphery.

Supermodernism maintains particular traditions of modernism; namely, an aesthetic of neutrality, minimalism, and abstraction. Yet supermodernist architects seek expressivity; buildings are intended to be as autonomous and obviously separate from their surroundings; as contemporary and new, reflecting the present; as technically innovative; and finally, as a clean slate, an intended break from the past. Nonetheless, contemporary critics and stress the need to not only examine these qualities but to locate them within our contemporary global experience.

LINDA M. STEER

Sennott R.S. Encyclopedia of twentieth century architecture, Vol.3 (P-Z).  Fitzroy Dearborn., 2005."]]></description>
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